| Jacob Collier(born 1994,British),as a promising composer in the composition field,presents his compositions with abundant ideas,proficient techniques and skills in both aspects of vertical and lateral organizations of tones-and-pitches,and in aspect of acoustic design.This paper analyzes his characteristic orchestral work,“Once You”,and song,“All I need”.The exploration to his expansion and combination of traditional and present skills is implemented through an analytical research on the methods in which the tones-and-pitches,as well as his orchestration and acoustic design,are structured.To demonstrate the voice-leading,counterpoint frame within linear progression,vertical harmony chords and lateral alteration in mode colour during the progressive notes in these two works,the theories of harmony-function,figured bass,counterpoint,“fundamental structure” from“Free Composition” by Heinrich Schenker and “negative harmony” from “A Theory of Harmony”by Ernst Levy shall be partly referred and practiced in this analysis.Besides,a look into his instrumentation contains a basic observation over the timbre and their construction of sounds.This paper consists of three chapters.Chapter One is an overview through his experiences and features of his composition.Chapter Two discusses the route and integration of tones and instrumentation in “Once You” with focus on music materials,timbres and the consolidation of linear voices.Chapter Three elucidates a mixture of negative harmony,hidden counterpoint and upper structured chords in the utilization of “All I need”,together with non-electric and electronic items influencing the development of its instrumentation.Finally,the conclusion on numerous jointly applied compositional techniques between two works of large difference among their construction and form of expression is summarized.In addition,a brief ponder about how Jacob Collier unifies,juxtaposes and “compounds” elements in his deductive and inductive composition is queried. |
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