Peter Michael Hamel’s Integral Music

Researches on Polystylism have made a certain progress. This term usually refers to those compositions including two or more different compositional-techniques and musical-styles as well as their multiple characters and images. Known Polystylistic researches used to concentrate merely upon skills such as Quotation and Collage what are called musical itself factors but ignore what’s beyond music itself. This dissertation will be based on these existing theories and methods to discuss not only compositional-techniques and musical-styles in Peter Michael Hamel’s Integral Music but also what inspires and influences his musical compositions. In this level, Hamel’s Integral no longer means music itself but deeply represents cross-culture connotation by combining Indian traditional music as his oriental complex and Jean Gebser’s Consciousness theory in his own compositions especially in orchestral works.This dissertation includes five chapters. The first chapter introduces Peter Michael Hamel and other contemporary composers and musical phenomenons that influence Hamel and his compositions. The second chapter sorts out the development of Polystylistic music.The third chapter describes what causes the formation of Hamel’s Integral Music and six compositional-techniques and musical-styles he called Holistic Composition. The fourth chapter is focus on Hamel’s three chamber music but only explains their musical connotations. By analyzing orchestral work-"Gestalt" in chapter five, it reveals How Indian traditional music and Jean Gebser’s Consciousness theory deeply affect Hamel’s mind and reflect in his compositions until now and thus why Hamel’s compositions are defined as cross-cultured Integral Music.