Beyond sacred and maninya: developments in the music of Ross Edwards between 1991-2001

During the later 1970s and 1980s Ross Edwards developed a musical style in two distinct manifestations. One was an austere, introspective style characterised by extremes of register; light, water-colour tone colours; bell-like sonorities; and specific intervals. The other was an extroverted style expressed as a dance/chant, characterised by ritualised insect patterns; drone-based harmonies and references to a variety of musical cultures. Because of its alignment to certain oriental traditions or meditational music of the former became known as Edwards' sacred style, which the latter became known as Edwards' maninya style, named after the Maninya series of the 1980s. During the 1990s, these two styles have become fused or blended through their juxtaposition and combination in new contexts within single movements and multi-movement works. This development is the subject of this thesis. An important element in this development has been the works known as the Enyato Series, of which an overview is given, followed by a detailed analysis of Binyang, as an example of the composer's Enyato writing. Another important element which is examined is the development of the language of the sacred series introduced in the First Symphony (Da Pacem Domine), completed in 1991. Detailed analyses and examination of four orchestral works, the Guitar Concerto, the Second Symphony (Earth Spirit Songs), White Ghost Dancing and the Third Symphony (Mater Magna) provide further exampled of the blending of the sacred and the maninya in the period 1991-2001.