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' <i>sacred</i> style, which the latter became known as Edwards' <i>maninya</i> style, named after the <i>Maninya</i> 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 <i>Enyato</i> Series, of which an overview is given, followed by a detailed analysis of <i>Binyang</i>, as an example of the composer's <i>Enyato</i> writing. Another important element which is examined is the development of the language of the <i>sacred</i> series introduced in the <i>First Symphony (Da Pacem Domine)</i>, completed in 1991. Detailed analyses and examination of four orchestral works, the <i>Guitar Concerto</i>, the <i>Second Symphony (Earth Spirit Songs), White Ghost Dancing</i> and the <i>Third Symphony (Mater Magna)</i> provide further exampled of the blending of the <i>sacred</i> and the <i>maninya</i> in the period 1991-2001.