ABSTRACT

This conclusion presents some closing thoughts on concepts discussed in the preceding chapters of this book. It demonstrates that the pivotal section allowing the piece to function as a ritual does not follow the pre-compositional schemes in the analysis of Kelly Ground. The book addresses the trope that connects Australian composers and landscape is an enduring one. One aspect of David Lumsdaine's technique that arises as an analytical challenge is inclusions of apparent contradictions. The book creates its own labyrinthine structures in investigation of Arias setting of Eyres convoluted text. It introduces the importance of Lumsdaine's collaboration with the poet Peter Porter. The formation of paradoxes binds together several recurring ideas: the relationships of melody, harmony and register; serial procedures and motif; transformation, linearity, predictable patterning and memory. It also binds birdsong and the listener in the field; individual technique and convention; fragmentation resulting from some materials falling together, and others being pulled apart.