Metamorphic Conservation: Creating new instruments through interdisciplinary experimentation
Modified or “prepared” instruments are frequently associated with John Cage’s works for “Prepared Piano”, or perhaps his predecessor, Henry Cowell, whose works implement extended techniques to change the timbre of the instrument. In the twenty-first century, contemporary composers such as Kelly Moran, Aphex Twin, and Volker Bertelmann have continued to explore the possibilities of instrument modification. Simultaneously, as the century progresses, a growing number of composers (particularly those working within New Music) are purposefully venturing into other disciplines to obtain new skills to employ in their compositional practice. This development has been observed and discussed by numerous composers and musicologists, including Jennifer Walshe, whose article “The New Discipline” discusses the reasoning behind the shift to a “DIY” interdisciplinary practice. Marko Ciciliani’s research, “Music in The Expanded field”, also explores contemporary composers’ methodologies in relation to working with non-auditory aspects. However, there are many areas of research which have yet to be explored within the intersection of new instrument creation and interdisciplinary experimentation. For example, engaging with the community during the compositional process, and embracing a climate-aware approach – which I argue is increasingly vital due to the global climate crisis.
This practice-based research, titled Metamorphic Conservation, is guided by three primary objectives:
1) To create a collection of unique new instruments by engaging in original interdisciplinary experimentation.
2) To engage with the local community throughout the project.
3) To develop a climate-aware compositional approach, specifically focusing on recycling and reusing resources.
Through the process of re-engineering broken instruments donated by the local community, that would have otherwise been disposed of, Metamorphic Conservation comprises five key stages: marketing and community engagement; creation of the new instruments; development of instrument-specific techniques and notation; composing works for the new instruments; and facilitating a workshop-style community concert. Each stage will be comprehensively documented for the purpose of retrospectively evaluating the process, and sharing an overview of the research with other practitioners and researchers.
In this presentation, I will first discuss the methodology of the practice research and highlight its successes and challenges. I will then review the resultant outcome of the project and relate this to the primary objectives I had set. Finally, I will further analyse the community outreach and climate-aware aspects of the project, and suggest relevant future research.
Keywords: new instruments, interdisciplinary composition, climate-aware composition
Biography
Rachel Sullivan is a composer and practice-researcher of New Music. Her compositions frequently explore prepared and modified instruments, interdisciplinarity, and performativity. Her current research interests include community engagement, the process of composition, and exploring the intersections between music and medicine. She has received numerous commissions, most recently receiving the Kimie Composition Prize 2025, securing her a commission for Live Music Now Scotland. Her chamber opera Bertha will premiere in the summer of 2025. Rachel’s music has been performed internationally, including as the soundtrack to a theatre production currently touring France. As a Master’s student of composition at The Royal Conservatoire of Scotland, Rachel is exploring various compositional interests while further developing her research skills.
Royal Conservatoire of Scotland, United Kingdom – rachelsullivanmusic@gmail.com