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Damien Ricketson (born 9 May 1973, Wollongong) is an Australian composer of contemporary classical music. He is best known for his innovative compositional practice and in his capacity as the co-founder and co-Artistic Director of Ensemble Offspring. () ==Biography== Ricketson studied composition at the Sydney Conservatorium of Music from 1991-5, after which he continued his studies at the Royal Conservatory of the Hague from 1996-8 Under Louis Andriessen.〔Campbell, Rachel. "Ricketson, Damien." Grove Music Online. http://www.grovemusic.com (accessed December 2014)〕 He holds a PhD from the Sydney Conservatorium of Music, where he also teaches.〔University of Sydney. "Faculty Page." http://sydney.edu.au/music/staff-profiles/damien.ricketson.php (accessed December 2014)〕 Ricketson is the co-founder and co-Artistic Director of the Sydney-based Ensemble Offspring – an organisation dedicated to the performance of new music.〔"Musicians". Ensemble Offspring. http://ensembleoffspring.com/about-us/musicians/ (accessed December 2014)〕 His compositions have been performed in concert by MusikFabrik, the Tasmanian Symphony Orchestra, Crash Ensemble, and Orfeusz Chamber Orchestra.〔McIntosh, Deborah. "Prestigious Commission for Young Composer, University of Sydney." http://sydney.edu.au/news/84.html?newsstoryid=403 (accessed December 2014)〕 Ricketson’s music is self-described by the composer as "characterised by exotic sound-worlds and novel forms".〔"Musicians". Ensemble Offspring. http://ensembleoffspring.com/about-us/musicians/ (accessed December 2014)〕 An early interest in Spectral music can be seen in his frequent exploration of unusual timbres and microtonal pitch structures. 'Some Shade of Blue', for example, features a newly invented string instrument in a Just Intonation system.〔Damien Ricketson. "Classical Music’s Bastards Offspring" Music Forum, Volume 20, No.1, 2013.〕 Recent stylistic tendencies have moved away from an earlier abstract style, exemplified in works such as 'Ptolemy’s Onion', towards what the composer terms a more "corporeal" approach embracing tangible references to existing music and a highly physical performance aesthetic.〔Damien Ricketson (2005). Curious Noise: analytical notes. Ph.D. The University of Sydney.〕 His works are heavily gesture-focussed, with pieces such as 'Imagining Le Verrier' and 'Chinese Whisper' being based upon "sets of physical actions on instruments".〔Campbell, Rachel. "Ricketson, Damien." Grove Music Online. http://www.grovemusic.com (accessed December 2014)〕 This extends to the idea of open instrumentation in later pieces such as 'Trace Elements', which is intended to be playable by any two string and two woodwind instruments. Indeed, much of Ricketson’s recent work reveals an ongoing interest in open forms with works such as 'Same Steps' and 'Length and Breath' employing unconventional notational strategies to elicit a creative and collaborative engagement from performers. Ricketson’s major show-length works such as 'The Secret Noise' and 'Fractured Again' also show an interest in multimedia and hybrid arts practice,〔Anni Heino. "Ricketson at work: the fragile and the secret" Resonate Magazine. Australian Music Centre, 28/10/14. http://www.australianmusiccentre.com.au/article/ricketson-at-work-the-fragile-and-the-secret〕 combining conventional acoustic instruments with unconventional (sometimes self-built) instruments and electronic music as well as other media. Although Ricketson’s materials are eclectic, often including disparate processes within the one work, Gordon Kerry describes his music as aesthetically late-modernist in that it is "experimental in form and speculative in content".〔Kerry, Gordon. New Classical Music: Composing Australia. (Sydney: UNSW, 2009), 91.〕 Frequently, this involves the inclusion of musical references and quotations put through "distorting filters".〔Kerry, Gordon. New Classical Music: Composing Australia. (Sydney: UNSW, 2009), 91-100.〕 This technique is particularly notable in the work 'A Line Has Two', and more recently in the multi-movement work 'Fractured Again'. This work explores the musical language and thematic implications of glass instruments, quoting Donizetti, Mozart and Crumb throughout. Ricketson’s most recent body of work has been Ensemble Offspring’s The Secret Noise, featuring installations, dance performances and theatre within a concert setting. The major thematic concern was music shielded from public view. The project was extremely positively received, with Maxim Boon of Limelight naming it "a trail-blazing triumph".〔Boon, Maxim. "Review: The Secret Noise (Ensemble Offspring)." Limelight Magazine Online. http://www.limelightmagazine.com.au/live-reviews/review-secret-noise-ensemble-offspring (accessed December 2014)〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Damien Ricketson」の詳細全文を読む スポンサード リンク
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