Welcome to the website of Australian composer Dr Scott McIntyre
In addition to formal, performance and aesthetic questions, my compositional preoccupations often arise from the notion of originality, either through style or approach to material. In a post-1960s world it is quite hard to remain original, given what has come before in regard to avant-garde instrumental writing and the complete deconstruction of the traditional compositional process. Navigating one’s muse through these styles without appearing to belong to any one compositional ‘camp’ can be a difficult exercise and indeed the realisation that one/none/all styles may appeal to a composer can present more complex notions of originality. Some composers like to write without regard to such questions but for myself, I try to think about the notion of originality (either in sound or method of organisation) in the formation of every piece I write.
My interest in ‘serial’ pitch and non-repetition in my rhythmic organisation occurred during my undergraduate years. After a creative break of almost a decade my approach had mellowed somewhat to incorporate other musical influences and styles that I worked with during my hiatus from writing concert music. While these styles are never on the surface, I allude occasionally to these elements in the aesthetic of the composition.
While in the past I had always made a conscious effort to keep most of my music clear of extra-musical influences and the influences of other composers, I discovered this can of course be a very difficult thing to do successfully. As the compositional process often distils the works of others through ones own compositional techniques, writing music in a stylistic vacuum with little contact with the music of the outside world is difficult. Even the most original of composers have managed to let the influences of others shape their own unique voices. Indeed, serialism can be said to be not original but it is what the composer does with a technique that matters.