Cirrus Light is a short composition for solo Bb clarinet, composed during the last year of the composer's life. It is part of the limited group of compositions for solo instrument (without electronics) written by the composer during his lifetime. Harvey's works, as a whole, are characterized by presenting a wide variety of compositional techniques intrinsically linked to his aesthetic, focused on spirituality. Several reflections are present in the literature relating to the relationship between his compositional techniques (Spectralism, Harmony/Timbre dualism, Serialism, Symmetrical Harmonic Fields, Melodic Chains) and Spirituality. The focal point of his compositional practice, however, is the search for ambiguity and this is nothing more than the tool to express the spiritual content of his music: “… the most important property of spiritual music, or even good music, is that it is ambiguous, or that it is perceived as ambiguous”. The aim of this study is to reveal the topological structure of Cirrus Light, illustrating its construction and highlighting the compositional ambiguities that run through the entire work. The present work uses several methodologies considered suitable for the purpose of the analysis. These include the principles of Gestalt perception, the analytical methods of Leonard Meyer, Dante Grela, and Francisco Kropfl, Pitch Class Set analysis and phenomenological and psychological approaches.It is hoped that this work will shed light on this work and ignite interest in the works of Harvey's last years, a crucial figure of the second half of the twentieth century
Marcela Beatriz Pavia (Sun,) studied this question.