An overriding and important discussion in Western art music centres around abstraction: in the nineteenth century, the debate considered whether or not 'absolute music' could represent the very essence of being human; twentieth-century abstraction concerned itself with the removal of any form of melodic or harmonic implications and was employed to reflect societal unease with the bourgeoisie, and eradicate Fascistic connotations. Towards the latter part of the twentieth century, composers became concerned with peppering abstraction with historical reference, and it is this manifestation of abstraction which interests me most. This portfolio of six original compositions takes as its starting point the differences and similarities between British and mainland-European attitudes to past ideals. I use these contrasting approaches to inform my own compositions, which employ reference and quotation from past styles as a comment on contemporary society.