style: the dance of nature Throughout the 1980s, the shapes, rhythms and temporal relationships Edwards subconsciously gleaned from walking in the Brisbane Water National Park began increasingly to inform the structure and texture of his music, which took on the character of angular, animated chant, with subtly varied repetition of rhythmic cells over elaborated drones. This "dance-chant", as he called it, sometimes mistakenly aligned with the minimalist movement, was closely examined by Paul Stanhope, who claimed that it suggested ritualistic behaviour. Edwards’ description of it as his maninya style originates from a spontaneously conceived nonsense text which he set to music in Maninya I (1986), and which was to spawn a series of maninya pieces culminating in the Maninyas violin concerto of 1988. While its quirky rhythms and chirpy, pentatonic melodic shapes are antithetical to the austere spiritual quietude of the sacred series, the maninya style also has its origin in nature, bringing the drones of insects and cicadas, the calls of birds and the mysterious temporal proportions into the concert hall. Edwards also notes that he had become fascinated by the music of the Sufis and the African mbira, and that these may have been influential. From this time, Edwards’ language, though firmly rooted in the Australian bush, begins to look outward and bear traces of an eclectic attitude to come. The maninya style has persisted throughout his work, as has the sacred, each increasingly infiltrated by symbols from and references to other cultures which preserve a reverence for the Earth. Whereas Edwards' early maninya pieces tended to be static, ritualistic blocks of sound, Edwards began in the 1990s a series under the generic title "enyato", also extracted from the 1981 nonsense poem and given to connote "contrast". The enyato pieces are typically in two-movement form, the first slow, introductory; the second lively, dance-like. Examples are Prelude and Dragonfly Dance (1991) for percussion ensemble, and Blackwattle Caprices (1998), for solo guitar. In his study, Beyond Sacred and Maninyas, Philip Cooney maintains that these pieces may be seen as move towards a fusion of opposites, a steady progression towards the world of the later symphonies and concerti, where Edwards has been concerned with achieving greater richness and breadth. Diversity and eclecticism Since the turn of the 21st century, Edwards' music, especially in his diverse larger scale works, has begun to integrate the many consistent elements of his earlier work –