Melbourne Conservatorium of Music - Theses

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End date: 2019 × Start date: 2000 × Type: Honours thesis × Subject: music analysis ×

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    An analysis of recordings of Johannes Brahms' Op. 118 No. 2
    Low, Stacey ( 2017)
    Johannes Brahms’ Intermezzo in A Major, Op. 118 No. 2, is a well known piece in the piano repertoire, and a piece that invites a variety of interpretations. Although phonomusicology, or the study of recorded music, is growing as a field, there are only a few studies on how pianists have interpreted this piece. In addition, 1997, the centenary year of Brahms’ death, saw several publications relating to the composer. This study analyses recordings from this year to 2007, in the context of nineteenth-century performance practice, research into performance markings peculiar to Brahms, and an analysis of the harmony and performance directions in the score. The analysis of the recordings in five sections, tempo, rubato, pedalling, dynamics and performance markings, and texture, revealed each interpretation was individualistic and the research into Brahms’ compositions published from 1997 had not affected interpretative choices. This may hint at twenty-first-century performance practice, and also paves the way for future investigations. These could include the effects of different instruments and hand sizes in the interpretation of Brahms’ music, and the analysis of recordings where the artist/s attempt nineteenth-century performance techniques.
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    Kaija Saariaho's Près: a case study in the analysis of mixed electroacoustic music
    Barker, Zoe Elizabeth ( 2015-11-06)
    This dissertation broadly deals with the relatively new field of electroacoustic music analysis, with an overview of its brief history and developing analytical techniques culminating in a case study of Kaija Saariaho's Près. The paper examines some problems inherent to the analysis of this repertoire and assesses new analytical methods proposed by Denis Smalley, Leigh Landy and Judith Lochhead. Taking aspects from these approaches, a methodology is constructed to perform an analysis of Kaija Saariaho’s Près for solo cello and live electronics. The analysis itself relies primarily on aural analytical techniques, using the score to supplement observations. This hybrid approach to the analysis of mixed electroacoustic music has the possibility to be adapted to other works in this genre.