Melbourne Conservatorium of Music - Theses
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ItemA synthesis of Schenkerian and Neo-Riemannian theories: the first movement of Paul Hindemith’s Piano Sonata No. 1 as a case study( 2017)This thesis explores the possibility of synthesising some aspects of Schenkerian and Neo-Riemannian theories and seeks to demonstrate the effectiveness of this approach in the analysis of a twentieth-century sonata. Although this study begins with a thorough understanding of Neo-Riemannian theory (NRT), the final hybrid method is not a strict application of NRT, employing its core principles rather than its specific method. Paul Hindemith’s Piano Sonata No. 1 is selected for this study as this work contains vestiges of tonic-dominant tonality (inviting Schenkerian analysis) but also employs a non-traditional post-tonal harmonic structure (inviting a NRT approach). The Schenkerian method has been long recognised as a useful tool to analyse primarily tonal repertoire whereas Neo- Riemannian theory is useful in analysing the heavily chromatic harmony of the nineteenth century. A hybrid analytical method encompassing aspects of the two approaches is designed to potentially strike a balance between a subjective and objective understanding of the music. A chart is designed with three systems: the Urlinie, pitch collections, and the Bassbrechung. Different sets of data are obtained to describe the transformation from one chord (or more loosely, “pitch collection”) to the next. In calculating these movements between the pitch collections, this NRT-inspired approach will substitute for a traditional harmonic analysis. The synthesis of the two theories will be illustrated through a line graph that charts the amount of intervallic movement between pitch collections against the Urlinie to observe the relationships between the two. Findings indicate that graphical representations deepen our understanding of the connections between one chord and the next through common tones, and furthermore, accommodate all types of chords and not just major and minor triads. Additional notes can then be added to the Urlinie as a result of the identification of significant movements in the graph. The synthesis of these two methods when combined with an analysis of performance recordings will allow a deeper understanding of Hindemith’s Piano Sonata to emerge. This suggests the importance of adopting this hybrid method in approaching Neo-Classical works and indicates how this approach might shape the performer’s interpretation. Therefore, this research can be seen to contribute to the formation of a bridge between music theory and performance.
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ItemImaging mastery: applying the PETTLEP model of imagery to music performance practice( 2011)Imagery is widely reported as a tool used by elite performers to improve their performance. Despite this, there is little clear information about the integration of imagery into music performance practice. A review of the research in this area reveals that the term imagery is an extremely broad description of the ways that mental imagery is used in almost any area or performance. In this paper I have selected a specific approach, the PETTLEP model of motor imagery rehearsal that is aimed at one specific area of performance, motor imagery. The PETTLEP model is based on an understanding, from research in neuroscience, of how the brain works in relation to motor imagery. After applying the model to music performance practice, a number of findings emerged. The model is well suited for the demands of music performance practice and had a positive effect on performance outcomes. There also emerged ways in which further use of the journaling and analysis method may be improved. The clarity and successful application of this model demonstrates that it would be possible to develop specific approaches to mental imagery in music performance practice.