Melbourne Conservatorium of Music - Theses
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ItemNo Preview AvailableFolio of Compositions( 2023-04)Master of Music Composition - Folio of Compositions Four original compositions composed between 2021 and 2022 comprising of: - [looped square symbol], for orchestra. Recording duration 11 minutes and 28 seconds - You Can Call Me CV01, for contrabassoon. Recording duration 8 minutes and 50 seconds - 8 Preludes to the Deepsea Metro, for piano. Recording durations of each movement: 1 minute and 4 seconds, 1 minute and 35 seconds, 2 minutes and 28 seconds, 1 minute and 13 seconds, 1 minute and 8 seconds, 1 minute and 28 seconds, 2 minutes and 33 seconds, 1 minute and 17 seconds - The Second Sound of the Future (Overture and Act 1), for triple chamber ocarina in C, double bell bass trombone, Hatsune Miku and electronics. Recording duration 29 minutes and 17 seconds.
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ItemFolio of Compositions( 2020)A Folio of Compositions for the Master of Music (Composition), by Chris Pickering, completed between 2018-2020. List of compositions: 1. The Straightened Arrow - For Orchestra (11:49) 2. Ceiling of Clouds - For Alto Saxophone, Acoustic Guitar, and Harmonium (5:30) 3. Sous Le Tourbillon - Suite for Piano (24:52) 4. Splinters of Diamond Light - For Orchestra (11:26) 5. Lesser Heroes - For Flugelhorn/Trumpet in C, Trombone, and Electric Guitar (8:31) The initial creative concept behind the folio was to investigate how the composer’s background as a songwriter with a contemporary pop influence could be explored within the expanded palette of contemporary classical composition techniques. The intention in undertaking larger-scale and more adventurous compositions was to explore how the composer’s sense of form and structure through pop songwriting – and the prominence of melody – could be applied within the extended durations and timbral textures of writing for larger groups, in more nuanced pieces of chamber music, and the challenges in additionally mastering scoring and orchestration techniques for various instruments.
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ItemFolio of works( 2019)Master of Music Composition - Folio of Compositions Six original compositions, written from 2016 to 2019, comprising of: - 'On the Inside' for flute, clarinet, cello, and piano. Recording duration of 9 minutes 34 seconds - 'Ode to Damascus' for flute, clarinet, violin, cello, and piano. Recording duration of 9 minutes 15 seconds - 'The Fate of Phaethon' for soprano, horn, and string quartet. Recording duration of 15 minutes 51 seconds - 'Echo' for soprano and horn. Video recording duration of 4 minutes three seconds - 'Phosphorus' for solo percussion. Video recording duration of 10 minutes 26 seconds - 'Ignition' for orchestra. Recording duration of 9 minutes 47 seconds
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ItemRepurposing material and idiom in new music( 2018)A folio of nine works is presented, which explore three significant aspects of the composer’s art. Firstly, “musical language” itself is used as an expressive device, and resulting expectations and associations are intended to stimulate the listener. Secondly, recognition of the significant cultural lineage of western music has encouraged the reuse and repurposing of established and even traditional elements beyond their usual contexts. Finally, the works explore the effectiveness of “musification” where non-musical cues, such as dramatic narrative and visual metaphors, are represented in musical terms. The works are mostly for larger ensembles, such as orchestra or wind ensemble, but the central work of the folio is a song cycle setting poems by the Melbourne-born poet and writer Walter J Turner.
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ItemSilent Spring: eight original music compositions by Mark Clement Pollard( 2012)This folio contains the following eight original music compositions: The Flames, The Tears, The Stones, for percussion duo; Under Simple Stars, for alto flute and electronics; Dusting off Roses for guitar duo; All Fired Up for brass and percussion; Colouring in the Sky, for bass clarinet and orchestra; Beating the Rusty Nail for violin and piano; The Forty-seventh Theorem for piano solo and Silent Spring for full orchestra. These works are a sample of the author’s creative output between 1987 and 2012 and are indicative of the author’s stylistic changes and artistic influences. They are evidence of an eclectic compositional style and representative of works for solo, duo, large ensemble and orchestra. Notably, The Flames, The Tears, The stones (1987) explores the timbre of metal and is based on long serially derived note patterns that move in large cycles. Under Simple Stars (1989) is a free atonal work exploring electronic audio enhancement, the ritual of performance and the nature of melody as pitch and timbre. Dusting off Roses (1995) is based on the cyclic and interlocking processes of Javanese Gamelan and realised within a diatonic environment. All Fired Up (2000) incorporates aspects of the big band sound and the process of firing up a groove. Colouring in the Sky (2003) is influenced by the transforming dot painting process of the indigenous people of the Utopia region of the Northern Territory. The Forty-seventh Theorem (2005) deconstructs aspects of Chopin’s piano Sonata Op 35 (no.2) and rebuilds them through a series, textural, timbral, rhythmic, harmonic and melodic development processes. Beating the Rusty Nail (2006) blends Taiko drumming rhythms and basic funk patterns. Silent Spring (2012) is written to fulfil the Doctor of Music requirement for a new major work. It is inspired by the Rachel Carson book of the same name and is a collection of environmental sound images using five approaches to diatonicism. The folio works have a total duration of approximately 152 minutes and are submitted in three volumes both as notated scores and audio recordings.
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ItemComposition folio( 2009)At the age of nine, I began my musical studies in violin. Like so many musicians, I’d already been sold on my future career. I didn’t realize back then however that my musical journey would lead me to write. I didn’t come from a musical background, in fact, I can’t think of anyone in my family that played or sung. In my youth I played in various orchestras and ensembles, all classical, and enjoyed playing music in groups. Through my years of study, listening and playing, I have come to realize that no particular influence has come forth in my own music but each has come together to make my music what it is.