Melbourne Conservatorium of Music - Theses
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ItemMusic and criticism: a study of some trends during the twentieth century( 1964)To spend time and energy in criticizing music the critic must value music highly. To criticize criticism implies also that one considers criticism of the arts worthwhile. The concert-goer who expects only that he shall enjoy a relaxing evening will probably not bother even to read the notes in his programme, and even if he does so. He will look for no more than a few technical sign posts to lessen his confusion if a work new to him is included in the programme. Such an attitude implies that its possessor dismisses music as an inessential luxury, and that he relegates the composer to the role of entertainer. Plainly, such a concert-goer does not value his music enough to discuss it. Fortunately he is not the only kind of person who listens to music, although he may be monomer than is often realized. His is certainly the easiest attitude to adopt, for to take music and criticism seriously involves much hard thought. The idea that art is a form of human communication is a widely accepted one. Most of the disputes which arise about this notion are concerned with the questions of what and how art communicates rather than whether it does so. Another way of looking at art is as a form of discipline: one cannot create in any artistic form, nor can one fully respond to a work or art, without the exercise of self-discipline, and the study of particular branches of the arts has long been recognized as a way to the achievement of a disciplined mind. The value of art lies in both of these aspects: in what it communicates and in the kind of activity it demands from those who take part in it. These two are inseparable – one cannot discuss the “content” of a work of art without discussing the means by which it is communicated, although, as we shall notice later, one can become involved in an arid discussion of the means alone. A musical work does not concern itself with conceptual thought, as many learned critics have noted. They hold that in this respect it differs from poetry, which can express concepts. They do not seem to have noticed that great poetry does not discuss ideas as philosophy does, but demands an emotional involvement, as painting and music do. All three arts also demand an intellectual involvement, but it is not of the strictly logical or syllogistic kind, even in reputedly “intellectual” poetry. Poetry and painting represent situations known to human beings by experience, in such a way that the expression of experience renders it comprehensible. (From Introduction)
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ItemA unity of vision: the ideas of Dalcroze, Kodaly and Orff and their historical development( 1993)Twentieth-century music education has been considerably enhanced by the respective-pedagogies devised by Emile Jaques-Dalcroze, Zoltan Kodály, and Carl Orff. Originality, even genius, aside, these educationalists drew upon past ideals in order to create music-learning strategies appropriate to individual needs and circumstances. This eclecticism embraced ideas as disparate as the Greek Choral Trinity, Jean-Jacques Rousseau's numeric notation, Galin-Paris-Chevé's music education method, Sarah Glover's and John Curwen's sol-fa, Mathis Lussy's theories concerning rhythm, Adolphe Appia's prophetic theories on stage-craft, Edouard Claparède's psychological research, Eugene Ysaÿe's thoughts on violin practice, and the "new wave" dance inaugurated by such artists as Isadora Duncan and Mary Wigman. Collectively, Dalcroze's Eurhythmics, Kodály's Choral Method, and Orff’s Schulwerk provide wide ranging principles and strategies for teaching music appropriate to young children and the training of professional singers and instrumentalists. The question remains, should the Dalcroze, Kodály and Orff systems be taught as mutually exclusive methodologies, a course of action strenuously advocated by some educationalists, or should each music teacher adopt a holistic approach, turning to the example set by these celebrated Swiss, Hungarian and German pedagogues, in order to create a music program tailored to the student's needs as judged by the professional teacher? The search for an answer gives rise to deep-seated methodological conflicts, at least one of which - the notorious 'fixed' versus 'movable' doh - has generated dissension amongst music educators for more than a century. At the same time, this investigation provides an opportunity to rectify the neglect which Anglo-Saxon educators have afforded Dalcroze's solfège studies and, no less, their neglect of his influence upon both Kodály and Orff.
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ItemAn analysis of Margaret Sutherland's sonata for clarinet and piano (1947)( 1984-12)The sonata for clarinet and piano by Margaret Sutherland has been selected as the subject for this thesis from a substantial list of sonatas by Australian composers. The choice was for two reasons: the sonata is the earliest surviving work for the combination and while not a major work, it is at least a substantial work by one of Australia’s most important composers. The work is written in a contemporary musical style, typical of its composer, so that it sounds fresh and musically challenging even in today’s musical environment.
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ItemThe significance of percussion in contemporary music between 1945 and 1970( 1981)Chapter one discusses the developments between 1900-1945, concentrating on composers’ growing concern for percussion instruments and percussive sound sources. Chapter two discusses trends between 1945-1970, revealing the particular relationship between the concepts of New Music and the material of percussion. Chapter three concentrates on a detailed discussion and analysis of four percussion works, which present examples indicative not only of the diverse range of percussion scores composed in the period but also of the connection between new ideas and percussion.
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ItemA phenomenological study of pivotal moments in Guided Imagery and Music (GIM) Therapy( 1999-10)A phenomenological study was undertaken to investigate pivotal moments in Guided Imagery and music (GIM) Therapy, from three perspectives: the client’s experience, the therapist’s experience and the music which underpinned the moment. The questions posed were: how do clients experience moments in GIM therapy which are pivotal – are there features of these experiences which are similar to all participants? How do the GIM therapists perceive these moments identified by their clients as pivotal – are there features which are similar to the GIM therapists? What are the features of the music which underpin the pivotal moments – are there similarities in structure and/or elements? (For complete abstract open document)
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ItemA critical edition and exploration of Percy Grainger's The warriors - music to an imaginary ballet( 1996-10)Commissioned by Sir Thomas Beecham for the Ballets Russes, during their London season, but ultimately completed and premiered in the United States, The Warriors - Music to an Imaginary Ballet is Grainger’s most ambitious and experimental orchestral composition. Written in a traditional full score format, by the time it was published ten years later, The Warriors had been altered to conform to Grainger’s unique compressed score layout. The concessions and omissions needed for such a drastic alteration were not true to the composer’s ideas. Along with a comprehensive historical introduction to the work, the notion of the compressed score is placed into the context of Grainger’s own scoring methods, as well as the greater context of avant-garde score layout in the twentieth century. A detailed chronology of The Warriors autograph and printed sources provides a working model of how a ms. study of Grainger’s music may be undertaken. 2 vols. xi +124 pp., 5 illustrations, 45 examples, bibliography, discography, appendices. Full orchestral score and critical commentary, 125pp. (A3), with additional programme note, composer’s analysis, notes to conductors, list of instrumentation and CD recording of edition’s premiere performance.
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ItemFritz Bennicke Hart: an introduction to his life and music( 1993)This thesis presents a broad study of the life, times and creative output of the English born Australian composer Fritz Bennicke Hart (1874-1949) concentrating on the formative period of Australian cultural history in which he lived and contributed. It examines and evaluates Hart's particular personal achievements, relationships with his contemporaries, and his work for various Melbourne and Hawaiian musical institutions. It argues that the creative output of Hart, particularly that associated with the Celtic revival, reveals much about contemporary perceptions of Australian identity and culture. The thesis includes an introductory contextual examination of Hart's music. A comprehensive cross-referenced catalogue of all known manuscript sources of Hart's music, including a detailed description of the manuscript sources of his operas, is included as an Appendix.
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ItemThe title Toward the shining light as an influencing factor on the basic form and structural components in Broadstock's first symphony( 1994)A study of Broadstock's first symphony, Toward the Shining Light directed from an analytical perspective. The composer is greatly inspired by the use of evocative titles, which provide him with images and symbols that can be translated into musical terms. Believing that his music must reflect his own personal social concerns, Broadstock entrusts expression of the most pressing of these to the symphonic genre; a genre he considers profound, and wanting to make some sort of statement. Toward the Shining Light relates both autobiographically and biographically to the birth of his son Matthew in 1983, and the gradual realisation of the severity of the child's handicap. The work is deeply personal and powerfully communicative, reflecting Broadstock's concern for the injustice of human inequality, and his struggle to accept, if not understand his son's condition. Evidence is drawn from the score in support of the contention that Broadstock used the title, together with its extra-musical significance, to influence his choice of basic form; and that this in turn affected the nature of the thematic material employed and associated structural components (namely treatment of large-scale harmonic structure, texture - orchestration and density -, dynamics, tempi, general rhythmic activity, and tessitura).
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ItemThe influences of Alfred Cortot on the performance, teaching and research-editing of piano music from the Romantic era( 1989)Now that Alfred Cortot has been dead for more than a quarter of a century, one may ask: “Wherein lies the justification in studying the work of yet another dead concert pianist?” Many pianists these days dismiss Cortot as having been inaccurate in his later performances, considering him unworthy of serious appraisal in today’s musical climate of so-called ‘technical perfection.’ This dissertation aims to show that Cortot was more than a fine virtuoso pianist who led his audiences into the sublime with his elucidating interpretations. His contributions to music are felt still today, not only within the ‘milieu’ of French piano playing, but widely across the sphere of western music. There is no doubt that people who heard Cortot perform retain special memories of his playing. Those who studied with him retain a great admiration for his work and continue to spread his ideas through their own students. His recordings and publications are still treasured. But what was it that made him so special? We shall, in the course of this dissertation, examine in his piano playing the tonal qualities and colours, the rubato and characteristic rhythmic figurations which singled him out from others. Throughout all his work, however, one of the very significant features was concerned with the balance between intuitive sensitivity and musicality, that is, the emotional content of the art, and a deep intellectual approach not only to the music, but also to the associated cultural, stylistic, historical and technical backgrounds. This was unusual in musicians of his era. These are qualities which are still relevant today. Cortot remained a student all his life, and much of what he discovered is still being passed on. Certainly he is one of the more controversial musicians this century has seen. Revered by some for the uncanny beauty of his piano playing, for his importance as a recording artist, chamber musician, conductor, teacher, collector of music manuscripts, writer of books and articles on music, editor of working editions for piano students, founder of the Ecole Normale de Musique in Paris and reformer of the French music education system, he has been otherwise held in notoriety for his alleged collaboration with the Nazi regime in occupied France during the last world war, for artistic licence in his pianistic interpretations, these days deemed by some to be excessive or unstylistic, and for the abundance of technical errors in some of the performances from the later part of his life. The wealth of material concerning Cortot (his recordings, his writings, his collecting and editing activities, the numerous articles, books, references in books and radio programmes concerning him, as well as the wide dissemination of his teaching activities and conducting), justifies an examination of him as a major force in music this century, independent of personal opinion. An indication of his stature is reflected in the fact that, upon the occasion of his death in Lausanne on 15 June 1962 (at the age of 84), extensive obituaries appeared in both The Times and The New York Times, as well as minor reports in other publications such as Newsweeek. The object of this dissertation is not to undertake an exhaustive biographical study of Cortot, since this has already been done in varying detail by several writers (notably his late personal friend and biographer, Bernard Gavoty), but rather, to examine in pianistic terms his contribution in three areas: i) as a performer and interpreter; ii) as a teacher; and iii) as a researcher and editor. Nevertheless, it will be expedient to present in the Introduction a brief overview of Cortot’s life and activities, before considering pianistic details.
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ItemThe first sixty years of music at St. Paul's Cathedral, Melbourne, c. 1887-1947( 1983)The choral foundation of St. Paul's Cathedral, Melbourne is unique in Australia and one of very few outside the British Isles. The tradition of the Daily Office sung by a professional choir of boys and men has long existed in English cathedrals and collegiate chapels, but the transference of the tradition, even to British colonies in the nineteenth century, was anything but automatic. The revival of English choral music which had followed in the wake of the Oxford Movement earlier in the century must have provided considerable impetus at the time, but musical foundations were less easily set up in new places than maintained in the old ones. St. Paul's Cathedral, Melbourne was opened for worship on January 22, 1891 with a new organ partly installed, an organist newly arrived from England, and a surpliced choir seated in the chancel. The choral foundation had been conceived as an integral part of the cathedral from the start, for it was the wish of the Chapter that the cathedral use "conform as far as possible to what is understood as cathedral use in England". It is a mark of the confidence of early Melbourne that, before the building was finished, an organist could be appointed and a choir formed, the revenue for which would have to come from general funds not yet available. There were no endowed canonries and no endowments for a choir school. There was also no resident cathedral community, no residential canons, in fact no one who lived on the site at all. The Bishop's palace and the deanery were both some distance away, the precentor lived away and, since the school was not a boarding school, there were no masters living in the close. All of these things were to make the daily choral worship more difficult than in a traditionally appointed cathedral with close and canons houses, deanery and palace and perhaps even accommodation for the lay clerks. Such difficulties were the price to be paid for a new cathedral on a central site in a city area already established. The object of this study is to examine the background to, and early development of, the musical foundation of St. Paul's Cathedral, Melbourne up to the end of Dr.A.E.Floyd's time there as organist in 1947. The study is based largely on accounts in The Church of England Messenger, a limited number of cathedral records, and two A.B.C. radio broadcasts on A.E.Floyd. These have been supplemented to a small extent with conversations with surviving musical associates of Floyd. A fuller account must await less restricted access to the cathedral records and the availability of Dr. Floyd's papers and library which have recently passed into the hands of his son, Dr. John Floyd, of Mornington. (From Introduction)