Melbourne Conservatorium of Music - Theses
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ItemMelodic Excursions: The Brazilian cavaquinho’s global journey( 2021)This research project explores the long and diverse history of the cavaquinho through a combination of practical performance and archival research. This four-string soprano guitar is a ubiquitous instrument in several musical cultures and its origins may be traced to Portugal where very similar instruments have been in use since the seventeenth century. The cavaquinho, and closely related instruments, spread across the globe along routes of migration and this study will focus on four key traditions, those of Brazil, Portugal, Indonesia, and Hawaii. These historical links will be investigated through recorded performances played on the modern Brazilian cavaquinho, together with written analysis of historical and performance contexts. A diverse portfolio of recordings showcases performance practices and repertoires from the nineteenth century, through to the flourishing tradition of the twentieth century and new and emerging contemporary genres. The Brazilian cavaquinho is the instrument through which I engage with these contrasting repertoires, drawing on the richness of the instrument’s technique and performance style. The recordings are not presented as historical recreations, but as extensions of the distinct evolving traditions through the application of contemporary practices. Collaborations with renowned international practitioners feature on many of the recordings, and the creative element of this thesis extends to original arrangements and compositions. Through a combination of performance recordings, research, analysis and original arrangements and compositions, this project demonstrates how the cavaquinho is the perfect vehicle to illuminate and reinvigorate historically linked traditions and styles.
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ItemSuper Flat, Composition for Screen, and the Aesthetics of Electronic Dance Music( 2021)This creative work thesis investigates the application of electronic dance music approaches in interactive compositional contexts. The body of creative work consists of an album, Super Flat Music, reacting to Takashi Murakami’s “Theory of Super Flat Japanese Art” (2001), and two documentary film scores. Super Flat Music investigates the connection between Super Flat and Shibuya-kei, focusing on the application of electronic dance music practice in this context. The two documentary works, Cryptopia: Bitcoin, Blockchains and the Future of the Internet and Malaysia’s Last Tigers, investigate how electronic dance music can both react to and enhance location, energy, and narrative in a moving image collaborative context. The resulting creative work thesis demonstrates ways in which electronic dance music can interact with external media elements.
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Item'How I wonder what you are': Interpreting the child's early experiences of learning to play the cello( 2022)This thesis investigates and interprets the lived experiences of 14 beginner cello students studied between the ages of 7 - 9 years of age as they encounter the instrument and one-to-one lessons. It examines how personal factors and relationships with others contribute to their musical skill development and influences longer-term future engagement. Studied from the children’s perspective, this research offers rare and novel insight into children’s deep and rich thought processes and actions in relation to their musical development and considers how these can shift over time to reflect the changing scope of their musical investment. Throughout the study, I worked with the children as the cello teacher, thereby occupying an insider’s position as the researcher. This opportunity enabled me to investigate how my reflexive responses to the children, evolving with their fluctuating idiosyncratic learning needs, impacted their ongoing musical engagement. To capture the student and teacher experiences, the research employed two qualitative research methodologies, Interpretative Phenomenological Analysis and Participatory Action Research. This unique pairing of methodological approaches provided complementary data sets that, taken together, offer meaningful interwoven perspectives on instrumental music learning and teaching with implications for sustaining learner engagement and innovating teaching practice. The findings indicate that participants’ initial reasons for learning were motivated by a range of intrapersonal factors and interpersonal relationships, and when these were sustained and broadened, the children were more likely to invest in future engagement. Musical practice occurred as a six-phase process that was affected by the quality of children’s thought, actions, and response. Musical performance was experienced in four environments and perceived by the children as optimal when it was underpinned by positive emotional valence and feelings of competency. The investigation reveals that seven of the students experienced diverse learning needs that extended beyond individual difference and led to difficulty in skill acquisition. Key adults were vital to engagement, with parents playing a central role in supporting the children’s ability to persist with the range of challenges that presented during skill development. Further, a teacher-student dyad built on trust, rapport and adaptability importantly supported the children’s sense of emotional safety and creative freedom in learning. Teacher-learner shared enthusiasm for the cello and a collaborative approach to skill development was found to further galvanise children’s ongoing interest. Critically, from an early stage of learning, the children were found to experience significant transformational internal effects during their musical skill development. These were characterised by the interaction of the children’s imagination, curiosity, and emotional response, and were found to contribute to profound immersive experiences of creative musical play that generated intrinsic motivation for continued engagement. This investigation of children’s early experiences in musical development offers important new knowledge in how children perceive and interact with musical development, how their individual needs can be met through flexible teaching and learning processes, and one that advocates for children by recognising that their desires to be active agents in creative engagement and ongoing musicianship are present and require support from the very beginning of their learning.
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ItemLouise Hanson-Dyer (1884–1962): Supporter of Women in the Arts( 2022)Louise Hanson-Dyer’s (1884–1962) contribution to twentieth-century culture was remarkable and made a significant impact on the arts. From her early days as an energetic organiser of artistic events in Melbourne to her founding and running of the Editions de l’Oiseau-Lyre in Paris and Monaco, she worked tirelessly to advance the careers of composers, performers, visual artists, and musicologists—many of whom were women. She provided employment and support to women during a time when they were hindered by patriarchal social structures and created opportunities for them by publishing and recording their work, including them in concerts, and promoting them throughout her widespread, artistic networks. This thesis examines Hanson-Dyer’s multifaceted support of women in the arts in the first half of the twentieth century and traces the ways in which she used her time, money, and connections to elevate their work. The wealth of extant archival materials, such as her letters, press articles, and contracts, indicate that she was aware of the political and social disadvantages faced by women and provided them ongoing support and employment, paying them equally to men. I argue that Hanson-Dyer’s support of women can today be understood as a feminist undertaking. This thesis incorporates modern scholarly literature on women’s patronage and women’s history, alongside extensive archival research in Australia, France, England, and Switzerland, to shed new light on notable yet little-known, artistic collaborations. It provides a contextual and historical re-evaluation of Hanson-Dyer’s work with women, contributing not only to the existing scholarship on her, but also to the broader field of women’s work in the twentieth century. This thesis is ordered thematically rather than chronologically and each chapter details Hanson-Dyer’s work with women of the same profession: the musicologists Yvonne Rokseth, Jeanne Marix, and Imogen Holst; composers Margaret Sutherland and Peggy Glanville-Hicks; visual artists Rose Adler and Marie Laurencin; and harpsichordist Isabelle Nef.
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ItemAllan Holdsworth: Principles of Harmonic Organisation in Selected Compositions( 2021)This thesis analyses selected post-tonal compositions by contemporary guitarist Allan Holdsworth. This thesis uses the pitch-class set-theory model as a basis of analysis. It also engages contemporary post-tonal extensions to existing tonal concepts such as voice leading in set-class space, consonance and dissonance measures, transposition and symmetry. Within the thesis and the Holdsworth compositions selected, various levels of connections are explicated through harmonic analysis of surface level transformations, succession analysis from individual simultaneities up to macro-organisational structures and formal processes. Holdsworth consciously eschews the harmonically prescriptive functionality and acculturated melodic syntax of traditional tonal jazz (often replicated through imitation), purposely manifesting his own paradigm. This paradigm has several key components: an expansion of chord-scale principles, a wide range of referential sets utilised as linear and vertical sources of pitch-class grouping, the employment of non-tertian harmony, and the utilisation of non-functional harmonic succession(s).
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ItemUnderstanding the role of therapeutic choirs in the lives of people living with dementia and their family and friends who support them.( 2021)This thesis includes a series of four research projects which aimed to further understanding of how participating in therapeutic, community-based choirs can support people who are living with dementia and their family members and friends who support them with care. These projects aimed to centre the perspectives of people living with dementia and those caring for a family member or close friend with dementia, and as such, a qualitative approach was adopted in all studies. A mixed studies systematic review of the literature relating to singing for people living with dementia and care-partners was conducted to explore the current understanding of how singing can provide support. Findings revealed that people living with dementia and care-partners perceive in-the-moment and longer-term benefits from group singing, but measuring the specific benefits using quantitative outcome measures is challenging due to complex variables, evidenced through high prevalence of floor and ceiling effects in many quantitative outcomes. The second project sought the perspectives of music therapy researchers and past research participants regarding how accessibility of qualitative interviews could be optimised for people living with dementia. Four care-partners and three music therapy researchers were interviewed, and data was analysed using an inductive thematic analysis method. Findings revealed that familiarity and rapport between researcher and participants is important for comfort and accessibility, and that flexibility during the interview, including using music or other art-based approaches may also enhance accessibility. These findings were used to inform the data collection procedure for the third and fourth studies. The third study adopted a phenomenological approach to understand the perspectives of participants with dementia and care-partners who participated in two community-based, therapeutic choirs that were formed as part of the Remini-Sing project – a randomised controlled trial led by two supervisors of this thesis. Interpretative Phenomenological Analysis (IPA) was used to analyse interview data from 14 dyads. Findings revealed perceived benefits of participating in the choirs, including fostering positive feelings, enhancing social connection, and supporting identity. Participants highlighted how aspects of the choir and the research project more broadly impacted their experience of the choirs, and provided some important insights regarding future research design and sustainability of programs beyond the research project. The final project is an arts-based, phenomenologically informed study in which members of a long-running community-based, therapeutic choir for people living with dementia and care-partners reflected on their experience of transitioning to an online format during the COVID19 pandemic. A combination of songwriting and traditional interviews were used to collect data, and an adapted form of IPA, integrated with arts-based methods of songwriting, poetry, and improvisation, were used to analyse data. Findings are presented in the form of an 18-part song cycle, in which participant perspectives on living with dementia, the COVID19 pandemic, and singing in the choir (both in-person and on line) are shared. The thesis concludes with a discussion of how the four projects contribute to an understanding of the perceived benefits of choir singing for people with dementia and care-partners, potential mechanisms that may influence these benefits, and factors that can enhance accessibility of therapeutic choirs.
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ItemFinding flow: constraint and the creative process( 2021)The application of constraints during the process of music composition can be creatively stimulating and directive. However, constraint is potentially restrictive when acting as restraint, stifling the spontaneity of musical idea or the instinctual flow of creative process. A creative folio at its core, this research examines how the application and consequent dissolution of constraints during the compositional process affect musical outcome. The dissertation presents an in-depth analysis of select folio works to illuminate how constraints were constructed and implemented, when and why rules were broken, and how this influenced musical outcome. The thesis then examines how use of constraints evolved over the course of the folio, reflecting on the concept of flow and creative process. The work evaluates how the application of constraints aides in resolving compositional problems as well as facilitating a state of flow during the creative act.
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ItemPlaying My Instrument Again: Participation in a Community Music Group( 2021)Performing in instrumental ensembles is a popular activity for amateur musicians throughout Australia. This dissertation explores the experiences of adult musicians who play in a community music group in Melbourne. Using ethnographic research methods I explore the musical backgrounds, motivations and musical identities of members of the Feathertop Fiddle and String Band. Over a period of eight weeks, I interviewed five members and two former leaders of the band. The interviews are supplemented by participant-observation and documentary research. I discuss my results using thematic analysis, examining learning, performing and leading. I discuss how community music scholarship is often framed by practices that have evolved to promote positive interventions in people’s lives. From the interviews conducted, I question assumptions about some of community music’s broader aims for social connectedness. Lastly, I suggest that the discipline of ethnomusicology is a neglected voice in community music studies within Australia, and what we might be missing as a result.
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ItemCowboy Bebop and Lupin lll: an investigation of the role of brass in anime opening music( 2021)This thesis identifies and examines the role of brass instrumentation in the opening songs for the anime, Lupin III and Cowboy Bebop. This examination is conducted through an investigation of the impact of Japanese jazz and nostalgia in Japanese culture together with specific influences of Western television. By providing contextual and historical information through this investigation, and using facets of both Western and Japanese culture, I describe how and why brass instruments are being used in the opening sequences for Lupin III and Cowboy Bebop. Through an examination of these two anime, this thesis provides a framework to understanding the interaction between brass and anime opening music. The findings for this thesis were drawn from books, journal articles, various fan sites, and anime cataloguing systems. I used an interdisciplinary approach engaging with resources spanning the literature on Japanese jazz, nostalgia, Western television, and anime. This thesis discusses how through the two anime series, Japanese jazz has come to reflect a point of nostalgia and resistance for Japanese people. This discussion looks at the presence of jazz cafes, the banning of jazz in Japan from around 1937 as a result of hostilities towards the United States, bebop, and jazz fusion. I examine how these facets of Japanese jazz work together to describe the interaction between how brass is portrayed in the anime opening songs, how brass works together with the visual elements of the openings, and the overall themes that each anime represents.
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ItemCurled into the Antihero: An Exploration of the Kinaesthetic and Visual Artefacts of Jaguar Jonze( 2021)This thesis examines the visual and kinaesthetic identities of Brisbane-based musician and artist Jaguar Jonze. It analyses the production of her artefacts as continuing the narratives written in the music and lyrics, and suggests they are an emotional and physical form of expression that powers the cultural memory formed of the artist. A comprehensive visual narrative for a musician is powerful when planned in alignment with the music, creating a multifaceted, multi-platform engagement and identity for the musician that extends beyond a sonic language. Drawing on sensory ethnography, social and cultural studies, psychoanalysis and popular music studies, I argue that Jaguar Jonze is a significant example of a multisensorial design culture and musical identity. Performing myths and folklore, utilising recurring colours, themes and bodily movements, this thesis reads the visual artefacts and movements of Jaguar Jonze as a whole with the music. This thesis contributes to the limited research on the creative practices of emerging contemporary Australian musicians and the merging of their artistic forms in the post-digital music industry.