Melbourne Conservatorium of Music - Theses
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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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ItemFrom Counterpoint to Composition in the Early L'Homme armé Mass( 2020)Fifteenth-century music theory seems remote from fifteenth-century composition. Florid polyphony in three or more voices stands in contrast to the rhythmless, note-against-note consonant progressions in two voices found in counterpoint treatises, making it difficult to analyse composed music in terms of the contrapuntal theory of the period. This dissertation proposes a new analytical framework for one form of fifteenth-century composition, the four-voice cantus firmus mass of the 1460s and 1470s. Research of the last twenty years has substantially reshaped our understanding of medieval musical training and practice and by combining this new awareness with tools for digitally-assisted musicology, it becomes possible to test the relationship between the surviving compositions and counterpoint teaching. The opening chapters summarise this research and describe these tools. This summary leads to a method of analysis that allows a prestigious, coherent body of repertoire—the early masses on the L’homme arme cantus firmus—to be measured against the most comprehensive statement of fifteenth-century counterpoint, Johannes Tinctoris’s De arte contrapuncti. Analysis reveals that Tinctoris provides an accurate description of elements of fifteenth-century compositional practice but that his teaching considers only one of several contrapuntal techniques at work within the L’homme arme masses. A comparison of passages with and without cantus firmus permits a description of these other forms of counterpoint, while an awareness of this contrapuntal variety enables an understanding of mass composition as the interaction of distinct contrapuntal techniques based on changing voice-pair relationships. Further analysis based on cadential voice pairs confirms the relationship between counterpoint and composition through the effective elimination of divergences from Tinctoris’s teaching The conclusion presents a general theory of four-voice polyphonic texture as a compound contrapuntal entity. Through its two-level structure, this theory provides an opportunity for the empirical analysis of compositional style and has further potential applications to the problems of source criticism, attribution and reconstruction.