Melbourne Conservatorium of Music - Theses
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ItemFolio of Compositions( 2016)Folio of compositions comprising of two orchestral works and three chamber works, composed by Michael Bakrnchev.
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ItemFolio of compositions( 2014)A folio of compositions including orchestral, choral and solo instrumental works. The music eschews overtly dramatic structures based on narrative, focusing rather on subtle explorations of colour, harmony and mood, with the concision and detailing of miniature forms as a touchstone.
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ItemFolio of compositions( 2015)Elliott Hughes completed this folio of compositions including works for orchestra, large jazz ensemble, trombone choir and instrumental duo. A distinct voice is created through a hybridity of contemporary classical and jazz styles, building small (sometimes borrowed) musical fragments back into multiple larger structures, conceived to affect body and mind.
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ItemFootprints: the assimilation of extra-Classical elements in a compositional language( 2015)Footprints: The Assimilation Of Extra-Classical Elements In A Compositional Language consists of a folio of compositions in two volumes, and a dissertation. Both the folio and the dissertation explore a range of extra-Classical elements that are assimilated into my artistic output. The dissertation also investigates the musical genesis of each element, and how their assimilation creates my own compositional language. A preliminary discussion defines applicable terms, and the differences between borrowing and stylistic allusion, before moving into a broad literature review. An array of extra-Classical influences are investigated, along with their role in my compositional process. The focus then moves to a progressive analysis of my orchestral work Ithaka. The integration of extra-Classical elements within the work is examined, followed by a similar investigation into my chamber works Organica and Concertino. An analysis of the presence of extra-Classical influences in my other folio works concludes the investigation. An overall conclusion revises the diverse elements present in my creative output, how they interact to form my unique compositional language, and what directions the assimilation of these elements might take in the future.
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ItemFolio of compositions( 2015)My thesis consists of a folio six musical compositions and subsequent recordings of those compositions amounting to 55 minutes of music. Across my masters candidature I have been focused on developing musical compositions with cohesive and engaging sound worlds and exploring the musical possibilities inherent in placing limits on the compositional process. The folio includes two orchestral pieces for varying orchestral forces, a work for clarinet quartet, a duet for trumpet and trombone, a duet for cello and piano, and a trio for flute, cor anglais and piano.
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ItemFolio of compositions( 2015)This folio of original music compositions includes 4 new works for: quintet (clarinet and string quartet); song cycle (soprano and instrumental septet), chamber symphony; and solo cello.
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ItemComposition Portfolio( 2014)The research focus of this PhD thesis is the composition of two large-scale musical works. Central to this research is the exploration of how eclecticism, in terms of shifting methods of pitch-organisation, might be used as an expressive, aesthetic and philosophical response to the composition of an opera, and more broadly as the principal means of musical expression in the twenty-first century. To achieve concinnity within an eclectic framework, a limited number of styles or methods of pitch organisation have been used in both works. These are modes, pitch clusters, pitch sets and tonality. The major component of this PhD submission is a folio of two large-scale original works (with attached CD recordings). These are an opera in three acts, The Juniper Passion, and a triple concerto, Convergence for violin, cello, piano and orchestra. The purpose of the dissertation is to provide a background to eclecticism within the context of stylistic pluralism and postmodernism, to address the musical responses to the libretto in terms of character, time and place, and to show how philosophical and aesthetic perspectives have been interpreted and presented musically. The dissertation also provides technical analysis of key extracts from both works. Although there is no philosophical underpinning in the concerto per se, the analysis highlights a consistency in composition methods, especially in the use of the use of pitch clusters and modality
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ItemConstructing the musical work: an examination of structural organisation and extra-musical interaction in an individual composition practice( 2014)A folio of five compositions including acoustic and electroacoustic works with scores and recordings. The folio works are accompanied by a dissertation that elucidates the composition process. Recurrent patterns of creative practice are investigated from the following perspectives; the ways in which extra-musical influences impact on the compositional process; how the approaches to structural organisation are conceived and contribute to unity and identity across the composition output; how electronic studio processes affect the practice.
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ItemFolio of compositions( 2012)The selection of works presented here represents an attempt to refine and give direction to my artistic aesthetic through the exploration and synthesis of some ideas and approaches that have interested me for some years. The works consist of a set of three sonatas and two orchestral movements. (From introduction)
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ItemFolio of original compositions 2009 - 2012( 2013)This thesis consists of a folio of original music scores composed during the period 2009–2012 and a dissertation of exegesis. Volume 1 comprises the scores – nine works for forces ranging from voice and piano to full orchestra, and including two extended song cycles. Performances of most of these works can be heard on the accompanying CD.The dissertation in Volume 2 addresses aesthetic and technical intentions and contextualizes the work in terms of both current compositional trends and formative influences. An examination of the approach towards harmony reveals the use of a wide range of idioms from functional harmony to basic serialism. This leads naturally into a discussion of form, rhythm and text, which describes the use of formulae such as golden section proportion and tendencies towards three-part structure. The effect and use of text is also explored.The compositional techniques posited are then explained in relation to the two works inspired by and based on songs by Blind Willie Johnson. Differences in approach are highlighted in the comparative analysis which follows. Lastly, analysis of the cycle Visionary Songs offers insights into the workings of the compositional process itself. The dissertation in Volume 2 addresses aesthetic and technical intentions and contextualizes the work in terms of both current compositional trends and formative influences. An examination of the approach towards harmony reveals the use of a wide range of idioms from functional harmony to basic serialism. This leads naturally into a discussion of form, rhythm and text, which describes the use of formulae such as golden section proportion and tendencies towards three-part structure. The effect and use of text is also explored. The compositional techniques posited are then explained in relation to the two works inspired by and based on songs by Blind Willie Johnson. Differences in approach are highlighted in the comparative analysis which follows. Lastly, analysis of the cycle Visionary Songs offers insights into the workings of the compositional process itself.