Melbourne Conservatorium of Music - Theses

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    Folio of works
    Lyon, May Catherine ( 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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    Pablo Sarasate’s Spanish dances: a contextual study and flute transcriptions
    Pomes Jimenez, Beatriz ( 2018)
    This performance-led thesis, comprising a performance folio, dissertation and published edition, explores folk-inspired flute music and transcriptions that evoke Spain. The focus is on the Spanish dances of the internationally-renowned violinist and composer Pablo Sarasate (1844–1908). The dissertation presents an introduction to Sarasate and the context in which he created the Spanish Dances, incorporating discussion of the works’ musical styles and sources that informed their composition. The second part of the dissertation refers to the longstanding importance of transcription to the flute repertoire and assesses the suitability of transcribing Sarasate’s Spanish Dances. This section also describes the processes of transcription that were undertaken in order to produce the final scores. The discussion is followed by an annotated new edition of eight scores for flute(s) and piano (which were published by Dasí Flauta Editorial- Edición Sonata in Spain in April 2018):  Op. 21 no. 1 Malagueña (S-N 25) , for flute and piano  Op. 21 no. 2 Habanera no. 1 (S-N 26), for flute and piano  Op. 22 no. 1 Romanza andaluza (S-N 27), for flute and piano  Op. 22 no. 2 Jota navarra (S-N 28), for two flutes and piano  Op. 23 no. 1 Playera (S-N 29), for flute and piano  Op. 23 no. 2 Zapateado (S-N 30), for flute and piano  Op. 26 no. 1 Vito (S-N 33), for flute and piano  Op. 26 no. 2 Habanera no. 2 (S-N 34), for flute and piano The performance folio comprises twenty-one recordings centering on the eight transcribed Spanish Dances for flute, performed on 20 September 2017 in Palacio del Condestable, Pamplona, Spain. Drawing upon music from the late-nineteenth and early-twentieth centuries, the remaining recordings in the folio highlight the importance of Spanish folk and popular music for Sarasate as well as other Spanish and non-Spanish composers with links to Sarasate.
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    Beyond incantation: paths to the interpretation of André Jolivet's Sonata for flute and piano
    Johnson, Naomi Frances ( 2013)
    French composer André Jolivet (1905-1974) contributed several important works to the flute repertoire, constantly pushing the limits of the instrument’s technical and expressive capabilities yet maintaining a musical language distinct from that of French compositional trends in the mid-twentieth century. His two concertos and sonata written between 1949 and 1965 are seldom performed, with flautists preferring to engage with the programmatic pre-1945 works Cinq incantations pour flûte seule and Chant de Linos. This thesis adopts the methodology of practice-based research, and seeks to facilitate an informed and engaging performance of Jolivet’s 1958 work, the Sonata for flute and piano through contextual study and analysis.
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    Silent Spring: eight original music compositions by Mark Clement Pollard
    POLLARD, MARK CLEMENT ( 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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    Teaching the flute to young children using an approach based on the music educational principles of Zoltán Kodály
    O'Leary, Mark ( 1986)
    Recent developments in flute design have made it possible for children to begin tuition on the flute at the age of six or seven, some three or four years earlier than was previously possible. An examination of the flute teaching methods currently being used in Australia reveals however that existing methods of teaching do not adequately fulfil the musical and psychological needs of such young children. This dissertation sets out to demonstrate that the music educational principles of Hungarian composer, scholar and teacher, Zoltán Kodály, provide an excellent starting point for the development of a method designed specifically to meet the needs of young children. The bulk of this study is an examination of areas of importance to those teaching the flute to young children, and in the penultimate chapter, a Kodály-based flute method is outlined to demonstrate in practical terms how such a method may be structured.