Melbourne Conservatorium of Music - Theses
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ItemThe music of wandering stars: Virginia Woolf's ‘The Waves’ and the new experience of the spheres'-harmony( 2009)This thesis presents the fruit of an individual quest for a new experience, epistemologically grounded, artistically summoned, of what the ancients called the harmony of the spheres. It articulates its author’s discovery of how Virginia Woolf’s playpoem, The Waves, performatively embodies the idea of the spheres’-harmony in a new, yet archetypally resonant, form. The idea is manifest in The Waves’ characterological configuration, which expresses the archetypal qualities of the seven ‘wandering stars’; in its solar-cyclical form; and in its musically saturated poetic prose. A distinctly contemporary as well as prophetic vocalization of the dimensions of human consciousness, Woolf’s text saturates the ancient idea of a celestial music with new aural-imaginative life, rejuvenating the idea towards its resounding really and now—as if from the future. With Rudolf Steiner’s anthroposophy as its methodological guide, this thesis consequently documents a phenomenological research journey that seeks the intuition of archetypal Word—of humanity’s in-the-beginningness—in the futural and inherently musical-melodic inspiration of human being’s becoming-toward archetypal wholeness, a wholeness of which, this thesis argues, The Waves is prophetic. This thesis embeds its phenomenologically experiential interpretation of The Waves’ textual musicality in a Logos-epistemology of sense and meaning. The epistemological task of sense-making is the plastic, consonantal–conceptual, categorical exposure of things as they are in the perspectively determined field of the perceptually given; while meaning arises as a relational semantic unfolding, which transpires with the musical, vocally relational will-offering of innermost-felt individuality to the universal thought-realm, manifesting limitless semantic-creative potential for becoming. To muse relational meaning between interflowing universal thought-beings is to experience truth toning forth from the harmony of the spheres. The Waves’ figurative and aural self-referentiality serves to musically liberate meaning from object-referential linguistic sense, liquefying the grid-like structures of representation that are mineralized intellectual by-products of ordinary standing-over-and-against consciousness. However, the elemental mobility and liveliness of Woolf’s word-weaving loops the musically liquefied and liberated semantic lovingly back into involvement with the objectively given world-text, so that its self-referentiality is not a rarefied and self-enclosing phenomenon, but rather one that generously opens for the reader–listener’s cognitively experiential reunion, in a new-found harmonic sphere, of individually mused meaning with the sounding, real-imaginative sense of words. Future cognitive capacities, through which human knowledge of the world is permeated with, enlivened by, intuitive perception of its suprasensory word-archetypes, are indicated; the awakening of such capacities belongs to the form of psychospiritual schooling known as initiation schooling. Drawing deeply from Rudolf Steiner’s spiritual-scientific research, this thesis indeed treats The Waves ontologically as an authentic modern initiation document: Its exposition shows how The Waves is woven in the substance of a lonely initiation journey, which seeks the true self in the heavenly-oceanic spheres’-harmony, and finds the heavens silent (as modern, spiritually emancipated, standing-over-and-against consciousness must)—yet discovers the true-self-in-becoming in the musical interweaving of destiny and freedom between human beings living on earth. The new experience of the celestial spheres’ harmony is unveiled as an earthly experience, involving awareness of human beings’ becoming-toward-wholeness through reincarnation—awareness of the planetary spheres’ performative inscription of destiny, or karma; and of human beings’ capacity to turn, through higher-cognitively developed love, their karma to god-astonishing free deeds of utterance. The thesis culminates in a celebration of this new experience, through an examination of the sacramental character and form of one of The Waves’ episodes, in which gods speak in mortals, and mortals speak as (new) gods: Phenomenologically uncovered is the futural image of a Grail made of language and love, which The Waves’ characters create as social vessel for the (re)sounding of the spheres’-harmony on earth.
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ItemIdeals and realities: a study of the life of Franklin Peterson( 2009)The purpose of this thesis is to examine the career of the second Ormond Professor of Music in the University of Melbourne, Franklin Peterson (1861-1914, Professor 1901-1914), to reassess his achievements in light of a fuller knowledge of his career, and to assert his place in the development of music as a professionally-oriented discipline at the University. Peterson is a relatively unknown figure in the history of the University of Melbourne, and perceptions of him have been filtered through the prism of the scandal that accompanied the ejection of his predecessor, George W.L. Marshall-Hall, from the Ormond Chair in 1900. Peterson has been characterised as a conservative and reactionary figure, yet his principal achievement was the introduction of performance studies into the music degree, which was taught through the Conservatorium structure established by the University in 1895. Peterson's career prior to the Ormond Chair has never been adequately investigated, and this thesis clarifies his work at the University of Melbourne in light of a fuller knowledge of his writings, associations and activities during the 1880s and 1890s. Peterson's work at the University of Melbourne has implications for the wider history of the professionalization of musicians because he implemented reforms that made the University one of the first such institutions in the British Empire, if not the world, to offer music degrees that included a test of performance ability in the graduation requirements. This investigation follows a methodology based on Magali Sarfatti Larson's sociological analysis of profession. The key concept in this analysis is ‘cognitive exclusiveness,’ which for the purposes of this thesis consists of four interdependent factors: the definition and organization of a body of specialized knowledge, implementation of structures for transmitting and testing the acquisition of this body of specialized knowledge, participation in professional activities and discourse, and the use of knowledge as a tool of market control. Peterson's formation was cosmopolitan, with studies undertaken in his native Scotland, in Germany, and at the University of Oxford. Peterson's earliest activities show an interest in educational work, commencing with his role as organist at Palmerston Place Church, Edinburgh, and as a founder of the Edinburgh Bach Society. Prior to his appointment in Melbourne, Peterson's writings included a large number of articles for the Monthly Musical Record and publication of textbooks. Peterson's reforms to the structure and content of the music courses at the University of Melbourne reflected his writings and activities during the 1890s. This thesis advances a new interpretation of Peterson's establishment of the Conservatorium Examinations Board, showing how it resulted in the erosion of influence of other bodies of professional authority, including the Musical Society of Victoria and the Associated Board of the Royal Schools of Music. Peterson's work at the University of Melbourne established a model for music degrees that remains normative in Australia, and was copied by McGill University in Canada in 1910. His achievement in establishing a performance-based music degree, which was adopted throughout Australia, makes him one of the most influential music pedagogues this country has known.
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ItemFolio of compositions 2007-2009( 2009)This folio, a work begun in July 2007 and continued through to March 2009, can loosely be broken up into three aesthetic directions. The first would be eclecticism, and the molding of many different influences to create new combinations of musical ideas. The second would be the influence of composers and performers in the twenty first century who have similar compositional goals. The third would be the exploration of orchestration and textural devices to help bridge the initial musical idea into an overall structure and form for a piece.
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ItemUsing song-choice in music therapy to improve the communication skills of adults with profound and multiple disabilities( 2009)A multiple case study design was used to examine the effect of a song-choice intervention on the communication skills of adults with profound and multiple disabilities in individual music therapy. Five females participated in three song-preference assessment sessions and ten song-choice intervention sessions on a weekly basis. In the preference assessment sessions, each participant was provided with a different set of eight songs that were sung with guitar accompaniment by researcher. Affective responses to each song were analyzed and four preferred and non-preferred songs were identified. In the 30-minute song-choice intervention, each participant was offered four song-choice opportunities, with each allowing for several attempts. When the participant clearly indicated their choice of song between a pair of preferred and non-preferred songs, the researcher verbally validated it and immediately sang the chosen song, actively interacting with the participant. All sessions were video-taped and the participants’ and therapist’s behaviors during the song-choice processes were analyzed. The analysis of this data resulted in three clear outcomes. First, most participants expressed consistent affective responses to different songs and it was more obvious when provided with a highly preferred song. Second, all participants were able to choose songs which were intentional decisions as they selected their preferred songs 73 % of the time. Third, most participants gained improved communication skills. Specifically (a) two participants developed intentional choice-making behaviors such as alternating eye-gaze between a song-card and the researcher, and picking up a song-card from two song-cards, and (b) three participants improved intentional communication skills by clearly displaying their facial expressions and voices. The findings have implications for providing adults with profound and multiple disabilities with opportunities to express preference and choice, which ultimately improve their quality of life.
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ItemRe-visioning music as a way of knowing( 2009)This dissertation explores perceived contradictions and mismatches through a phenomenological, poetic and individual approach to language as a means of expanding rather than contracting concepts, specifically in relation to musical phenomena. It reappraises the way in which we use language, re-envisioning it as something that is a departure from the realm of the literal. Here, language becomes a means to reveal, to use Heidegger’s term, to un-conceal (1971) rather than to represent or codify. The observations in this dissertation are not made from a distance. Personal context is necessarily epistemically implied in the discussion of this problem, and as such, the response to the subject matter and the nature of the research undertaken over the course of this dissertation is also drawn from a personal relationship with language.
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ItemConstructing the collective consciousness: individual player identity within the collective jazz ensemble( 2009)This study investigates the role of the individual improviser within the ensemble context as a means of observing the interplay of the ‘creative language’ between individuals and its manifestation within a group dynamic. Criteria as exemplified by the Miles Davis Quintet were used as a means to ascertain the quality, level of interaction, elasticity of compositions, ensemble ecology, musicianship, playfulness, role-play, and other relevant factors in an improvised music setting. The attributes of the Miles Davis Quintet were used to examine the individual and collective identities within the By a Thread ensemble, with the prime intention being to facilitate the construction and development of a collective consciousness within the ensemble. The research topic arose from the author’s aspiration to obtain a deeper connection and sense of community with other practitioners in which to undertake a collective musical journey. The purpose of approaching the research from a practitioner led perspective was to obtain a greater understanding of the author’s art, to achieve insight into the processes of improvisation, and to create contemporary jazz that was inventive in structure and detail. A review was conducted on current literature pertaining to collective creativity, collaboration and improvisation; additionally, the interaction, creativity, and individual and collective identities within the Miles Davis Quintet. An in-depth examination of this distinguished modern jazz ensemble was undertaken to elucidate their relevance to this research. The preparation, processes and development of the By a Thread ensemble were analysed to establish outcomes for this study. This included an examination of the ensemble’s common language, compositions, rehearsals, cues, co-creation, live performances, elasticizing of the musical parameters, role-play, ecology, exploration and risk taking, simultaneous improvisation, contrasting voices, repertoire variety, performance environments and recording. The process of identifying key attributes of interaction, play, identity, and creativity of the Davis quintet as a model for By a Thread resulted in tangible strategies and outcomes. The strategies facilitated the development of By a Thread’s identity, collective consciousness, cues, co-created language, elasticity of compositional parameters and approach to performance.
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ItemJackeroo: a question of identity( 2009)In the writing and research involved with the development of my script, Jackeroo, one question was constantly being asked of me: Does a non-indigenous person have the right to author an indigenous character? Indigenous representation by non-indigenous filmmakers has, of course, been done on many occasions. However, it is done under the threat of cultural and historical misrepresentation, potentially perpetuating myths and stereotypes held by the non-indigenous status quo. For the purpose of my exegesis, I have concentrated my research, and the question proposed, on my script Jackeroo and the comparisons drawn from selected Australian films. The underlying story of Jackeroo is based on experience: my experience. The story is semi-autobiographical and incorporates speculation within my own family that I may be part aboriginal. And so the story and associated research is personal: not just in terms of its basis being somewhat autobiographical, but also in challenging notions of Aboriginal identity versus self-identity and what that actually means.
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ItemInspired: I want to play music like the elephant looks at everything!: the eye of the elephant as a metaphor for performing improvised jazz music( 2009)This thesis aims to clarify what is meant by inspiration in music, especially in the jazz-based improvisational idiom. Inspiration is very difficult to define, as it is such a mysterious and elusive concept. Is it coming from ‘inside’ or ‘outside’ sources? Is it always present? Is it coming from ‘nothing’ or from ‘something’? Is it a ‘God-like visitation’ or the result of human work, discipline and commitment to the creation of music? Is knowledge necessary or does it represent an obstacle to the inspirational process? Through the examination of various characteristics of the concept of inspiration as well as the analysis of the various attitudes and psychological tendencies of the improviser/composer, this thesis intends to get closer to the meaning of inspiration, though, at the end, the ‘muse’ will still remain a mystery. It is, in fact, the different ways the improviser gets inspired that matter and which are analysed in this thesis, not the study of ‘what’ the improviser receives inspiration from or the examination of the quality of the inspired creative product. This thesis also aims to show the similarities between inspiration and improvisation as well as the causal effect of inspiration on the improvisational process. Is inspiration responsible of the spontaneity and originality of a jazz improvisation? Does the influential side of inspiration represent an ‘eye opener’ for the improviser or, on the contrary, are outside influences restrictive forces that the improviser has to be aware of and deal with?In order to become aware of what to avoid for inspiration and improvisation to flow freely, an analysis of some of the main reasons behind the lacking of inspiration may also provide insight. Ultimately, the notion of expressing the authentic self, in the most spontaneous way, seems to be a crucial process in improvisation and inspiration may be the force to naturally connect with as part of exerting one‘s self-expression. In conclusion, the metaphor of ‘the eye of the elephant’ will encapsulate what this thesis on inspiration intends to demonstrate: to be inspired by each improvised moment and to improvise each inspired instant!
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ItemComposition folio( 2009)At the age of nine, I began my musical studies in violin. Like so many musicians, I’d already been sold on my future career. I didn’t realize back then however that my musical journey would lead me to write. I didn’t come from a musical background, in fact, I can’t think of anyone in my family that played or sung. In my youth I played in various orchestras and ensembles, all classical, and enjoyed playing music in groups. Through my years of study, listening and playing, I have come to realize that no particular influence has come forth in my own music but each has come together to make my music what it is.
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ItemDialogical dancing: illuminating dimensionality in solo dance practice( 2009)This research manuscript directly pertains to and partially documents my practice-led solo investigation Dialogical Dancing as undertaken toward the Masters of Choreography (by Research). It has been composed to support and co-exist with the two live performance works presented in a season at The Victorian College of the Arts and Music toward the end of these investigations.