https://www.um.edu.mt/library/oar/handle/123456789/21927 2026-07-22T20:32:12Z 2026-07-22T20:32:12Z https://www.um.edu.mt/library/oar/handle/123456789/148121 2026-07-20T07:39:40Z 2026-01-01T00:00:00Z

Title: Integrating modal and melodic structures of ethio-jazz with Irish traditional music : portfolio of original compositions with commentary Abstract: The aim of this dissertation is to explore the similarities and differences between Ethio-jazz and Irish traditional music by comparing the scales and modes used within each of these styles, and inspire the composition of new music that fuses elements from these disparate musical traditions. The dissertation includes a portfolio comprised of twenty-one musical scores of compositions arranged into eight ‘sets’. Each set is comprised of three ‘tunes’ except for the first and final set, which contain two pieces and one singular piece respectively. The compositions are arranged for small ensembles commonly found in contemporary Irish traditional music performance. These works are the product of a fusion between two individual fields of musical study. Each composition features a melody composed using a specific pentatonic mode from the Ethiopian system of modes such as Tezeta, Bati, Ambassel or Anchihoye set within a musical form traditionally found in Irish music such as a reel, jig, slip jig or slide. The commentary analyses the modal and melodic properties of my compositions. This portfolio of compositions represents a fusion between two musical styles rooted in folkloric musical tradition. It aims to demonstrate how shared features can bridge culturally disparate musical idioms. Despite significant investigation over many years, ‘folk music’, and what it implies remains a contested concept, and its study has developed differently in different countries and contexts (Carole 2001). Exploring the similarities and differences between two different genres of folk music will help to provide insights into cultural expression, history, and traditions offering an insight to the practices of different groups. Comparing a musical tradition rooted in my own heritage with another that I have a deep affinity for, offers a particular insight into the cultural traditions and implicit meanings of that tradition. While clearly articulated and definitive literature classifying Ethiopian pentatonic scales is scarce, the forms are audible within the music and ripe for analysis. This dissertation will aim to close the gap in literature, and create a clear and concise catalogue of these scales and investigate their versatility within a contrasting style of music. Description: M.Mus(Melit.)

2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/144130 2026-02-25T08:39:33Z 2025-01-01T00:00:00Z

Title: Comparative analysis of performance issues and piano idiom in chosen compositions of Amy Beach and Valborg Aulin Abstract: Western classical music has historically been dominated by men, with women composers generally being denied prominence or canonical prestige. It was challenging for women to establish themselves as creative equals to men owing to social, cultural, and institutional barriers. This dissertation examines the works of two women composers from the late nineteenth century, Amy Beach (1867–1944) from the United States and Valborg Aulin (1860–1928) from Sweden. Despite emerging from different musical environments, their works exhibit significant stylistic similarities, even as each composer cultivated a unique and individual musical idiom. The research largely investigates two early works: Beach's Ballad Op. 6 and Aulin's Piano Sonata Op. 14, Grande Sonate sérieuse. Beach s Four Sketches Op. 15 and Aulin s Three Fantasy Pieces Op. 30 are also briefly addressed. Written at an early stage in each composer's career, these pieces are analysed through the perspective of performance practice, devoting particular attention to pianistic idiom, technical difficulties, expressive demands, and interpretive possibilities. Aulin's formal training in Sweden, Denmark, and France contrasts with Beach's mostly self-taught upbringing in Boston's conservative environment. The study also considers the impact of musical education, geographic and cultural context, and exposure to modern trends. This performance-based method emphasises the works distinctive voices while situating them within late-Romantic musical contexts by integrating score analysis with the real-life experience of preparing for the performance and finally playing the pieces. By delivering the first comparative performance-focused examination of these two composers piano works, the study addresses a scholarly gap and gives particular attention to the under-represented Aulin about whom little has been written in English language. This study aims to expand the canon, inspire historically informed performance, and contribute to a wider appreciation of women's creative accomplishments in nineteenth-century music by showcasing their artistry and recording interpretative observations. Description: Ph.D.(Melit.)

2025-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/137779 2025-07-30T10:29:08Z 2025-01-01T00:00:00Z

Title: A composition portfolio : translating personal experiences to musical practice Abstract: This dissertation presents a personal portfolio of six original compositions, each one accompanied by a critical commentary. Collectively, these map my personal growth and musical development over the years as a person and a composer. Far from being a random arrangement of sound, each work reflects a lifetime of dedicated study, emotional exploration and creativity shaped by daily musical exposure in all varies forms. The works which range from solo piano, to film, videogames, theatre, and commercial song writing – demonstrate a wide stylistic reach while remaining closely rooted in a consistent thematic and emotionally driven approach. My cultural background and lived experiences serve as the foundation for my compositional identity, sometimes playing a more direct role than others. This portfolio showcases not only technical versatility but also the deep connections between life, emotion, and musical creation. This paper is intended mostly for music enthusiasts who seek insight into the composi+onal process behind different forms of music-making in today’s interconnected world. Description: M.Mus(Melit.)

2025-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/132376 2025-02-25T09:03:52Z 2024-01-01T00:00:00Z

Title: André Jolivet’s ‘Cinq incantations’ and ‘Chant de Linos’ : analysis, historical context and performance Abstract: In an investigation of the claim made by researcher Caroline Rae that Jolivet has received limited attention in scholarly literature, this dissertation examines not only the historical and cultural context surrounding Jolivet’s early, middle, and late works, but also his writing for flute and its development over time. By applying the method of embodied analysis, as developed by Fisher and Lochhead, to two of his compositions for flute, this project takes a uniquely performative approach towards Jolivet’s music: it highlights the role of physical gestures in the production of musical meaning, it explores the relationship between gesture and structure, and it uses these observations to theorise on factors influencing the composer’s level of recognition. The study first considers historical events, political movements, and cultural currents that influenced Jolivet’s work and gave his musical language its direction. It then presents the results of embodied analysis of the two chosen works for flute, which are his Cinq Incantations (1936) and Chant de Linos (1944), while commenting on Jolivet’s compositional approach and its development over time. The project also includes a performative element that both informs, and is informed by, the research. Through a series of three concerts, the study considers how performance may be influenced by embodied analysis, and how its more practical aspects go hand in hand with the results of analytical research. The observations made in this study lead to a number of important conclusions. In the first part, the study proposes that Jolivet’s limited presence in the literature may be attributed to the fact that his extra-musical references and sources of influence, which remained distinctly esoteric even in his late career, seem to have lost their revolutionary appeal of the pre-war years; to the fact that most of his activity and recognition was based in France; and to the fact that his career became extremely diversified in the years following the war. Other observations emerge from the application of embodied analysis: one main observation is that Jolivet’s approach to writing for the flute changed significantly between the two works studied. In the earlier work it appears to be driven by the nature and physicality of the instrument, whereas in the later work it emerges as being driven more by structural and compositional principles. This not only provides insight into the evolution of Jolivet’s style, but it also raises questions on whether developments such as this may have affected the impact of Jolivet’s work and, in turn, his position in the western canon. Description: D.Mus.(Melit.)

2024-01-01T00:00:00Z