https://www.um.edu.mt/library/oar/handle/123456789/21927 2026-04-14T06:53:43Z 2026-04-14T06:53:43Z 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 https://www.um.edu.mt/library/oar/handle/123456789/129868 2024-12-17T08:55:54Z 2024-01-01T00:00:00Z

Title: A multidisciplinary compositional approach for clarinet and saxophone Abstract: The aim of this dissertation, together with the composition portfolio, is to investigate the use of multidisciplinary approaches for clarinet and alto saxophone. Each composition explores a different combination of the use of multimedia such as projections, illumination through psychological colour theory as well as music technology in conjunction with the development of various compositional techniques such as modes, serialism, and extended techniques for the respective instruments. Multidiscipline can be defined as the integration of knowledge from the various disciplines that address a complex problem or question. Through various techniques of sound recording and sound manipulation, the sounds are integrated to create a soundscape. Furthermore, this portfolio aims to bridge the gap between the performer and the compositional process of the composer, where at various instances the performer is given a chance to take various decisions that affect the performance of the composition. The solo piece is entitled Midnight Meditations, for clarinet, electronics, and multimedia projection. This work investigates the use of various extended techniques such as hand pops, lip buzzing alongside other microtonal applications such as quarter tones and multiphonics in combination with various electronic effects such as the use of a delay pedal, reverberation, and performing using a chorus effect. In addition, this work gives the performer an opportunity to become an important part of the composition, where in the second movement, for instance, the performer is at liberty to perform the frames in any desired order. The second work is the chamber work A Covid Soliloquy, which explores the use of spatial sound in conjunction with electronics. First-hand experience as an educator during the pandemic offered me an insight into portraying the various experiences that I went through during this period, especially with the loss of my grandfather, Louis. As a work it offered a challenge in the creation of granulated sound through various methods of granular synthesis in combination with the exploration of joining different sounds through the use of tonality in conjunction with serialism. This work further explores the extended techniques for the B-flat clarinet as well as finds a way through which a soundscape can be created keeping in mind the performer setup. Subsequently, the work Moods explores the combination of illumination with the clarinet and saxophone choir and marimba. This work investigates the colour theory of both composers Messiaen and Scriabin through their different accounts of synaesthesia by combining various elements from their theories. The former outlined colour associations through various chords on the dominant as well as his modes of limited transposition, whilst the latter outlined his vision through his monumental work Prometheus. This work is subdivided into five movements that explore five different moods and the colours associated with these moods. The composition of this work offered a challenge in trying to create different soundscapes in conjunction with illumination and various tonal combinations. The final work is the orchestral work Festa, which is a duet for clarinet in B-flat, alto saxophone, and orchestra. This work is subdivided into four movements, where each movement explores a different element from the traditional Maltese festa. The harmonic framework for this work is derived from a synthetic scale that was created solely for this movement inspired from the modes of limited transposition by Messiaen. As a work it was the most challenging due to the various couplings of instruments to create a soundscape in combination with the projections from various feast elements. The first movement is the prelude which serves as an opening to the work, exploring various sound combinations as well as off-stage performing. The second movement is entitled Preghiera and explores the religious element of the feast through the combination of tonality and serialism. Fireworks is the third movement, exploring the various fireworks displays around the island with a funeral march at the centre of the movement, which acts as a stark reminder of the tragedies that have occurred due to firework accidents. The final movement is entitled Alla Marcia and makes use of various quotations from popular marches around the island, exploring a combination of the various modes employed throughout the work. There are two sections in this dissertation. The first section is the commentary, which is made up of a general introduction, followed by an introduction, literature review, and analysis of each piece in the portfolio. The second section is made up of the portfolio, divided into the four works described above. The portfolio and the necessary research carried out for the writing of this portfolio was completed in the context of a Master of Music dissertation. Description: M.Mus(Melit.)

2024-01-01T00:00:00Z