https://www.um.edu.mt/library/oar/handle/123456789/48912 2026-04-04T22:42:39Z 2026-04-04T22:42:39Z https://www.um.edu.mt/library/oar/handle/123456789/62983 2020-11-01T06:21:56Z 2019-01-01T00:00:00Z

Title: The development of antiphonal music in Malta until the 1903 Motu Proprio Abstract: The composition of antiphonal music in Malta is not just plainchant or polyphonic chant although both forms are used as well. As many Maltese people dedicate most of their time to voluntarily organise the yearly religious feast, during the early 19th Century, various Maltese composers went to study in Naples, wherein they studied the opera and operatic style. Upon their return to the Maltese islands, that is in a time when the Catholic Church was highly influential on the Maltese community. most reflected their opera-related knowledge in their compositions in a time. They created their own orchestra and started being invited to play in various parishes throughout the religious patron-saint feast. The determinant factor that deemed a Maestro di Cappella (as these composers were being called) successful or otherwise, was his capability (or lack thereof) to compose an alluring antiphon. The written antiphon was the same as the one sung in the beginning and at end of a Psalm or a Responsory. However, this time not with plainchant but with a full orchestration; thereby leaving a strong and lasting impact. This was the apotheosis of the yearly celebrations for the devotees, an experience they remained reminiscing about for following year. Till this very day, there are still certain villages that compete with others with regards to their antiphon. Many of the Maltese traditional parishes retained their traditional antiphon while others opted to commission a more modern-style alternative. This study focuses on the period preceding the Motu` Proprio as promulgated by Pope Pius X on the 22nd November 1903. The rationale underlying the exclusion of the Motu` Proprio from this study is that considering the abundance of changes brought about by virtue of the aforesaid Motu` Proprio, I firmly believe that same should be scrutinised separately. I hope that you, as a reader, will find pleasure in reading this study as much as I enjoyed researching and writing it. Description: DIP.MUSIC STUD.

2019-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/55059 2020-05-04T12:18:25Z 2019-01-01T00:00:00Z

Title: Articulation and interpretation : piano music in the first half of the nineteenth century Abstract: This study aims to investigate the relationship between articulation and interpretation, while striving to contribute some original thoughts about the topic. The study takes into consideration works written for the piano between 1800 and 1850. Apart from being a time of transition from the Classical to the Romantic period, these years also witnessed the emergence of the modern pianoforte. A number of pianists were interviewed about the subject of articulation and its relation to other factors such as tempo, phrasing, and pedalling. The results of these interviews were discussed in relation to eighteenth- and nineteenth-century treatises. The issue of there being a neutral touch or articulation in the absence of articulation markings was also discussed. This dissertation is linked to my final piano recital which consists entirely of works written in the first half of the nineteenth century. Description: M.MUSIC

2019-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/49498 2020-04-27T10:17:09Z 2019-01-01T00:00:00Z

Title: The influence of Art Music on Classic Rock : from analysis to the making of new compositions Abstract: This dissertation studies the link between two vast genres of music; that of Art music together with Rock music. Rock music has a vast array of styles, hence, since this dissertation is rather a general study of the influences of Art music on Rock music, only bands which formed between the 1960’s to the early 1990’s were considered, more commonly known as the Classic Rock period. The music being studied is one which caused rebellion and faced heavy criticism (Reynolds 2001), as it provoked new sounds and ideas, which were unimaginable before – this is valid for both Art and Rock music at the time of happening. The relationship between the two genres is studied, and it is clear that Art music had an immense impact on Rock music. Elements such as harmonies and form were explored, and the set of five contrasting compositions which complement this study give a flavour of these features, whilst keeping their originality and distinct style. The five pieces demonstrate different instrumentation and techniques. The origins of motivation for Classic Rock, which range from Jazz to Classical music are studied, and presented as ideas in the submitted compositions. This dissertation is structured into three sections. The first section contains a literature review of what has been read and studied to support this study, as well as an analysis of the cases studied. It also features the tools used in the compositions, together with the compositional processes of the submitted works. The second section contains the portfolio, made up of five pieces; a Jazz quartet, a solo piece for piano, a string quintet with a harp and a solo oboe, and two orchestral arrangements. The final section includes two CDs which present the audio documentation of these works as well as all the audio references that are mentioned in this dissertation. Description: B.A.(HONS)MUSIC

2019-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/49497 2020-04-27T10:14:48Z 2019-01-01T00:00:00Z

Title: The interpretation of music by major pianists of the twentieth century Abstract: This dissertation gives an indication towards pianistic techniques of six major pianists of the twentieth century, namely Alfred Cortot (1877 - 1962), Artur Rubinstein (1887 - 1982), Artur Schnabel (1882 – 1951), Sviatoslav Richter (1915 - 1997), Earl Wild (1915 - 2010), Shura Cherkassky (1909-1995). Their methods are considered in terms of pieces by Frédéric Chopin (1810 – 1849), Ludwig van Beethoven (1770 - 1827), Pyotr Ilyich Tchaikovsky (1840 – 1893) and Franz Liszt (1811 – 1886). The first chapter gives a general overview of what makes a great performance. This is, followed by the Literature Review which examines performing techniques which made the great pianists chosen to stand out. The study has been conducted by consulting various sources. The methodology then puts forward the techniques conducted within the dissertation process. The investigations found in chapter two are applied to chapter four which is split according to composer. Each piece of music performed in the recital is explored and the information examined in the literature review is now observed in line with the recordings of the pieces. Finally, a general conclusion is drawn with a few possibilities for further studies into the subject. Description: B.A.(HONS)MUSIC

2019-01-01T00:00:00Z