https://www.um.edu.mt/library/oar/handle/123456789/81294 2026-05-05T20:05:34Z 2026-05-05T20:05:34Z https://www.um.edu.mt/library/oar/handle/123456789/83965 2021-11-16T13:48:12Z 2021-01-01T00:00:00Z

Title: The use of the pedals in Beethoven's piano works Abstract: In this dissertation, I will seek to discuss Beethoven’s pioneering use of the pedals in his piano works, specifically in his piano sonatas. Two main concerns central to this research are: 1) the function of the pedals in Beethoven’s music; 2) adapting Beethoven’s pedal markings to the modern instrument. The thesis will investigate other related subjects: i) influences on Beethoven in the use of the pedals; ii) the different keyboard instruments available to Beethoven; and iii) an analytical approach to recordings and editions of Beethoven’s piano works. In the Introduction, I provide a cultural, intellectual and historical background to Beethoven’s time and milieu, as well as his approach and use of the pedals in his piano works. The first chapter explores important texts and treatises related to the subject of the pedals, including the first publications on the subject and the latest research, all within the framework of Beethoven’s piano works. The second chapter looks at the different keyboard instruments available to Beethoven, and how each particular instrument influenced his writing for the pedals. The third and final chapter explores Beethoven’s pedal markings in his piano works and how these can be adapted to the modern instrument. In this chapter, specific references to and analyses of various examples from Beethoven’s Piano Sonatas are made. The Conclusion attempts to synthesise all ideas, thoughts and findings articulated on the subject matter of this thesis, and how this influences my approach to Beethoven’s piano works. Description: M.Mus(Melit.)

2021-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/83960 2021-11-16T13:30:19Z 2021-01-01T00:00:00Z

Title: Theatre-making in Malta at the turn of the twenty-first century : influences and practices Abstract: The aim of this dissertation is to map the theatre-making territory in Malta around the turn of the twenty-first century. To do this, I first look at key theatre-making developments evident at the turn into the new millennium. I then shift my attention to the unique socio-political context in Malta during the same time period to reflect on the local theatre-making scenario. This will be followed by an appraisal of theatre-making processes and performances by three Maltese theatre groups – Theatre Anon, Dù Theatre, and Grokk Teatru – in order to elaborate on how global and local influences at the turn of the century affected the working methods and interests of Maltese theatre makers. In this respect, ‘influences’ include both artistic procedures – i.e. styles, methodologies, creative techniques, and artistic references – as well as philosophies, socio-political phenomena, and cultural traditions. Understanding the context of these influences is central to the scope of my study, since, as I seek to underline with my reflections, artistic work is very much a product of the context within which it is created. The final decades of a century and the first few of the next – commonly referred to as ‘the turn’ – are often an interesting time for critical observation and analysis. The turn of the twenty-first century is no exception, due mainly to how digital technologies and the socio-political phenomena associated with them began to root themselves in our everyday lives and artistic practices. For Malta, it was also the first turn of a century as an independent nation, something which undoubtedly informed the kind of work being created and its thematic content. In order to articulate this, I draw on the work of theatre scholars and practitioners including Hans-Thies Lehmann and his postdramatic paradigm, Eugenio Barba and his theatre-making strategies, Patrice Pavis and his perception of mise-en-scène, and Vicki Ann Cremona’s and Marco Galea’s observations regarding politics and post-colonial theatre in Malta. Description: B.Thr. (Hons)(Melit.)

2021-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/83955 2021-11-16T12:23:10Z 2021-01-01T00:00:00Z

Title: The evolution of methods of social engagement in Polish alternative theatre after the second world war Abstract: This dissertation focuses on the evolution of socially engaged activism of Polish alternative theatre makers after the Second World War. This will be done by analysing chosen groups or theatres as case studies from two distinctive periods at that time, further explained below. Due to Poland’s tragic history and the stubborn resistance to oppression, Poles have developed a particular understanding of social engagement, especially through art and literature. With the country being occupied or under foreign influence numerous times for over two centuries yet having a strong urge to maintain their identity, Poles developed the ability to create an intricate system of resistance to the oppressor. Thus, it comes as no surprise that alternative theatre and performative actions after WW2 were politically driven and (often) anticommunist (so anti-government) until the democratic change brought about by the Revolutions of 1989. Resistance to the oppressive system was often seen not even as activism per se, but a moral obligation of the artist, performer or writer – the kind of work that Aldona Jawłowska describes as ‘more than theatre’. At the end of the twentieth century, when the socio-political climate changed drastically, many theatre makers moved to small towns or villages and started working with local communities, continuing to fulfil the ethos of principled performing artists with a mission. This kind of work within community theatres, laboratories and centres continues till today. The rich culture of conscious, selfless, idealistic performers–activists continues to flourish thanks to abundant local and international projects, spreading appreciation for culture, community and international cooperation. Description: B.Thr. (Hons)(Melit.)

2021-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/83915 2021-11-16T09:46:31Z 2021-01-01T00:00:00Z

Title: Enlightening the senses : audience experience in immersive and sensorial theatre Abstract: When audience members attend theatrical events, they typically expect to engage with the performance through, among other things, the spectacle and visual aesthetics emanating from the stage. What happens when this visual spectacle is removed? Experiments with darkness in the last decades have set performances in complete pitchblack darkness, thus confounding those traditional expectations. The experience of an audience member attending this type of genre, the genre of theatre in the dark, differs from that of conventional productions. This is due to the use of immersion and sensorial stimuli which are needed to keep the audience engaged throughout the darkened performance. This dissertation explores this Blackout Theatre/Theatre in the Dark genre and looks at how sensory stimuli are of utmost importance in order to give the audience an immersive and unique experience. Description: B.Thr. (Hons)(Melit.)

2021-01-01T00:00:00Z