https://www.um.edu.mt/library/oar/handle/123456789/83059 2026-04-10T01:52:51Z 2026-04-10T01:52:51Z 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/123456789/83648 2021-11-09T15:39:08Z 2021-01-01T00:00:00Z

Title: Integrating twentieth-century compositional techniques in original works for clarinet Abstract: Music in the twentieth-century saw a change due to political issues and new technologies which created a shift in the century’s music style. Musical styles during the century have provided an inspiration for further compositional ideas which are still effective to this present day, resulting in the expansion of exciting new trends and forms. After World War I people started living in big cities, especially in America, and music used to reflect positive and good times in society. This led to modern composers branch off into different movements of styles, such as Expressionism, impressionism, Jazz, minimalism, serialism and more. This dissertation aims to present a connection of certain twentieth-century compositional techniques unified in works for the clarinet’s aesthetic prowess. The music presented in the portfolio seeks to put into practise different ideas on how the clarinet, as a solo instrument, has developed throughout the years through the adjustment of modern compositional techniques. The first part of this dissertation presents a commentary which includes an overview of the contribution of the clarinet as well as the development of new musical compositions throughout the twentieth century. A detailed analysis of the three original works is presented in the second part of this dissertation together with the scores related to the portfolio of compositions. Description: B.Mus.(Hons)(Melit.)

2021-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/83646 2021-11-09T15:39:52Z 2021-01-01T00:00:00Z

Title: Compositions based on past models : different approaches Abstract: This dissertation aims to explore how past compositions can be transformed into new ones by using different approaches. An approach may vary from one which is very close to the original to one which changes the musical material almost completely. This mainly depends on the composer’s intentions. Each approach mentioned in the literature review was in some way or another used in the composition portfolio that accompanies this dissertation. The results range from a composition that is solely based on an entire work, to a free composition inspired by another model. The first composition, Mephisto Waltz No.1, is an adaptation and orchestration of a composition by the same name composed by Franz Liszt. It explores how changing the instrumentation and taking out specific material from the original and using it in various ways may create different rhythms and textures. The second composition is a transformation of the traditional hymn Amazing Grace by John Newton. In this case the melody notes remain untouched, in contrast to the re-harmonisation that becomes more complex as it moves forward. There is a varying melodic line interruption in the last verse of the piece. Each verse in this composition makes use of different harmonic approaches, starting from the three primary triads, to a totally free chordal progression that is non-functional with the tonality of the piece. The third composition, Dawl Ta’ Qamar, is a piece inspired by Claude Debussy’s Clair de Lune. It uses the imitation approach, by imitating Debussy’s style in the original composition and the synthesis approach, where different quotations from the original are taken out of their original context and blended into the newly composed piece. The fourth and last piece is the Variations on a Theme of Paganini for Solo Trumpet, where, as implied by the name, the variation approach is used. It consists of a set of 17 variations that ends with a cadenza that captures material from some of the previous variations. Like the original work composed by Niccolò Paganini, this piece also explores several different virtuosic techniques (in this case for the trumpet), and how they relate to the compositional processes. In the analysis chapters there is a comparison of the model and the portfolio piece, as well as an exploration of the compositional techniques and processes used in writing the piece. The first part of this dissertation is a commentary that includes the literature review and the analysis of the pieces, as well as the lessons learned through this exercise. The second part consists of the four pieces that comprise the portfolio. Description: B.Mus.(Hons)(Melit.)

2021-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/83534 2021-11-09T05:40:45Z 2021-01-01T00:00:00Z

Title: The chamber music of the Maltese composer Joseph Vella (1942-2018) : a study of selected works Abstract: This dissertation constitutes of a study of four chamber works composed by Joseph Vella (1942-2018), who is one of the most important figures in Maltese music of the twentieth and twenty-first centuries, as he continued to be an active composer until his death. The overall compositional idiom is mostly regarded as atonal; however, some of his works have a tonal centre. This dissertation explores a brief rationale of Vella’s compositional techniques that evolved and matured throughout his musical career. Although his extensive musical output includes some of the characteristics of commonpractice harmony, much of his works incorporate the harmonic language that was used by composers of the first half of the twentieth century, namely elements of Hindemith, Bartok and Stravinsky. The opening chapter, Pezzo per Quintetto d’Ottoni Op. 55 (1992) is a quintet written for two trumpets in C, horn in F, trombone and tuba. The second chapter, Lament Op. 103 (2001) is dedicated to the victims of 9/11 terrorist attacks. The third chapter focuses on the piece Ramblings Op. 136 (2014), which is different from the other works as it consists of five independent pieces for solo instruments, showcasing their characteristics and techniques. The final chapter, Charlie on My Mind Op. 144 (2015) was composed days after the terrorist attacks in the offices of Charlie Hebdo, in Paris. By this research, I wanted to contribute towards the literature about Malta’s compositional history that would be made available to future composers and analysts. I chose to analyse Vella’s chamber works mainly because of the instrumentation that he chose and the compositional idiom in which these works are written. Moreover, the historical element behind the pieces Lament Op. 103 and Charlie on My Mind Op. 149 intrigued me to further analyse how the composer manages to employ his compositions to convey and articulate the turmoil that was caused by the terrorist attacks. Description: B.Mus.(Hons)(Melit.)

2021-01-01T00:00:00Z