https://www.um.edu.mt/library/oar/handle/123456789/16861 2026-07-29T02:17:17Z https://www.um.edu.mt/library/oar/handle/123456789/148121 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/123456789/147943 Title: W.A.R. - When angels rest Authors: Vella, Veronique Abstract: This short three-movement work was commissioned by Tricia Dawn Williams in 2023 as part of the ToyPiano+ Project and supported by Arts Council Malta. The piece, originally wri􀀲en for toy piano and music box, is dedicated to all those children suffering at the hands of war. 2023-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/147938 Title: Three short piano pieces Authors: Vella, Veronique Abstract: Veronique Vella's Three Short Piano Pieces for solo piano—comprising Bizzilla, Il-Mudell, and Filigree—was commissioned in 2022 as part of the centenary celebrations of Palazzo de la Salle (now known as the Malta Society of Arts). The work was premiered by the acclaimed pianist Charlene Farrugia. The titles of the opening and closing pieces, Bizzilla and Filigree, pay homage to two traditional Maltese crafts that have long been taught at the Malta Society of Arts—lace-making and filigree jewelry, respectively. The intricate and delicate piano writing in these pieces captures the essence of these crafts, and music critic Cecilia Xuereb has aptly described them as having a "gossamer quality." This refers to the finely woven, transparent texture of the music, which mirrors the delicate nature of lace and filigree work. In contrast, the middle movement, Il-Mudell, is more forceful and awkward in nature, embodying the essence of live drawing—a skill also taught at the Society. The piece's title references this art form, and its more brusque, angular character provides a stark contrast to the ethereal qualities of the surrounding movements. Vella's composition reflects a thoughtful and nuanced exploration of both sound and cultural heritage, using the piano to evoke the textures and emotions associated with these traditional Maltese trades. Through Three Short Piano Pieces, Vella offers a compelling dialogue between contemporary music and the rich cultural legacy of Malta. 2023-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/147936 Title: Verietta for violoncello & piano • für Violoncello Authors: Vella, Veronique Abstract: Verietta, for string orchestra, was written in the summer of 2022 and premiered by the Malta Philharmonic Orchestra conducted by Philip Walsh at The Jesuits Church, Valletta. The piece takes its inspiration from Bach’s aria from his timeless Goldberg Variations. Recognizable fragments of the original Bach themes are sometimes quoted, often leading to some unexpected twists and turns. Legend has it that Bach composed the music for Count Kaiserling,who had trouble sleeping. The count’s private harpsichordist, Johann Gottlieb Goldberg, was said to have been requested to perform the variations to act as some sort of sleep aid for the count! Intrigued by this premise, Vella began thinking about sleep patterns, particularly about the struggle to fall asleep when your mind is too busy. Sudden shifts in tempo and darker moments attempt to reflect this frustration. However, we all know that sometimes the harder you try to quiet the mind, the louder one’s thoughts and anxieties can become. The music eventually comes to a quiet, soothing end, however. Perhaps restfulness has been achieved after all. This arrangement for violoncello and piano was premiered by the composer and cellist Simon Abdilla Joslin in 2024 in Valletta. 2022-01-01T00:00:00Z