https://www.um.edu.mt/library/oar/handle/123456789/10361 Thu, 23 Apr 2026 18:01:30 GMT 2026-04-23T18:01:30Z https://www.um.edu.mt/library/oar/handle/123456789/104040 Title: Johann Sebastian Bach : aria with 30 variations : an insight into its style, structure and interpretation Abstract: Considered to be the embodiment of eighteenth-century music, Johann Sebastian Bach’s compositional output, uses genres that had already been established, so that his influence lies in the way he inventively reinvigorated existing forms, moulding their structures to produce new original works. The Aria with thirty variations, popularly known today as the Goldberg Variations are significant from various perspectives. They are the largest set of variations to date and their scale was to remain unsurpassed until Beethoven’s Diabelli set. Structurally, they are perhaps the clearest example of Bach’s meticulous compositional methodology whereby every element can be seen to link to another, forming a complex whole. The canons too have their own particular development, as they progress from imitation at the unison through to the interval of a ninth. In addition, the all-important, though understated bass-line heard in the opening Aria is the underlying overall unifying factor of the whole work. While such patterns give these Variations unifying factors, Bach still maintains variety through a number of subtle techniques such as time-signatures, different characters, the irregular placing of minor-mode movements, as well as the number of contrapuntal voices employed in each movement. This work is also a unique example of eighteenth-century practices, moving away from convention by specifying a particular instrument. From a technical viewpoint, the Variations can be described as the highpoint of eighteenth-century virtuosity, whose technical demands are still regarded as challenging. From the circumstances of its composition, through to its standing in today’s mainstream repertoire, the researcher will examine what influenced Bach’s compositional method and how this work in turn influenced works by later composers. The core of the thesis will be an in-depth study on the structure of the Variations, where both its internal constitution as well as its overall architectonic structure will be examined. Different interpretations relating to the execution of ornamentation, rhythm and articulation employed through the centuries will be discussed with reference to various editions. Other performance issues relating to repeats, and tempos as well as choice of instrument will also be examined. Furthermore, these will be supported by examples from selected recordings by different artists who have performed the Goldberg Variations. Description: PH.D. Sat, 01 Jan 2011 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/104040 2011-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/78941 Title: The image of Cyprus in Sanudo's 'Diarii' : a study of the history of Venetian Cyprus from the entries in Marino Sanudo's 'Diarii' written between 1496 and 1533 Abstract: The present dissertation will look at the history of the island of Cyprus in the period 1496 to 1533 through the eyes of the Early Modem diarist Marino Sanudo (sometimes his name is given as Sanuto ). The diaries of Sanudo are a source of information for the history not only of Venice at the tum of the fourteenth to fifteenth centuries but also for all those places which Venice was in contract with or directly controlled. Sanudo's diaries can be the source of information for a myriad of topics, among which the war between the Mamelukes and Ottomans and the subsequent annexation of the Mameluke lands to those of the Ottoman Empire, the wars between Persia and the Ottoman Empire, and chronicles from the lands that Venice controlled. The Diaries of Saanudo have been widely used in different studies and therefore this study will not be the only study that has consulted and used Sanudo's diaries to shed light on the period in question. As regards Cyprus itself, Sanudo has also been used by historians who have attempted to write the history of Venetian Cyprus. However, while all previous studies, especially the monumental History of Cyprus written by George Hill, have used Sanudo as one of their sources and together with other sources gave a picture of the history of VeneitianCyprus, this study will work the other way round. It will base the study of Venetian Cyprus on the information which is given by Sanudo himself. Other sources will be obviously used, including Hill, because from Sanudo alone one cannot have a completely full picture of Cyprus was happening, and some aspects need to be understood fully otherwise information from Sanudo would not make sense. But these sources will act as fillers for Sanudo or act to strengthen what Sanudo writes. This study will as much as possible give a picture of Cyprus from Sanudo's Diaries. For this reason other sources used will be kept to a minimum number. The present study will attempt to: i) give a picture of the history of Venetian Cyprus between 1496 and 1533, the period covered by the diaries; ii) touch topics which either have previously been overlooked by other historians of Venetian Cyprus or dealt very little with, by using Sanudo's perspective; iii) use the topics which are already dealt with in other sources, mainly Hill and expand on them by using information from Sanudo; iv) give a complete picture of the historical background which Venetian Cyprus needs to be studied in. In an attempt to put Venetian Cyprus and understand better its subtleties a chapter positioning Cyprus within a broader Eastern Mediterranean reality and within a specific historical continuum will be attempted. Both will mainly be attempted through entries found in Sanudo's diaries. To understand better the events narrated in Sanudo it is necessary to have an idea of what was happening around Cyprus. This period saw the consolidation of the Ottoman Hegemony on the Eastern Mediterranean and whatever happened in Cyprus was also the result of the power play that occurred in this period in the Mediterranean. A brief chronicle of the history of Cyprus up to the Venetian annexation of Cyprus from Queen Caterina is also essential in this context. Description: M.MEDITERRANEAN HISTORICAL STUD. Sat, 01 Jan 2011 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/78941 2011-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/3573 Title: Dance in the light of neuroscience : sharing the experience of Deborah Hay's performance : her work and reflections Abstract: This thesis presents a perspective on dance performance, as a shared experience between a dancer and a spectator, rooted in the neurological mechanism of the mirror neurons. It begins with definitions of theatrical dance in terms of imitation, expression and form, reaching towards the perspective on dance as shared experience. As such, dance is being confronted with the recent theories concerning the mirror neuron mechanism and other neuroscientific inquiries into the subject. Problems related to neuroscience of dance and the turn in dance studies aiming at ecological validity of the experiments are discussed. Through the example of the work of an experimental dance artist Deborah Hay, the pursuits of pre-intellectual excitement in watching dance are being followed, as well as her reflection on dance. Consequently, the discourse on the relation between language and movement is unfolded as being an extension of a phenomenon of sharing dance. What is shared is not however necessarily defined by 'the same' and therefore the notion of alterity is introduced into the inquiry of the performance situation. 'In the last part of this work, some speculations on the nature of the joint venture with Deborah Hay and her dancers are presented. Description: M.SC.PERFORMATIVE CREATIVITY Sat, 01 Jan 2011 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/3573 2011-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/3571 Title: Vocal pedagogy : step towards trusting that which we are not aware of : an interdisciplinary view Abstract: This investigation deals with the process of learning the skill of vocal production for singing in bel canto, taking into consideration the circumstances of the vocal system whose external consequences of action are not available to visual perception, but mainly to aural. Part A of this inquiry develops a context for vocal pedagogy including 'what is bel canto', the mechanics of the vocal system and an introduction to the science of vocal art which describes the controversies in the development of vocal pedagogy. Part A lays the ground for Part B, which deals with the 'conceptualisation of the learning process in vocal pedagogy'. Part B observes the process of embodying knowledge in skill development as well as the tacit nature of skills. Since the knowledge of skills cannot be explained completely in words, importance is placed on the socialisation between the experienced master and the inexperienced apprentice. In this context, we have inferred that the concept of imitation in vocal pedagogy is invalid and considering the double correspondence problem that characterises vocal pedagogy, socialisation is seen to be the key to knowledge creation - that is, vocal skill development. In conclusion, the more appropriate approach to our educational system, in contrast to a more academic approach, needs to be based in a 're-search' paradigm that depends on a 'learning by doing' ethic, with socialisation being placed at the centre of this model for knowledge development. This model may even prove to be a way in which education can alter cultural attitudes. Finally, future research in vocal pedagogy may be best directed towards an investigation into the action-perception link as a focus of training. Description: M.SC.PERFORMATIVE CREATIVITY Sat, 01 Jan 2011 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/3571 2011-01-01T00:00:00Z