https://www.um.edu.mt/library/oar/handle/123456789/12197 Mon, 13 Apr 2026 11:58:07 GMT 2026-04-13T11:58:07Z https://www.um.edu.mt/library/oar/handle/123456789/88442 Title: Johann Sebastian Bach sonatas and partitas for solo violin : aspects of performance on the instrument Abstract: With self-imposed limitations J.S. Bach contrasted a maximum of musical content with a minimum of instrumental and tonal potential in his six sonatas and partitas for solo violin. This is a challenging task for any interpreter, and the purpose of this study is to help the violinist to improve his interpretation. Two fields of knowledge about the solos were investigated. The first one – the historical – has a strong but indirect impact on the artistic development of the interpreter, a comprehensive insight into the origin of the solos as well as into their reception up to this day by both audience and musicians. Such questions that were researched therefore include: (i) for which purpose did Bach compose the solos? (ii) which influences were important for him? (iii) was there a logical compositional development from an organ virtuoso to a violin composer? The other line – the performance – refers directly to the researcher’s final performance (BWV 1001, 1002, 1004) and deals with more concrete and practical issues resulting from an analysis of the compositions. On the one hand, numerous indications for a preferably mainstream-orientated (MS) interpretation of the solos were studied and discussed in the presentation of the Ciaccona. This investigation refers to technical aspects as well as to interpretative problems. On the other hand, the ‘Baroque Affective Theory’ is applied to the dance movements of the first and second partitas based on a Historically Informed Performance (HIP) approach. Some final reflections towards the interpretation of the final programme are given in the Conclusion. Description: D.MUS. Fri, 01 Jan 2016 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/88442 2016-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/16753 Title: Guitar culture in the Peruvian city of Arequipa Abstract: This dissertation explores guitar culture in the Peruvian city of Arequipa through the dynamic elements which have contributed to its development within a socio-cultural context. The main question of this dissertation is: what elements (social, cultural, musical and others) have contributed to the making of this guitar culture as it exists in its orally transmitted form, in its classical sphere, as well as in the juxtaposition of these two aspects? This work investigates this musical culture both as it exists today as well as it existed in the past. It examines the music itself as much as the world in which the same music flourishes and the people that make it and consume it. For this purpose, this work relies on the theory and method of ethnomusicology with special emphasis on fieldwork and participant observation. Fieldwork in Arequipa included interviews with guitar tutors, street guitarists, luthiers, as well as guitar students and members of the public in general. Other sources include iconographies, recordings, and my own personal memories and experiences as a native guitarist brought up in this vibrant musical culture. This work brings forth the fact that there are regional and global influences which are both reflected in this guitar culture. Today’s guitar culture in Arequipa is still attached to its past while following at the same time the patterns of global markets. Description: M.MUSIC Fri, 01 Jan 2016 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/16753 2016-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/16648 Title: Reviving Occitania : exploring the socio-political, historical and cultural environment within modern-day settings Abstract: The purpose of this dissertation is to present three compositions, conceived as a result of in-depth research into life in Occitania in the High Middle Ages. The compositions were developed alongside the research, taking into account my changes of opinion during the course of study. The research was originally focused on the internal workings of Occitania, but I soon realised that to develop this topic further, I had to extend my research to the root of Occitan life. This included researching the origins of Occitan culture, religion and policy in the East, North Africa and the surrounding European nations. As a pianist and composer, all three compositions involve the piano as the chief instrument. Two of the pieces, Da Pacem Domine and Ar em al freg temps vengut are contrasting works for solo piano and one piece, Outremer is a concerto for piano and orchestra. Outremer explores numerous orchestral possibilities in conjunction with the piano as a solo instrument. It follows a narrative format, telling the story of a hypothetical pilgrim en route to the Holy Land. One of the piano solos, Ar em al freg temps vengut takes inspiration from vocal writing with a literary source serving as its inspiration. The trobairitz, female troubadours writing in twelfth and thirteenth-century Occitania, provide the inspiration for this work. The work examines the role of gender in the High Middle Ages and in the twenty-first century, due to its presentation in the present day and use of modern compositional techniques. Da Pacem Domine is an exploration of the allegations made against the Order of the Knights Templar by the Roman Church. Studying the activities and beliefs of the Knights Templar, I compiled a brief catalogue of symbology relevant to the Order and explored its multiple interpretations throughout the piece. I also studied the allegations made against the Order and the result of this research is evident in the pluralistic nature of the work, presenting the argument from both sides. Description: M.MUSIC Fri, 01 Jan 2016 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/16648 2016-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/13916 Title: Exploring the accessibility of contemporary dance in Malta : what is the perception of performance and what are its engaging factors? Abstract: This Practice as Research (PaR) study investigates relatable dance choreography as a means of engaging wider audiences to watch/attend contemporary dance performances. The Maltese culture, theatre history and habitus are examined in order to make grounds for justifying relatable themes as a potential strategy for the creation of more accessible and receptive contemporary choreography. Western traditional performance paradigms are challenged in an attempt to propose audience inclusion and various methods are explored to find ways in which to make choreography more identifiable. The contemporary choreographic paradigm is acknowledged as an approach to make more collaborative choices in dance making, which may result in more authentic performances. To illustrate and present this hypothesis, three choreographies are created using relatable themes, and presented to Maltese communities. The feedback given via questionnaires post performance, was analysed and used to support/challenge the argument. Description: M.A.DANCE STUD. Fri, 01 Jan 2016 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/13916 2016-01-01T00:00:00Z