/library/oar/handle/123456789/75056 Fri, 18 Sep 2026 05:14:01 GMT 2026-09-18T05:14:01Z /library/oar/handle/123456789/102049 Title: Hallmarks : inspiration, progression and innovation in the flute works of Jack Behrens Abstract: With this prophetic phrase, John Cage opened his essay "Diary: Emma Lake Music Workshop 1965." His words can be considered a statement of the changing functions and recent developments in all the arts. No longer were composers bound, as they had been in the classical era, to the requirements of sonata form. Even the comparative freedom of through-composition and impressionism had been replaced by the mathematical precision of the twelve tone system. Finally, Cage himself advocated the removal of ego in the compositional decision making process through the use of chance elements and the I Ching. If, as Paul Griffiths states, avant-garde music began with Prelude a l 'apres-midi d'unfaune (1894),2 then the last century has seen impressionism, jazz, serialism, neoclassicism, electronic music, world and ethnic influences and pop culture all take their place at the forefront of compositional fashion. Moreover, changes which in previous eras would have taken decades to be recognised and validated have, in this century and the last, adopted speeds as fast as those of the media used to transmit them - instantaneous projection, assimilation and rejection, with the click of a mouse button or the tum of a dial. As Max Ernst stated "significant changes in the arts formerly occurred every three hundred years, whereas now they take place every twenty minutes"3. How, then, does a composer find and present his own voice, when so many have spoken, in so many languages, before him? Again, Cage provides the answer for some when he states: "I have nothing to say, and I am saying it, and that is poetry" 4• For Jack Behrens (b. 1935) the compositional road of inspiration, progression and innovation has been one started by mentors, travelled with friends but often experienced in solitude. This paper will endeavour to trace the genesis of Behrens' style - its growth through the discussion of key works, the processes used to create the works themselves and their relationships to his compositions for flute during selected time periods. Description: PH.D.MUSIC Sun, 01 Jan 2012 00:00:00 GMT /library/oar/handle/123456789/102049 2012-01-01T00:00:00Z /library/oar/handle/123456789/99769 Title: 'Concerto in the Italian style' by Johann Sebastian Bach : an analysis Abstract: The Concerto in the Italian Style was originally composed to be played on the harpsichord and thus, presents a challenge to the modern performer who has to interpret this Concerto on the pianoforte. The first section of this dissertation starts with a brief description of the keyboard works written by Johann Sebastian Bach. These works show an interplay of influences of Italian and French musical styles. These are evident in the Italian Concerto. A thorough description of the instruments prevailing in the Baroque period, including the clavichord, the harpsichord, the fortepiano and the early modern piano, is dealt with in the second section. All these instruments have their particular strengths, weaknesses, tones and timbres. However, only the pianoforte prevailed to the modern era. This study serves as a preparation to Chapters 1, 2 and 3 which analyses the first, second and third movements of the Italian Concerto. These movements which were intended to be played on the harpsichord have to be interpreted with the same skill and dexterity on the pianoforte. These difficulties are dealt with in the conclusion of this dissertation. Description: DIP.MUSIC STUD. Mon, 01 Jan 1996 00:00:00 GMT /library/oar/handle/123456789/99769 1996-01-01T00:00:00Z /library/oar/handle/123456789/99768 Title: Nisi Dominus a 3 voci (ACM, MUS. MS. 137) [by Anon. (XVIIth century)] : editing and critical commentary of an anonymous composition Abstract: Being a soprano myself and having sung quite a number of edited Maltese vocal works, I felt I would like to experience editing a music score myself. Indeed, it is such an interesting onus, which apart from the challenge to be as faithful as possible to the original manuscript, the editor takes off from the point where the composer had laid down his pen, and hence brings the work to life. It is a great satisfaction to write this music which, in Malta, has been left unpublished for some time. It is a great satisfaction to perform edited compositions. Yet I feel it is even a greater task and achievement to edit, and hence bring to life a work which would have been perhaps buried and long forgotten in an archive or theatre library. Hence my reason for having attempted this task. This essay deals with a general background of the seventeenth century, with particular reference to the basso continuo and vocal music, the edited transcription of Nisi Dominus and a critical commentary on this composition. Description: DIP.MUSIC STUD. Mon, 01 Jan 1996 00:00:00 GMT /library/oar/handle/123456789/99768 1996-01-01T00:00:00Z /library/oar/handle/123456789/88328 Title: The role of percussion in West African societies Abstract: When I started thinking and planning this thesis, there were those inevitable discussions with different circles of people about this project. Some raised an eye-brow, while others showed interest. But there was one factor that prompted curiosity and which subsequently led to one common question among all: "Why West Africa?" One practical answer is that I wanted to choose one particular area out of a whole continent and examine the function and role of percussion instruments within that particular area. Another reason is that I believe that there are few areas of the world that match the range and musical textures of West Africa. The region consists of fifteen countries, everyone of which having various tribes. This fact indicates that it is quite hard to analyse each particular country or social group within a limited context. Thus, the material presented here is not exhaustive but merely presents some important aspects, in a more detailed manner, of the relationship between West African societies and the drum, which can be said to be the· most distinctive of all African instruments. The purpose of this writing is not to analyse West African music or African drumming. I feel that this work covers at least two areas: The ethnomusicological aspect and the anthropological aspect of West African societies. It is a study of a specific field of music within the structure of particular human societies, the majority of whom are non-literate, with the basic argument being the role of percussion in these societies. Why does an ensemble of drummers gather to celebrate the death of a person? What does a particular percussion instrument represent to a cult in some secret society? What are the magical powers that are so strongly felt when a drummer beats his music in some sacred ritual? These and many more other questions span in my mind at the genesis of this thesis. African music is an art that integrates strong traditional forms and improvisation. It is the musician's responsibility to extend from the music itself into the movement of its social setting. Music becomes important only in respect of the overall success of a social event. We shall therefore look into particular social settings and bring out the direct relationship between the music, the people who make it and the situation in which it is performed. Description: B.A.(HONS)MUSIC Wed, 01 Jan 1997 00:00:00 GMT /library/oar/handle/123456789/88328 1997-01-01T00:00:00Z