Date of Award

2013

Document Type

Thesis

Publisher

Edith Cowan University

Degree Name

Master of Arts

School

Western Australian Academy of Performing Arts (WAAPA)

Faculty

Faculty of Education and Arts

First Supervisor

Dr Cat Hope

Second Supervisor

Tim White

Abstract

This thesis explores the creation and performance of five new Western Australian works for the Hungarian concert cimbalom. These include four solo works, and one duet, which were scored, analysed, performed, and recorded. This thesis is in two parts: this exegetical component, which details the background, development, and findings of the research, including the scores created, and the manual that was developed for composers’ use; and a practical component, which is an active representation of the research, included as video recordings. To assist the composition of the new works, a manual was developed for the composers’ use. This manual began with archival research into the extant literature, and was supplemented with my research and the findings from the collaboration process. The developments pertained to the areas of techniques, mallet selection, preparation, and compositional approach. The manual was a valuable tool throughout the creation and development of the works and remains a work in progress. A practice-led research framework was central to the project, allowing reflection both in-action and on-action. The project is divided into three areas: the development of a manual as a tool for composers; collaboration with composers on the creation of new works; and performance and recording of the new works. The practical component of the research includes studio recordings of four of the works, and a live performance of the fifth. These performances demonstrate both the creative outcomes of the project in the form of the works, and the research findings through the use of extended techniques and compositional approach. The exegetical component contains contextual information about the current cimbalom practices in Australia. As my interaction with the research was subjective in nature, I give extensive information about my musical background, and the bodies of knowledge I drew upon in the process. This provides a context for my interaction with the research, and an understanding of my methodological approach.

Access Note

Access to this thesis is restricted to the exegesis - composer manual titled "The concert cimbalom: a manual for composers".

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