http://nova.newcastle.edu.au/vital/access/services/Feed ${session.getAttribute("locale")} 5 http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6360 The album, Afro No-Clash, contains eleven compositions which explore the distinct types of syncretism identified in the analytical frameworks and demonstrate the results of using the frameworks in compositional invention and decision making. They explore modes of integrating Western and African musical techniques including ostinati in unusual periodicities, hocketing, polyrhythms and antiphony. A significant contribution to the research is its the capacity to communicate to Western and Africanist audiences. 2012-03-26T01:40:00.634Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6359 This session explores aspects of time and temporality in the writings of the English mystic, Margery Kempe (1373-1438), through the medium of a soundscape. The work draws on text, music and sounds to create an experience of the past through the ears of the present. In addition to readings from the Proem, Preface and two books of Kempe, the soundscape incorporates recordings of medieval music from 1965 and 1975, which are in themselves already historical: Medieval English Lyrics (Frank Harrison) and Music of the Gothic Era (David Munrow). The collage of sounds is put together using layering – an apt correspondence with music of Kempe’s times, which was primarily linear. In addition, the common medieval technique of a tenor is used. The use of this structurally fundamental or 'holding' voice is applied to a key sentence from the Proem, which is repeated, varied and incrementally extended. The work meditates on the notion of temporality by using voice, music, and sound to represent the way time structures Margery's book. This work is a collaboration that, in its own production, references some of the relationships that produced Margery Kempe's own book. 2012-03-09T01:30:01.677Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6367 ‘Sonata’ is a chamber work for Violoncello and Piano. Drawing on famous 20th century cello repertoire, ‘Sonata’ compiles techniques associated with these works. Because these works are so iconic, the slightest reference to their famous motives, gestures, etc, could be heard as a quotation or pastiche. ‘Sonata’ re-casts the role of composer as a mediator of recovered cultural sound memories. 2010-07-13T23:42:18.845Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6368 Mirrors of Fire (MoF) is a classical guitar solo. The classical guitar tradition is arguably the more conservative of guitar cultures. The research examines ways concert repertoire for classical guitar can incorporate the vitality and stylistic idiosyncrasies of popular music for guitar. Furthermore, in what ways can polyrhythm extend the technique of the guitarist and the boundaries of virtuosity? MoF extends polyrhythmic technique for guitar playing with the introduction of right hand polyrhythmic fingering over contrapuntal lines fingered by the left hand. The technique is difficult to execute and not often encountered in the repertoire. MoF is recognised as repertoire for the guitar virtuoso. 2010-07-13T23:29:12.827Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6355 ‘Louis Couperin and Friends’ presents 17th-century harpsichord repertoire matched to the instrument, copy of a French harpsichord dated 1684. The program juxtaposes music by two major 17th century harpsichord composers, Louis Couperin and Jacques Chambonnières, suggesting stylistic resonances in pieces of three later composers, Gaspard Le Roux, François Couperin, and Rameau. Far from aiming to establish ‘definitive readings’, the recording expresses a flexible concept of 17th century harpsichord style with multiple versions as its defining characteristic. 2010-07-13T06:08:25.102Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4204 ‘Venere, Adone e Amore: Serenatas and Cantatas of Alessandro Scarlatti’ represents the culmination of 20 years’ performance research and study of primary sources of Scarlatti’s secular vocal music. Priority was given to use of autograph material so that the performances are based where possible on composer’s original readings and performance indications. The choice of a wide range of works, covering 30 years of the composer’s output in this three-disc set, is designed to show how the richness and originality of Scarlatti’s musical invention bridges seventeenth and eighteenth-century music styles. 2010-07-13T05:52:23.883Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6357 ‘Battle Cry’ consists of performances by a classically trained choir of contemporary & rock pieces. Performed by the University of Newcastle Chamber Choir, winner of the 2008 'Battle of the Choirs'. 2010-07-13T04:56:52.463Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6371 Five works performed between 2005-2007 as a soloist: (1) St Matthew Passion, Johann Sebastian Bach (1685-1750) ; (2) Colours of Night, Alessandro Stradella (1639-1682) ; (3) Idomeneo, Wolfgang Amadeus Mozart (1756-1791) ; (4) Cantatas BWV 79, 80, 140, Johann Sebastian Bach (1685-1750) ; (5) Cantatas BWV 27, 46, 78, 105 Johann Sebastian Bach (1685-1750). This portfolio examines the role of vocal nuance and inflection in relation to text, elements of musical expression and affect (referring to the ability of the performer to move the emotions or passions of the audience). The portfolio data, developed through music rehearsal and live performance, underlines modes in which the singing voice conveys both textual meaning and the communication of emotion in 18th-century vocal repertoire. 2010-07-13T00:59:44.844Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6369 A musical work for voice and orchestra (or piano) using as its text the poem Memory by Rachael Jessup, which won the Taronga Foundation’s Senior Poetry Prize (2004). In comparison with abstract instrumental music, musical works with text offer composers additional avenues for creating layers of meaning. Memory is one such piece that embodies a research component through its exploration of the relationship between textual and musical discourses. This relationship is at once literal (the text invoking a specific musical ‘mood’) and ironic (the music revealing hidden subtexts that are sometimes at odds with the surface imagery), a process that creates multiple viewpoints. While the theme of Rachael Jessup’s poem concerns her grandfather’s and his family’s memories, it also deals subtly with the loss of memory and the relationship that the living have with the dead through the act of remembrance. 2010-07-13T00:43:26.227Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6370 A musical work for solo piano. The research embodied in this work encompasses the interaction of the multiple concepts of narrative, quotation, representation, recontextualisation, hybridisation, parody, and irony, which firmly places it within the postmodern tradition. This heterogeneous mix creates a rich multilayered structure operating within the specific classical formal structure of the fantasy and fugue, and the broad genre of the piano solo – itself a rich resource of associations and expectations for the informed listener – that are used ultimately to blur the connection between abstract musical and programmatic meaning, and subvert temporal perception. Thus, while the musical surface follows a seemingly straightforward dialectical course, the above-mentioned qualities act anarchically to create multiple fragmented perspectives. 2010-07-13T00:06:11.061Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4223 The album 'Art or Porn?' by the band 'Celebrity Drug Disasters' - Tracklisting: 'Put Yourself In My Shoes' / 'When Boys Cry' / 'Getting Better' / 'The Television Will Not Be Revolutionized' / 'We Can Get Together' / 'Just Say Goodbye' / 'Dark Angel' / 'Things I Thought I'd Never Do' / 'Looking Out Looking Back' / 'Rock!' / 'You're Going Down' / 'She Stopped the Party' / 'Hotbox' / 'Bring Me to My Knees'. 2010-06-15T07:05:11.727Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4222 This song is from the album 'Art or Porn?' by the band 'Celebrity Drug Disasters'. 2010-06-15T07:04:27.310Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4177 This song is from the album 'Art or Porn?' by the band 'Celebrity Drug Disasters'. 2010-06-15T05:15:09.248Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4169 This series provides a snapshot of the most fun you can have in the ocean. In an age of high tech gizmos, there remains something uniquely appealing about the deceptively simple pleasure of being propelled forward by a moving wall of water and the wonderful stories, opinions and world views of the people that have shared that feeling. Surfing, above all, is about people. 2010-06-15T02:03:18.055Z ]]>