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PAGES VERSION AFTER ALL FOOTNOTES EDITING Thesis Final COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright COMPOSITIONS COMBINING ACOUSTIC, ELECTRO-ACOUSTIC AND SYNTHETIC INSTRUMENTS FOR MODERN JAZZ PERFORMANCE David Kemp A thesis submitted in partial fulfillment of requirements for the degree of Master of Music (Composition) Conservatorium of Music University of Sydney 2014 I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Date: 9/10/14 Abstract Compositions Combining Acoustic, Electro-acoustic and Synthetic Instruments for Modern Jazz Performance presents a series of seven compositions by vibraphonist and composer David Kemp. The seven works primarily explore combining acoustic (trumpet and drums), electro-acoustic (electric guitar, bass guitar and pickup equipped vibraphone) and synthetic (electronically created synthesizer patches on a Roland XV5050 Sound Module) instruments, mixing musical styles, using rhythm and duration as a governing force in composition, using an extensive harmonic palette and incorporating technology. In this document, the scores are presented in full in a Portfolio Volume, accompanied by recorded performances in audio and visual formats and written analyses of the compositions. Included is a discussion of archetypal composers, similar stylistic traits of their music to mine, and conclusions drawn from the project. The document is completed by a bibliography and discography. ! Preface and Acknowledgements The sources of research for this exegesis have been through both traditional mediums and through direct contact with individuals. For this reason an ethics approval was deemed necessary as the research involved approaching individuals directly who completed a questionnaire. The details of this ethics protocol are as follows: Title: “An investigation of composition approaches and the use of technology in modern jazz music for performance from a jazz vibraphonist’s perspective”. Protocol No.: SCM0003 Approval Date: 17 December 2012 First Annual Report approved : 9th December 2013 Completion Report submitted : 7th September 2014 Authorised Personnel: Mr Daryl Pratt, Mr David Kemp I would like to acknowledge my supervisors Dr Trevor Pearce and Daryl Pratt for their support and sharing of knowledge throughout my Masters research study. I also gratefully acknowledge Helen Mitchell for chairing the Human Research Ethics Committee approval process along with Gary France and Tony Miceli who assisted with facilitating the questionnaire process. !! 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