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Creating and Performing New Australian Works on the Hungarian Concert Cimbalom

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Creating and Performing New Australian Works on the Hungarian Concert Cimbalom Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2013 Creating and Performing New Australian Works on the Hungarian Concert Cimbalom Joshua Webster Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Composition Commons Creative component not available as per author's request. Includes composer manual titled "The concert cimbalom: a manual for composers". Recommended Citation Webster, J. (2013). Creating and Performing New Australian Works on the Hungarian Concert Cimbalom. https://ro.ecu.edu.au/theses/614 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/614 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. 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Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. ! ! ! ! ! ! ! ! ! ! ! ! ! Creating!and!Performing!New!Australian!Works!on!the!! Hungarian!Concert!Cimbalom.! ! ! By!Joshua!Webster! Bachelor!of!Music!(Classical)!Honours! ! ! Western!Australian!Academy!of!Performing!Arts! Faculty!of!Education!and!the!Arts! Edith!Cowan!University! ! ! Submitted!24th!April!2013! Master!of!Arts!(Performing!Arts)! ! ! ! ! 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!practiceTled!research!framework!was!central!to!the!project,!allowing!reflection! both! inTaction! and! onTaction.! 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.!! ! ! ii! Declaration( I,!Joshua!Webster,!certify!that!this!thesis!does!not,!to!the!best!of!my!knowledge! and!belief:!! ! 1.! Incorporate! without! acknowledgment! any! material! previously! submitted!for!a!degree!or!diploma!in!any!institution!of!higher!education;!! 2.! Contain! any! material! previously! published! or! written! by! another! person!except!where!due!reference!is!made!in!the!text!of!this!thesis;!or!! 3.!Contain!any!defamatory!material;! ! ! Joshua!Webster! ! ! ! ! iii! Acknowledgements( This! research! project! would! not! have! been! possible! without! the! extremely! generous!support!and!guidance!of!the!following!people:!! My!writing!and!life!coach,! Dr!Lyndall!Adams!! ! My!wonderful!supervisors!who!gave!me!guidance!and!kept!me!on!track,! Dr!Cat!Hope! Tim!White! ! The!composers!I!had!the!great!pleasure!of!working!with,!this!project!relied!upon! their!input!and!creative!work!and!they!all!went!above!and!beyond!to!help!me! realise!this!dream,! Elizabeth!Bonny! Mace!Francis! Christopher!de!Groot! Johannes!Luebbers! Stuart!James! David!Pye! ! My!generous!and!inspiring!cimbalom!teachers,! Viktória!Herencsár! Jenő!Lisztes! ! The!Australian!cimbalom!community,!! ! The!ECU!and!WAAPA!staff!and!students,!and,! ! My! amazing! family! and! friends! who! have! been! there! for! me! every! step! of! the! journey.!! ! Thank! you! all! for! your! support,! I! am! truly! appreciative! of! the! parts! you! have! played!in!helping!me!along!the!way.!! ! ! iv! Table(of(Contents( ! ABSTRACT' II! DECLARATION' III! ACKNOWLEDGEMENTS' IV! TABLE'OF'CONTENTS' V! TABLE'OF'FIGURES' VII! INTRODUCTION' 1! RESEARCH'AIMS'AND'QUESTIONS' 1! CHAPTER'1:'BACKGROUND'TO'THE'RESEARCH' 4! MUSICAL'BACKGROUND' 4! CURRENT'CIMBALOM'PRACTICE' 9! CHAPTER'2:'THE'CIMBALOM'IN'CONTEXT' 11! OVERVIEW'OF'THE'CIMBALOM'IN'MUSIC' 11! LITERATURE'REVIEW' 12! SCORES! 13! RECORDINGS! 13! METHOD!BOOKS! 14! ORCHESTRATION!GUIDES! 16! CONTEMPORARY'PRACTICES'IN'AUSTRALIA' 17! AUSTRALIAN!PERFORMERS! 17! INSTRUMENT!MAKER! 24! REPERTOIRE! 24! CHAPTER'3:'METHODOLOGY' 26! INTRODUCTION' 26! METHODOLOGICAL'APPROACH' 26! BODIES'OF'KNOWLEDGE' 29! PRACTICEBLED'RESEARCH' 30! 1.!THE!DEVELOPMENT!OF!A!MANUAL!AS!A!TOOL!FOR!COMPOSERS! 31! 2.!COLLABORATION!WITH!COMPOSERS!ON!THE!CREATION!OF!NEW!WORKS! 32! 3.!PERFORMANCE!AND!RECORDING!OF!THE!NEW!WORKS! 36! A'MUSICIAN’S'LIFE' 37! CHAPTER'4:'THE'MAJOR'PROJECT' 40! THE'MANUAL' 40! THE'WORKS' 42! 1.!DUET%FOR%CIMBALOM%AND%STAIRWELL!BY!MACE!FRANCIS! 43! 2.!THINGS%ARE%NOT%ALWAYS%AS%THEY%SEEM!BY!JOHANNES!LUEBBERS! 63! ! v! 3.!MUTANT%TELESCOPE%BY!CHRISTOPHER!DE!GROOT! 80! 4.!ERRE%L’OTMITO!BY!ELIZABETH!BONNY! 100! 5.!THE%ISOLATION%OF%ZOLTÁN%SZÖLŐSI!BY!DAVID!PYE! 119! SUMMARY' 145! CONCLUSION' 147! IMPLICATIONS'FOR'FUTURE'RESEARCH' 150! REFERENCE' 151! BIBLIOGRAPHY' 154! APPENDICES' 160! #1'THE'MANUAL'TEXT' 160! #2'SCORE'FOR'DUET%FOR%CIMBALOM%AND%STAIRWELL%BY'MACE'FRANCIS' 212! #3'SCORE'FOR'THINGS%ARE%NOT%ALWAYS%AS%THEY%SEEM%BY'JOHANNES'LUEBBERS' 219! #4'SCORE'FOR'MUTANT%TELESCOPE%BY'CHRISTOPHER'DE'GROOT' 227! #5'SCORE'FOR'ERRE%L’OTMITO%BY'ELIZABETH'BONNY' 237! #6'SCORE'FOR'THE%ISOLATION%OF%ZOLTÁN%SZÖLŐSI%BY'DAVID'PYE' 249! #7'PERFORMANCE'LISTING' 264! #8'USB'DRIVE'CONTAINING'THE'FOLLOWING'CHAPTERS:' BACK'COVER! CHAPTER!1:!THE!MANUAL!VIDEO!COMPONENT! USB! CHAPTER!2:!LIVE!PERFORMANCE!OF!DUET%FOR%CIMBALOM%AND%STAIRWELL%BY!MACE!FRANCIS ! USB! CHAPTER!3:!STUDIO!PERFORMANCE!OF!THINGS%ARE%NOT%ALWAYS%AS%THEY%SEEM%BY!JOHANNES! LUEBBERS! USB! CHAPTER!4:!STUDIO!PERFORMANCE!OF!MUTANT%TELESCOPE%BY!CHRISTOPHER!DE!GROOT! USB! CHAPTER!5:!STUDIO!PERFORMANCE!OF!ERRE%L’OTMITO%BY!ELIZABETH!BONNY! USB! CHAPTER!6:!STUDIO!PERFORMANCE!OF!THE%ISOLATION%OF%ZOLTÁN%SZÖLŐSI%BY!DAVID!PYE! USB! CHAPTER!7:!DIGITAL!AUDIO!BACKING!TRACK!FOR!THE%ISOLATION%OF%ZOLTÁN%SZÖLŐSI%BY!DAVID! PYE! USB! ! ! ! ( ! vi! Table(of(Figures( Figure!1:!Small!cimbalom!owned!by!the!author.!All!photos!in!this!exegesis!taken! by!Joshua!Webster,!unless!otherwise!specified.!..........................................................!5! Figure!2:!Top!view!of!the!author's!concert!cimbalom!made!by!Pavel!Všianský.!....!6! Figure!3:!A!visual!representation!of!the!collaborative!development!process.!The! red!arrows!show!the!looped!‘DraftTRehearsalTFeedback’!process,!which! progressed!to!the!Complete!Work!stage!when!both!the!composers!and! myself!were!satisfied.!............................................................................................................!34! Figure!4:!Stairwell!view!of!the!ground!floor!from!the!landing!between!the!ground! and!middle!floor.!.....................................................................................................................!44! Figure!5:!Stairwell!view!of!the!middle!floor!from!the!landing!between!the!ground! and!middle!floor.!My!small!cimbalom!is!pictured,!awaiting!setup!in!that! position.!......................................................................................................................................!45! Figure!6:!Stairwell!view!of!my!small!cimbalom!in!the!performance!position!on! the!middle!floor.!......................................................................................................................!45!
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