DOCSLIB.ORG

Time's Raging Music Credits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Time's Raging Music Credits Music by William Motzing Music played by The Sydney Symphony Orchestra Composer William Motzing: Composer William Motzing has had a diverse musical career, having come to Australia in 1971 with Blood, Sweat and Tears. Working on Phil Noyce’s hit Newsfront was a major step for Motzing. He had been involved in arranging records, bands, and worked on about a hundred LPs, but wanted to get involved in film music. Phillip Noyce had heard an original orchestral piece used on on a Jon English rock and roll album. It opened one of the songs and it impressed Noyce. He invited Motzing to dinner, discussed music and what the film needed, and Motzing got the gig. The film offered the chance to do a pastiche of newsreel music, but more importantly Motzing wanted to tie the underscore together musically and use it as a way of reflecting the main character Len, and his upright nature. He also wanted to be able to use it to express aspects of the company Len worked for, the man and his employer and what he did, so he designed a core theme which would be adaptable to various situations. Motzing's site, Spare Parts Productions, still active as of March 2019, and saved to WM here, provided this short CV: William Motzing (BMus, MMus) was born in the USA. He graduated with a Bachelor of Music from Eastman School of Music in Rochester, New York and continued his studies earning a Masters Degree from Manhattan School of Music.He went on to study conducting with Ernest Matteo, Nicholas Flagello, Ionel Perlea and Olga von Geczy; composition with Ludmila Ulehla and John Mayer at Birmingham Conservatoire(UK) and arranging with Rayburn Wright. During his career as a professional trombonist Bill performed with Kai Winding Septet, Jon Eardley Quintet, Gerry Mulligan Big Band,Bill Russo Big Band, Sal Salvador Big Band, Eastman-Rochester Symphony and the Pittsburgh Symphony. His diverse career has also included being the sound designer for Blood,Sweat and Tears for three years. In the classical arena Bill has conducted major symphony orchestras including the Australian Chamber Orchestra and the Australian Opera and Ballet Orchestras. In Europe he has conducted the BBC Radio Orchestra,the Irish Radio/Television Concert Orchestra, the Czech Philharmonic, the Budapest Opera Orchestra and the Babelsberg Film Studio Orchestra in Berlin. Bill has composed, arranged, produced and conducted stage productions including Academy Award presentations and over 100 albums and CDs in the USA, Australia and Europe. As a composer/ arranger his film credits include The Quiet American, Soul Food and the Simpsons. In Australia he is well represented via filmscores and television series including Mother and Son, Come in Spinner, Brides of Christ and Young Einstein. He currently teaches theory, arranging, modern jazz history, improvisation and ensembles at the Sydney Conservatorium of Music. Bill continues to perform his works regularly in Sydney and inspires all musicians he comes in contact with. Motzing also had a wiki listing here, which catches up with the news that he died in January 2014. In turn this links to an obituary published in The Sydney Morning Herald on 25th March 2014 under the header Howzat! An American’s perfect pitch, here and saved to WM here. It was written by Motzing’s son Bill: Bill Motzing wrote music for more than 30 films, including famous Australian ones such as Newsfront (1978), Silver City (1984) and Young Einstein (1988). He also wrote for television series such as True Believers (1988), Mother and Son and Prisoner, as well as recording more than 30 albums. Despite his public work, Motzing was no respecter of famous names. He conducted his son's school orchestra and musicals as well as arranging works for, among others, INXS, John Williams, international symphony orchestras and Sherbet. He would always accept a project he thought was worthwhile, regardless of the money or prestige. William Edward Motzing was born on August 19, 1937, in Pittsburgh, Pennsylvania, the son of William Motzing snr, a machinist in a steel mill, and his wife, Mary (nee Rairigh), who worked in accounts for a clothing retailer. He went to the Eastman School of Music in Rochester, New York, where he took a bachelor's degree in 1958, then a master's degree from the Manhattan School of Music in New York in 1960. Also in 1960, he became the youngest member of the Pittsburgh Symphony Orchestra, and married Bette Anne Loder. After a couple of years he began performing with jazz groups and worked with the Radio City Music Hall orchestra in New York from 1964 to 1971. As well, from 1968 to 1971, Motzing went around the world as sound designer for the band Blood, Sweat & Tears. After visiting Australia with the group, he moved to Sydney in 1972 to become a lecturer in the jazz program at the NSW State Conservatorium of Music (now Sydney Conservatorium of Music) and later at the Australian Film Television and Radio School. In the 1970s and '80s Motzing arranged and conducted strings and horns on many local hits, including Peter Allen's I Still Call Australia Home (added to the National Film and Sound Archive's Sounds of Australia registry in 2013) and Billy Field's Bad Habits, the title track of the best-selling album in Australia in 1981. Motzing took a gold award at the 12th Tokyo Music Festival for Bad Habits. Sherbet's Howzat, arranged by Motzing, as well as being a hit locally, reached the Top 5 of the UK charts and the US Billboard Hot 100 chart. In 2008 he also arranged and conducted Don't Wait Until Tomorrow for Leo Sayer. Sayer said of Motzing: ''I spent so many happy hours in the company of this great man, and great musician, often witnessing the incredibly inspiring effect he had on young musicians, always displaying an easy grace and wisdom. He really cared about his students, followed up on their progress, kept a big door open for all at his house, and they loved him back.'' In Motzing's film work, his score for Young Einstein won the Australian Film Institute (AFI) Award for best original music score and the APRA Music Award. In all, Motzing was nominated for five AFI awards. He also conducted orchestras, including the Australian Chamber, the Australian Opera and Ballet and the Sydney Symphony orchestras. In Europe, he conducted the BBC Radio Orchestra, the Irish Radio/ Television Concert Orchestra, the Czech Philharmonic, the Budapest Philharmonic Orchestra of the Hungarian State Opera and the Babelsberg film studio orchestra in Berlin. There was some confusion when his son, also Bill, who sounded just like him on the telephone, also went into music. The confusion reached a peak when the younger Bill began playing drums and one day the older Bill turned up to a gig with his trombone when the band was expecting a drummer. In 2008, Motzing was told he had Parkinson's disease, but he continued to teach at the conservatorium until he retired in 2011. In 2013, he was diagnosed with Shy-Drager Syndrome, a rare, incurable, aggressive disease that stops the body's major organs. He returned to New York to live with his son and family. Bill Motzing is survived by his children Bill and Carrie, daughter-in-law Martha and five grandchildren. Bette Anne died in 2010. (Below: William Motzing) (Below: William Motzing on the right, here conducting the music for the Australian feature film Kokoda at Studios 301, with composer John Gray on the left) .
Load more

Recommended publications
  • BRUCE CALE, SERIALISM and the LYDIAN CONCEPT by Eric Myers* ______
    BRUCE CALE, SERIALISM AND THE LYDIAN CONCEPT by Eric Myers* ____________________________________________________ [This article appeared in the October, 1985 edition of APRA, the magazine of the Australasian Performing Right Association.] hen the Australia** Music Centre's film on Australian composers Notes On A Landscape came out in 1980, it was apparent that most of the ten W composers included, picked themselves: Don Banks, Anne Boyd, Colin Brumby, Barry Conyngham, Keith Humble, Elena Kats, Graeme Koehne, Richard Meale, Peter Sculthorpe. In addition to them, there was one composer who, on the face of it, might not have been regarded as such an automatic choice: Bruce Cale. Bruce Cale on the verandah of his house in the Blue Mountains, with his dog Muffin… PHOTO CREDIT MARGARET SULLIVAN __________________________________________________________________ *When this was written in October, 1985, Eric Myers was editor of the Australian Jazz Magazine, and writing jazz reviews for The Australian. **Australia Music Centre was at the time the correct spelling. Sometime later ‘Australia’ was changed to ‘Australian’. 1 After all, he was principally known as a jazz composer and performer, and when the film was planned, had been back in Australia only two years, following 13 years in Britain and the United States. On the other hand, there were some eyebrows raised in the Australian jazz world that Cale was "the only jazz composer" included in the film. But those who were aware of Cale's work knew that he had been included because of his orchestral writing as well as his jazz composition; his work had certainly emerged from jazz but, in a highly individual way, he was seeking to merge jazz and classical traditions.
    [Show full text]
  • Tutor Listing
    Thornleigh West Public School Band – Tutor Listing ** indicates that this is a primary instrument for this tutor # indicates that the tutor can also teach this instrument The Band Committee suggests that parents choose a tutor whose primary instrument is the instrument your child is learning where possible. CLARINET Deborah Muir ** (teaches off site – Monday to Saturday) mob: 0412 099 907 email: [email protected] As a trained musician with a degree and a wealth of professional playing experience, Deborah Muir brings a unique blend of musical knowledge with a thorough understanding of the needs of children in the learning environment. The combination of her formal education blends nicely with the experience that Deborah brings from being a mother to 3 young -children. Deborah teaches both children and adults in the clarinet and saxophone as well as the piano, her other childhood instrument. Deborah specializes in beginner musicians, band instruction, education and assessment and prides herself in the strength of the interpersonal relationships she develops with her students. Tim Wall ** (Monday and Thursday) mob: 0435 016 704 email: [email protected] Beginning at a young age, Tim's study of music led him to AMusA level in the clarinet and Bachelor of Music at UNSW. Since 2004 Tim has taught clarinet, saxophone and flute at Beecroft Primary School, Newtown Public School, Ferncourt Public School, Balmain Public School, Thornleigh West Public School and many band camps. He has also taught in the UK across schools in London as part of the Every Child a Musician program. He is passionate about using all his knowledge and experience to inspire and guide young musicians.
    [Show full text]
  • Full Music Credits
    Music by Peter Sculthorpe (cast) The People and Musicians at Gapuwiyak Community Music Teacher Colleen Lenord Wire Music Alan Lamb Composed & Recorded on the Faraway Wind Organ Fitzgerald, Western Australia Chamber Music David Matthews Conductor William Motzing Music Recording Supervisor Ron Purvis Music Recording Engineer Mike Stavrou Music Recorded at Studios 301 Sydney Performed by Sydney Studio Musicians Together with the Australian Chamber Orchestra and the Phoenix String Quartet 'I dreamt that I dwelt in marble halls' The Bohemian Girl Act 11 Music by Michael Balfe Sung by Vanessa Fallon Piano played by Leon Gibbons 'O Mistress Mine' Music by Peter Sculthorpe Lyrics by William Shakespeare Sung by Nicholas Rontley Margo Adelson Clare Maclean Kathy Marsh 'John Peel' 'Cheer Boys Cheer' 'The British Grenadiers' Played by the Burwood Brass Band (NSW) Under the direction of Bryan Seddon 'King of the Fairies" Arranged and Played by Doug Kelly Bill O'Toole Andrew de Teliga Winsome Evans 'Dark Island' 'No Awa to Bide Awa' 'Green hills of Tyrol' Bagpipes Played by Graham Hardy Thanks to Australian Music Centre Peter Sculthorpe was one of Australia's foremost composers of classical music until his death in August 2014. Tasmanian born, his first score for a feature film was the low-budget 1962 children's feature They Found A Cave, which was filmed in that state. He next did the score for Michael Powell's Age of Consent, but there were disagreements about the score he devised, with it being dropped and replaced by a conventional outing from British composer Stanley Myers. (It is now available on the restored region 1 DVD 'director's cut' edition.
    [Show full text]
  • Alumni Recognition Ceremony & Reunion Concert
    SYDNEY CONSERVATORIUM OF MUSIC ALUMNI RECOGNITION CEREMONY & REUNION CONCERT TUESDAY 22 MARCH 2011 CONTENTS 1 COLUMN CONTENTSALUMNI RECOGNITION CEREMONY A celebration to VENUE recognise the Sydney The Great Hall, The Quadrangle The University of Sydney Conservatorium of Music’s pre-1990 RECOGNITION CEREMONY alumni as part of 2pm the University of The academic procession enters the Great Hall, Sydney family. the assembly standing March from Ode for Saint Cecilia’s Day, GF Handel Introduction by Professor Kim Walker, Dean and Principal of the Sydney Conservatorium of Music The proceedings are opened by the Chancellor, Her Excellency Professor Marie Bashir AC CVO Presentation of alumni recognition certificates Address by Dr Michael Spence, Vice-Chancellor and Principal of the University of Sydney Address by Lyndon Terracini, alumni guest speaker Closing remarks by Professor Kim Walker The academic procession retires, the assembly standing Final from the First Organ Symphony, Louis Vierne Refreshments served in the Quadrangle Organ music performed by Amy Johansen, University of Sydney Organist and Carillonist Carillon recital prior to the ceremony by Hans Hielscher, guest carillonist (Wiesbaden) Carillon recital following the ceremony by Isaac Wong, Honorary Carillonist Coaches to the Sydney Conservatorium of Music depart from the Clocktower between 4 and 4.30pm. Miss Terry Greene, opera diva, Alumni Recognition Ceremony 2010 GUEST SPEAKER LYNDON TERRACINI Diploma of Operatic Art 1973 Lyndon Terracini studied opera at the NSW State Conservatorium of Music, and made his debut as a professional singer in 1976 as Sid in Benjamin Britten’s Albert Herring with the Australian Opera at the Sydney Opera House. After moving to Italy – opera’s spiritual home – Terracini sang many of the great baritone roles in opera houses all over Europe.
    [Show full text]
  • Young Einstein Music Credits
    Original Music Score William Motzing Martin Armiger Tommy Tycho Bavarian Band Sylvester's Sextet Music Engineers Robin Gray Mike Stavrou Nick Launay Richard Lush Rock Session Musicians Ken Francis Kirk L'Orange Roger Mason Rick Chadwick Sunil Da Silva Nick Lyons Jason Morphett Orchestra Leaders Ron Leighton Robert Ingram Harmonies The Song Company Fat Opera Voice Jocelyn Pinkus Orchestral Music Performed by Victorian Philharmonic Orchestra Additional Score Maurie Sheldon Simon Walker Music Editor David Roach SONGS 'Great Southern Land’ Composed by Iva Davies Performed by ‘Icehouse’ Published by Catsongs Pty Ltd. Courtesy of Chrysalis Records Inc. & Regular Records Pty. Ltd. 'Hungry Town’* Composed by Oleh Witer and ‘Big Pig’ Performed by ‘Big Pig’ Produced by Nick Launay Etienne Conod & ‘Big Pig’ Mixed by Nick Launay Published by Mushroom Music Pty. Ltd. & Big Pig Music Courtesy of A & M Records, Inc. 'I Hear Motion’* Composed by Sean Kelly, Andrew Duffield, James Freud & Barton Price Performed by ‘Models’ Produced by Nick Launay Published by Mushroom Music Pty. Ltd. 'The Music Goes Round My Head’* Composed by Harry Vanda & George Young Performed by ‘The Saints’ Published by J. Albert & Son Pty. Ltd. 'At First Sight’* Composed by Domenic Mariani Performed by ‘The Stems’ Produced by Alan Thorne, Domenic Mariani & Guy Gray Published by Mushroom Music Pty. Ltd. 'Weirdo Libido' Composed by Mick Blood & Daryl Mather Performed by ‘The Lime Spiders’ Produced by Cameron Allan Published by Virgin Music Aust. Pty. Ltd. Courtesy of Virgin Records Aust. Pty. Ltd. 'Great Big Brain' Lyrics by Serious & Roach Music arranged by William Motzing 'The Good, The Bad & The Ugly' Composed by Ennio Morricone 'Dumb Things’* Composed by Paul Kelly Performed by Paul Kelly & The Messengers Produced by Martin Armiger & Paul Kelly Re-mixed by Alan Thorne & Paul Kelly Published by Mushroom Music Pty.
    [Show full text]
  • 60TIFF-CATALOGUE.Pdf
    EΠΙΣΗΜΟΣ ΚΑΤΑΛΟΓΟΣ ΟFFICIAL CATALOG 60ό Διεθνές Φεστιβάλ Κινηματογράφου Θεσσαλονίκης 60th Thessaloniki International Film Festival ΥΠΟΣΤΗΡΙΚΤEΣ ΠΡΟΓΡΑΜΜΑΤΟΣ | FESTIVAL PROGRAM SUPPORTERS ΥΠΟΣΤΗΡΙΚΤEΣ ΠΡΟΓΡΑΜΜΑΤΟΣ | FESTIVAL PROGRAM SUPPORTERS Διοικητικό Συμβούλιο Board of Directors Πρόεδρος President Γιώργος Αρβανίτης Yorgos Arvanitis Αντιπρόεδρος Vice President Αχιλλέας Κυριακίδης Achilleas Kyriakidis Μέλη Members Γιώργος Τούλας Yorgos Christianakis Γιώργος Τσεμπερόπουλος Yorgos Toulas Γιώργος Χριστιανάκης Yorgos Tsemperopoulos Νομικός Σύμβουλος Legal Advisor Μαριάννα Παπαδοπούλου Marianna Papadopoulou Γραμματέας Secretary Μαρία Τζιώλα Maria Tziola Το Φεστιβάλ Κινηματογράφου Θεσσαλονίκης εποπτεύεται από το Υπουργείο Πολιτισμού και Αθλητισμού. The Thessaloniki International Film Festival is supervised by the Hellenic Ministry of Culture and Sports. Περιεχόμενα Contents Επιτροπές & Φεστιβάλ Juries & Awards 13 Διεθνές Διαγωνιστικό International Competition 24 Διαγωνιστικό “Meet the Neighbors” «Γνωρίστε τους γείτονες» Competition 33 Εκτός συναγωνισμού Out of Competition 39 VR VR 43 Ανοιχτοί Ορίζοντες Open Horizons 47 Ειδικές Προβολές Special Screenings 80 >> Film Forward >> Film Forward 92 Round Midnight Round Midnigh 100 Φεστιβάλ Ελληνικού Κινηματογράφου Greek Film Festival 104 Ματιές στα Βαλκάνια Balkan Survey 133 Αφιερώματα Tributes 149 Carte Blanche στον John Waters Carte Blanche to John Waters 166 Μεγαλώνοντας στα 80s The Boy 80s 173 Βραβείο LUX LUX Prize 179 Νεανική Οθόνη Youth Screen 182 Αγορά Agora 187 Παράλληλες Εκδηλώσεις Sidebar
    [Show full text]
  • A Study of Compositional Techniques Used in the Fusion of Art Music With
    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 Director of Copyright Services sydney.edu.au/copyright A Study of Compositional Techniques Used in the Fusion of Art Music with Jazz and Popular Music Nadia Burgess Volume 1 A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney 2014 Declaration 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.
    [Show full text]
  • Annual Report 2002–2003
    Australian Film Television and Radio School Annual Report 2002–2003 Australian Film Television and Radio School Annual Report 2002–2003 Australian Film Television and Radio School Cnr Epping and Balaclava Roads North Ryde NSW 2113 PO Box 126, North Ryde NSW 1670 Tel +61 (0)2 9805 6611 Fax +61 (0)2 9887 1030 [email protected] http://www.aftrs.edu.au http://www.aftrs.edu.au/school/reports.html State Offices and Representatives Queensland Judith Wright Centre of Contemporary Arts 420 Brunswick Street PO Box 1480 Fortitude Valley QLD 4006 Tel +61 (0)7 3257 7646 Fax +61 (0)7 3257 7641 [email protected] Contact: Alex Daw South Australia 3 Butler Drive Hendon SA 5014 Tel +61 (0)8 8244 0357 Fax +61 (0)8 8244 5608 [email protected] Contact: Ann Walton Tasmania Level 3, 33 Salamanca Place Hobart TAS 7000 Tel +61 (0)3 6223 8703 Fax +61 (0)3 6224 6143 [email protected] Contact: Craig Kirkwood Victoria 1st Floor, 144 Moray Street PO Box 1008 South Melbourne VIC 3205 Tel +61 (0)3 9690 7111 © Commonwealth of Australia 2003 Fax +61 (0)3 9690 1283 ISSN 0819-2316 [email protected] Contact: Simon Britton This work is copyright. Apart from any use as Western Australia permitted under the Copyright Act 1968, no part 92 Adelaide Street may be reproduced by any process without earlier Fremantle WA 6160 written permission from the Commonwealth Tel +61 (0)8 9431 6700 available from AusInfo. Requests and enquiries about Fax +61 (0)8 9335 1283 reproduction and rights should be addressed to [email protected] the Manager, Legislative Services, AusInfo, GPO Box Contact:Tom Lubin 1920, Canberra ACT 2601.
    [Show full text]
  • First Kangaroos Music Credits
    Music by William Motzing Music in the film: Music only appears a couple of times within the film, as opposed to underscore. In one scene pianist bashes out a tune, under a flag that looks suspiciously anachronistic: In another scene, the team indulges in a chant/war cry on the field. See this site’s ‘about the film’ section for the chant and translation: In the final scene, the Kangaroos walk down a dark city street singing a team song about winning a few: Composer William Motzing: Composer William Motzing has had a diverse musical career, having come to Australia in 1971 with Blood, Sweat and Tears. Working on Phil Noyce’s hit Newsfront was a major step for Motzing. He had been involved in arranging records, bands, and worked on about a hundred LPs, but wanted to get involved in film music. Phillip Noyce had heard an original orchestral piece used on on a Jon English rock and roll album. It opened one of the songs and it impressed Noyce. He invited Motzing to dinner, discussed music and what the film needed, and Motzing got the gig. The film offered the chance to do a pastiche of newsreel music, but more importantly Motzing wanted to tie the underscore together musically and use it as a way of reflecting the main character Len, and his upright nature. He also wanted to be able to use it to express aspects of the company Len worked for, the man and his employer and what he did, so he designed a core theme which would be adaptable to various situations.
    [Show full text]
  • Sydney Conservatorium of Music Postgraduate Handbook 2009
    Sydney Conservatorium of Music postgraduate handbook 2009 Set a course for Handbooks online: www.usyd.edu.au/handbooks Acknowledgements Acknowledgements The Arms of the University Sidere mens eadem mutato Though the constellation may change the spirit remains the same Copyright Disclaimers This work is copyright. No material anywhere in this work may be 1. The material in this handbook may contain references to persons copied, reproduced or further disseminated ± unless for private use who are deceased. or study ± without the express and written permission of the legal 2. The information in this handbook was as accurate as possible at holder of that copyright. The information in this handbook is not to be the time of printing. The University reserves the right to make used for commercial purposes. changes to the information in this handbook, including prerequisites for units of study, as appropriate. Students should Official course information check with faculties for current, detailed information regarding Faculty handbooks and their respective online updates along with the units of study. University of Sydney Calendar form the official legal source of Price information relating to study at the University of Sydney. Please refer to the following websites: The price of this handbook can be found on the back cover and is in www.usyd.edu.au/handbooks Australian dollars. The price includes GST. www.usyd.edu.au/calendar Handbook purchases Amendments You can purchase handbooks at the Student Centre, or online at All authorised amendments to
    [Show full text]
  • Solo and Chamber Percussion Works by Nigel Westlake: an Examination of Fabian
    Solo and Chamber Percussion Works by Nigel Westlake: An Examination of Fabian Theory, The Hinchinbrook Riffs, The Invisible Men, Kalabash, Malachite Glass, Moving Air, Omphalo Centric Lecture and Penguin Circus. D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Kevin Matthew Estes, B.M, M.M. Graduate Program in Music The Ohio State University 2014 Document Committee: Dr. Susan Powell, Advisor Dr. Russel Mikkelson Professor Katherine Borst Jones Copyright by Kevin Matthew Estes 2014 ABSTRACT For over thirty years, collegiate and professional percussionists from all over the world have performed Nigel Westlake’s solo and chamber percussion works. The intention of this document is to provide future performers with information about the evolution and performance practices of each work. It will also serve as a reference guide detailing Westlake’s musical form and compositional approach to solo and chamber percussion between 1984 and 2009. The compositions examined in this document include, Fabian Theory, The Hinchinbrook Riffs, The Invisible Men, Kalabash, Malachite Glass, Moving Air, Omphalo Centric Lecture, and Penguin Circus. The biography was created from several sources including interviews, biographies, articles, and two telecommunication interviews with Nigel Westlake. The biography details Westlake’s life for the past thirty years including information about his orchestral works and film scores but focusing primarily on his works for percussion. This document provides a synopsis of each percussion work including evolution, musical analysis, and performance suggestions. ii DEDICATION This document is dedicated to the memory of Eli Westlake iii ACKNOWLEDGMENTS I would like to express my great appreciation for my advisor Dr.
    [Show full text]
  • Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
    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 A Study of Compositional Techniques Used in the Fusion of Art Music with Jazz and Popular Music Nadia Burgess Volume 1 A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney 2014 Declaration 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.
    [Show full text]