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Original Music for the Dance in Australia, 1960-2000. Compiled by Rachel Hocking for This Thesis and Found in Appendix A

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Original Music for the Dance in Australia, 1960-2000. Compiled by Rachel Hocking for This Thesis and Found in Appendix A Crafting Connections: original music for the dance in Australia, 1960-2000. by Rachel Hocking BMus(Hons) LTCL ATCL AMusA A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Music and Music Education Faculty of Arts and Social Sciences University of New South Wales August 2006 Originality Statement I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. Signed _____________________________________________ Date _______________________________________________ ii Abstract This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other’s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dance- music collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers’ intentions. Importantly, it is also found that involvement with dance has influenced some composers’ styles, aided musical innovation and added significantly to the corpus of Australian music. iii Acknowledgments Firstly I would like to thank my family, especially Tim, Rebecca and Keturah (and my unborn child who has physically endured the final stages of a PhD!), as well as my extended family, for their enormous love and encouragement that they have shown in both a practical and familial way. A huge amount of respect and affectionate gratitude also goes to my supervisor Jill Stubington who has been amazing with her help and support throughout the process - I have learnt so much from her supervision. Thank you also to my co-supervisor and Head of School at UNSW, Christine Logan, who has not only provided fantastic feedback, care and encouragement, but with Dr Stubington’s help, also allowed me to regularly use a private office at UNSW. Thanks also to the staff and colleagues at UNSW, including Dorottya Fabian, Emery Schubert and John Peterson who provided help and regularly answered queries. Thank you to UNSW and DEST for the financial assistance received through the Australian Postgraduate Award: without this, I could not have considered undertaking such a large project. Secondly I would like to acknowledge the large amount of support and assistance I have received from composers who have provided or confirmed information and discussion as well as resources including recordings, copyright permission (where needed) and assistance. These include the composers and their representatives: Robyn Archer/Olivia Meehan; Andy Arthurs; Michael Atherton; Richard Austin; Laurie Scott Baker; Ros Bandt; Kirsty Beilharz; Stephen Benfall; Lee Bracegirdle; Brenton Broadstock; Gerard Brophy; Colin Brumby (thank you for the numerous relevant articles); Andrew Byrne; Brett Cabot; Mike Caen; David Chesworth; Bruce Clarke; David Corbet; Jim Cotter; Iva Davies (thank you for the CD recordings); Sarah De Jong; Marion Foote (on behalf of Malcolm Williamson); Andrew Ford; Greg Foster (from Galapagos Duck); James Franklin; James Gordon-Anderson; Andree Greenwell; Richard Hames; Wendy Hiscocks; Sarah Hopkins; Philip Houghton; Mark Isaacs; Graham Jesse; Anthony Linden Jones; Elena Kats-Chernin; Stephen Lalor; Alan Lamb; James Ledger; Tony iv Lewis; Robert Lloyd; Mary Mageau; Chris Mann; Themos Mexis; Frank Millward; Robert Griffin Morgan; Jonathan Mustard; Padma Newsome; Catherine Oates; Garth Paine; Vincent Plush; David Pye; Edward Primrose; Paul Sarcich; Peter Schaefer; Peter Sculthorpe (thank you for the NLA manuscripts permission); John Shortis; Larry Sitsky; Michael Smetanin; Jason Sweeney; Cathie Travers; Paul Turner; Richard Vella; Darrin Verhagen; Simon Wade; Gillian Whitehead; David Worrall; David Young and Julian Yu. Thank you especially to Warren Burt and Carl Vine for providing extra information, articles, discussion, copyright permission, and sound and video recordings of their work. This research would not have been complete without the additional information provided by choreographers and dance companies. A number of choreographers also provided permission for access to interviews in the Australian National Library, and for this I would like to thank: Keith Bain; Jacqui Carroll; Nanette Hassall; Paul Mercurio; Graeme Murphy; Robert Ray; Cheryl Stock; and Meryl Tankard. Thank you also to the dance companies and their artistic directors and/or representatives including: Music Director and Chief Conductor Nicolette Fraillon at the Australian Ballet; Artistic Director Phillip Adams at BalletLab; Venue Manager Sarah Kelly at Bangarra Dance Theatre; General Manager Claire Pannell at BuzzDance; Assistant Producer Kate Steele at Chunky Move; Artistic Director Jose Calarco at Descendance; Artistic Director Maggie Sietsma and Administration Officer Diane Leith at Expressions Dance Company; Artistic Director Kate Denborough at Kage Physical Theatre; Artistic Director and Choreographer Ruth Galene, Red Opal Theatre; Company Manager Nick Hughes at Restless Dance; Tour Manager/Assistant to Artistic Directors Andris Toppe and International Business Manager Janine Kyle at Sydney Dance Company; Annie Greig at TasDance; Director Mark Reddish at Tasmanian Ballet Company; and Community Access and Events Coordinator Anna Matthews at WA Ballet. Special thanks goes to Education Manager Colin Peasley at the Australian Ballet who provided information, wonderful anecdotes, v resources and arranged access for viewing in Sydney and Melbourne the only known filmed recording of The Display. Also I would like to thank staff at the numerous libraries and archives used for this research including: Anna Kamacz at Screensound (National Film and Sound Archives); Robyn Holmes, Rashmi Madan, Michelle Potter and others in the Penberthy Room, Oral History section and the Manuscripts collection at the Australian National Library; and Judith Foster at the Australian Music Centre. Finally I would like to express my gratitude to a number of colleagues and informants who have helped with queries and discussion including: Carolyn Taylor (University of Tasmania) re Malcolm Williamson; Jean Jarrell (Laban Centre UK), Renate Braeuninger and Melinda Jewell (UNSW) for advice re Labanotation; Shirley McKechnie (VCA) and Kate Stevens (UWS) for general helpful advice and discussions; Amanda Card for help (University of Sydney) with finding the video for The Display; Charles Schwer for proofreading; and Chris Brown for permission to copy Sir Robert Helpmann’s diary held at the Australian National Library. I believe there is One who was able to make all of this fall into place for me and for this I am eternally grateful. vi Table of Contents VOLUME I Originality Statement ii Abstract iii Acknowledgements iv Table of Contents vii List of Figures ix List of Musical Examples x List of Tables xi 1. Introduction to the study of music for dance in Australia 1960- 2000: definitions and scope; context and methodology. 1 i. Scope. 2 ii. Historical context. 9 iii. Analytical context. 22 iv. Plan. 37 v. Conclusion. 44 2. Collaborative opportunities for Australian composers during 1960-2000. 47 i. Prominent national dance troupes. 48 ii. Other dance companies. 59 iii. Freelance choreographers. 72 iv. Other areas of dance including events for commissioning. 76 v. Conclusion. 81 3. Collaborative relationships 1960-2000: conflict and compromise in creativity. 84 i. Choreographers’ attitudes towards music. 86 ii. Composers’ attitudes towards dance. 100 iii. Examples of collaborative relationships. 108 iv. Conclusion. 117 4.
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