Associate Professor Thomas Reiner, ‘Semblances’, an international composition and recording project comprising a CD release with the Italian label Ars Publica in 2014.
Conceptually, this project focuses on music’s semiotic properties. Musical analogies and semblances are explored in relation to their possible meanings (emotional states, psychological processes and concepts, places and their associated character and mood). A more specific concern of this project is music’s ability to articulate existential registers analogous to Jacques Lacan’s Real, Imaginary and Symbolic. Key performers in this recording project are Tristram Williams (widely known Australian performer on trumpet and Flugelhorn), Jessica Aszodi (a leading Australian soprano, now based in the US), Francesco Gesualdi and Luigi Attademo (two well-established virtuoso musicians from Italy: accordion and guitar), and pianist Kenji Fujimura (highly regarded chamber and concert pianist from Melbourne).
Associate Professor Robert Burke, ‘Analysis and Observations of Pre-learnt and Idiosyncratic Elements in Improvisation: A Reflective Study in Jazz Performance’.
This study asks: How does practice-based artistic research lead to a greater understanding and development of the art of musical improvisation in a jazz context? This exegesis is a supporting document to two CD recordings: ‘Here’ by Rob Burke (saxophone) and Tony Gould (piano) (recorded by Jazzhead, 2009) and ‘Live At Bennetts Lane’: Rob Burke Quartet with Rob Burke (tenor and soprano saxophone), Tony Gould (piano), Nick Haywood (double bass) and Tony Floyd (drum-kit) (recorded by Jazzhead, 2011).
Dr Kenji Fujimura, ‘William Hurlstone: Complete Solo Piano Music’.
Following on from his in-depth research into the piano music of English composer William Hurlstone (1876–1906), Kenji has tracked down autograph manuscripts and out-of-print editions to record all of Hurlstone’s piano music that remains in existence. This result will be a CD recording to be released by Toccata Classics in 2014.
Professor Margaret Kartomi – Concepts and Methodology in Music Performativity Research
This research addresses the recent rise of thinking about performativity by interdisciplinary scholars, performers, music scholars, and performer-scholars, and proposes a comprehensive methodology for scholarly research into music performativity. After investigating some performative concepts, including persona, musicality, talent, giftedness, competence, interaction, improvisatory practices, and cueing, it discusses the factors of intersubjectivity (or group bonding), entrainment or groove, and reception. Finally a case study exemplifies how the members of a select Acehnese song-dance group communicate while performing, including how their bonding and physical contact affects the way they rehearse and perform their strenuous, compact body percussion, dance movements and songs in constantly changing tempi with near-perfectly synchronous entrainment, tone colour and intonation.
David Griffiths, ‘Ensemble Interaction, Repertoire and Reception in the Development of an Innovative Chamber Music Performance Group in Melbourne’.
This long-term project examines aspects of the development of Monash University’s Ensemble in Residence, Ensemble Liaison, from it inception in 2006 right through to its performances and operations in 2013. The project has produced a large variety of outcomes including three to four major performances at the Melbourne Recital Centre every year, several national radio broadcasts on ABC Classic FM, national and international tours, along with two critically acclaimed CD publications on the Tall Poppies and Melba Recordings labels. This topic also forms the basis of a PhD project aiming to be completed by late 2014.
Elizabeth Sellars, ‘The Messiaen Nexus’ (Move CD)
This project charts the influence of Olivier Messiaen (1908–1902) on his students György Kurtág, George Benjamin and Pierre Boulez. It also considers the influence on Messiaen by his teacher, Paul Dukas. Through a recording of works for violin (Elizabeth Sellars) and piano (Kenji Fujimura) the project for the first time draws together a collection of works that demonstrate the extraordinary intellectual and creative output that arose from a particularly fertile period in the history of the Paris Conservatoire. The project explores the particular tonal characteristics and diversity of textures and gestures that arose from the Messiaen lineage.