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Methods of integrating elements of classical Arabic music and Arabic-influenced Jewish music with contemporary western classical music Original compositions and critical commentary

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posted on 17.05.2017, 02:03 authored by Yedid, Yitzhak
This folio contains scores and audio recordings of six original compositions together with a critical commentary. In the six compositions I explore new forms of integrating classical Arabic music, Arabic-influenced Jewish music and contemporary Western classical music. I offer various approaches to this exploration and introduce aspects of classical Arabic music and Arabic-influenced Jewish music in a range of different ways and contexts. In some cases the forms of Arabic genres directly influenced my compositions, and in other cases I have combined musical elements of Arabic genres with Western approaches. My compositions are divided into two groups. Group A has been composed for performers with a Western background, without an expectation that these players know how to perform Arabic music and Arabic-influenced Jewish music. Group B has been composed for performers who have proficiency in the performance of Arabic genres as well as having experience in improvisation of other genres (i.e., jazz and Jewish styles). This group division allows for a degree of flexibility in the integration of diverse materials, and provides a way to examine the challenges of the integration by the association with the performers’ proficiency. Group A compositions include two substantial chamber works: (1) Visions, Fantasies and Dances for string quartet (48 minutes, in seven parts) and (2) Sensations for piano trio (14 minutes), and two shorter compositions: (1) In Memory for piano and flute (12 minutes) and (2) Out to Infinity for solo harp (7 minutes). Group B compositions include one substantial chamber work - Arabic Violin Bass Piano Trio (60 minutes in four movements) and one shorter composition - The Prayer of Honny Ha’me’agel for piano and tenor saxophone (7 minutes). The six compositions are accompanied by a critical commentary, which discusses the compositional process, and outlines musical resources and ideas that provide the basis of my research. The commentary describes the compositional approaches, methods, and techniques that have been employed in each of the works. It also provides background information and references of works of other composers that have been associated with this kind of integration.

History

Principal supervisor

Thomas Reiner

Year of Award

2012

Department, School or Centre

Sir Zelman Cowen School of Music

Course

Doctor of Philosophy

Degree Type

DOCTORATE

Faculty

Faculty of Arts