Fermata 2018 Event as iCalendar

(Creative Events, Music)

21 March 2018 - 17 October 2018

5 - 6:30pm

Venue: Music Theatre, School of Music

Location: 6 Symonds Street, Auckland Central

Host: School of Music

Cost: Free admission, registrations not required

Contact email: creative@auckland.ac.nz

Fermata 2018 at the School of Music

Founded by Associate Professor Allan Badley and Senior Lecturer Davinia Caddy, the series aims to showcase the distinctive specialisms and issues pertaining to the study and history of music, featuring our staff's exciting research.

Discover the various study and career pathways in musicology.

Wednesday 21 March, 5-6.30pm

Davy Crockett, Slue-Foot Sue and the Triple R: Folksong and Fakesong in Walt Disney’s 1950s

Dr Gregory Camp

 

 

During the 1950s the Walt Disney Studio become particularly concerned with creating an idealised vision of America’s past, and Disney and his co-creators enlisted music to help achieve this. Through careful use of folksong material as well as new music written in a style that negotiates between folksong and contemporary popular music (fakesong), Disney musicalised the past in a way that spoke to the present. This paper will examine the musical materials and cultural meanings of this fakesong across Disney’s 1950s film, television, and theme park texts. The studio’s western films and television shows of the late 1950s include examples of fakesong in ballads or dance-songs, most famously the Ballad of Davy Crockett.Westward Ho the Wagons (1956) features newly-composed ballads that musicalise the journey of a wagon train and The Light in the Forest (1958) uses a dance scene to illustrate the protagonist’s outsider status. The Mickey Mouse Club presented 1950s children with a great deal of music, especially in serials like Spin and Marty and Annette. These television episodes proffer group singing (of both fakesong and folksong) as a constant presence in American childhood. Finally, Disneyland allowed audiences to experience American music in real life: Main Street, U.S.A., the entry area to the park, created a turn-of-the-century soundscape, and the Golden Horseshoe Review was a sanitised version of a wild west saloon show. These examples demonstrate the centrality of music to the Disney studio as its products and their presentation of the past became an integral part of daily life in mid-century America.

Wednesday 18 April, 5-6.30pm

Drake Medal Presentation

Ben Kubiak

Established in 2010 by the School of Music, the Drake Medal is awarded annually to a senior student for the best musicology essay of the year.

Last year's winner Ben Kubiak will lead this Fermata session and deliver findings from his award-winning Honours dissertation focusing on rock musical theatre.

Wednesday 2 May, 5-6.30pm

Kevin Field, Senior Lecturer
Roger Manins, Senior Lecturer

Pianist, composer and Senior Lecturer Kevin Field has collaborated with some of the top international names in jazz including bassist Matt Penman, drummer Obed Calvaire  and guitarist Nir Felder, who all feature on his latest album The A List. He has performed concerts in the UK, USA, and Australia, and features on over 30 albums including Nathan Haines’ releases The Poets Embrace and Vermillion Skies and recordings by such artists as Whirimako Black, Jennifer Zea, and The New Zealand Symphony Orchestra. In addition, Kevin has released several of his own albums including 2012’s Field of Vision on the Warner Music label. 

Senior Lecturer Roger Manins is widely regarded as one of the premier saxophonists in the Southern hemisphere. He performs regularly throughout New Zealand and Australia, and is featured on over 30 albums as a sideman with six releases of his own. Also active in the music community,Roger is co-founder and Artistic Director of CJC Creative Jazz Club Aotearoa, and helps coordinate the Auckland Jazz festival.

Roger and Kevin will each discuss and demonstrate their respective research. Roger will focus on a restricted framework for the creation of composition and improvisation within set sonic diameters, while Kevin, off the back of his recent sell-out doctoral performance, will acquaint us with the Modes of Limited Transposition as a vehicle for effective and innovative tension within a jazz improvisational context.

The two Senior Jazz Lecturers will also perform together during the session.

Wednesday 16 May, 5-6.30pm

Dr Morag Atchison, Voice Lecturer

Wednesday 30 May, 5-6.30pm

Storace’s Collection of Original Harpsichord Music as a Harbinger of Modernity

Halvor Hosar, doctoral candidate
Allan Badley, Associate Professor

 

Multi-composer collections of keyboard pieces were issued regularly by English publishers over the course of the eighteenth century. These vary markedly in their scale, ambition and purpose but they all provide a lens through which to examine contemporary music culture. One collection, however, stands head and shoulders above all others in terms of its quality and historical importance: Stephen Storace’s Collection of Original Harpsichord Music published in two volumes, each comprising six parts, between 1787 and 1789.

Storace’s Collection is dominated by works he acquired while he was living in Vienna and includes seven compositions by his friend Mozart. But Mozart was not the only composer with whom Storace was acquainted, and his publication of works to which he appears to have enjoyed unique access, implies that their composers may have been willing and active participants in his ambitious publishing venture.

This paper explores how the Collection was compiled and published and argues that in spite of its obvious element of self-promotion, it can also be viewed on a deeper level as part of Storace’s wider personal mission to modernise English music in the light of his revelatory musical experiences in Vienna.

Wednesday 25 July, 5-6.30pm

Maria Grenfell: a composer's journey

Maria Grenfell, Head of the Conservatorium of Music at the University of Tasmania

 

 

Programme

Composer Maria Grenfell was raised and educated in New Zealand, studied in the USA, and now teaches and composes in Tasmania, Australia. This talk introduces her career journey, and presents a range of her compositions for chamber ensembles and orchestras. She will also outline her role as a mentor for emerging composers in two Australian composer development programmes.

Biography

Maria Grenfell is Head of the Conservatorium of Music at the University of Tasmania. She was born in Malaysia in 1969 and raised in Christchurch, New Zealand, graduating with a Master of Music degree from the University of Canterbury. She completed further studies in the USA, gaining a Master of Arts from the Eastman School of Music in Rochester, New York, and a doctorate from the University of Southern California in Los Angeles. Her teachers have included Stephen Hartke, Erica Muhl, James Hopkins, Morten Lauridsen, Joseph Schwantner and Samuel Adler. Maria's music is regularly commissioned, performed, broadcast or recorded by all the major symphony orchestras in Australia and New Zealand, and numerous chamber groups in Australasia and overseas. In 2013 she was Visiting Professor of Composition at Stephen F. Austin State University, Nacogdoches, Texas for a semester. Also in 2013 she won an Australian Art Music Award for her piece Ten Suns Ablaze, commissioned by the Australia Ensemble. She has served on the Board of Directors for the Tasmanian Symphony Orchestra, and regularly mentors emerging composers.

Maria lives in Hobart with her husband, guitarist David Malone, and their two children.

 

Wednesday 8 August, 5-6.30pm

Senior Lecturer, James Tibbles

 

Details to follow.

Wednesday 22 August, 5-6.30pm

Hickory Dickory Dock, The Mouse Ran Round The Clock: The Wiremu Vowel Clock

Professional Teaching Fellow Robert Wiremu and Associate Professor Dr Karen Grylls

 

 

The International Phonetic Alphabet (IPA) was a revelation to singers. The classical singing community especially has taken to it well as it gives greater access to previously unseen foreign language repertoire. In choral music-making, practitioners always realised that tuning was about pitch, of course, but it has also always been about vowel matching. IPA helped enormously in this regard, but it was a bit clumsy when used in a rehearsal context. That is why the Wiremu Vowel Clock (WVC) was created. 

WVC works at all levels of phonetic education, including for those with no education in phonetics. It can take a long time to master the 29 (sometimes confusingly similar) IPA symbols, but WVC is relatively quick with five points of reference to get students started. Visual and aural learners have been seen to succeed with IPA. So far, it has been seen that the WVC succeeds with spatial, visual, aural, and tactile learners.

This presentation will ask, what is the Wiremu Vowel Clock? How effective is it? What have we learned about it so far, and what potential does it have for further usage?

 

Wednesday 19 September, 5-6.30pm

The Healing Potential of the Vocal Arts in Communities Impacted by Historical Trauma.

Senior Lecturer, Dr Te Oti Paipeta Rakena

This event is part of the School of Music Festival, 14 September - 1 October 2018.

 

If you are expecting a conventional academic presentation, you will be disappointed! For this special Festival Fermata, Dr Rakena leads a live performance art presentation.

There will be expressions of tino rangatiratanga, Georgian wine and lip synching to gay anthems from the '90s.

Warning: adult themes.

Featuring:

Guest Artists: Te Ohorere Williams and Nathan Hauraki

Collaborative Accompanists: Alexander Matangi and Matthew Kereama

Special Artists: Student X, Y and Z.

Keep up to date via our Facebook event page.

Wednesday 3 October, 5-6.30pm

Anne La Berge, US/Netherlands

 

Details to follow.

Wednesday 17 October, 5-6.30pm

Senior Lecturer, Leonie Holmes

 

Final Fermata lecture for 2018. Details to follow.