Browsing by Type "Original Creative Works - Other"

'860' is a contemporary setting of Emily Dickinson's poem (number 860). Themes of love, loss and anguish are represented with colourful modal harmonies and rhythmic phasing.

A four day music festival comprising nine concerts. The main focus was on historically informed performance but it also included new arrangements and works and reinterpretations of baroque works.

The aim of the editorial is to share research insights in early childhood with parents, families and the community in a manner that is accessible. I take the most recent research on issues relating to families with young children and discuss the implications of these for Armidale families.

Three movements for junior string ensemble (3 violins, 2 cellos and double bass). Music Publisher's number: OMSS029.

Five movements for two altos, tenor and bass recorders and harpsichord, with optional viola da gamba. Music Publisher's number: LMP-210.

A chamber opera in three acts, The Aqueduct weaves together the enthralling sounds of Middle Eastern musical traditions, western art music and jazz to underscore the human side of the Israel-Palestine conflict. Talia is a middle-class Jew from Melbourne who has grown up with an idealistic view of Israel as her true home; 'the land of milk and honey'. Amal, a Palestinian Muslim is a single mother who lives with her young children in a squalid settlement just outside Israeli borders. The two women meet at the Aqueduct, a tourist attraction built under the 'old city' of Jerusalem during Roman times. They connect instantly, but can they rise above personal tragedy, cultural differences and bigotry?

Composition in four movements. 'As Like the Moon' is the title of an Egyptian folk song. Like most such songs, it consists of an extremely short melody and a very large number of verses which are sung successively, in this case accompanying a bridal procession. The bride is imagined to be like the moon rising. Just as the title of the song is unfinished, letting us try to imagine the rest, so the very simple melody can develop different forms and colours. Music Publisher's number: KP3022. KP3022a (flute part), KP3022b (violin part), KP3022c (vibraphone part).

Musical Suite for clarinet in B flat, French horn, violin, piano and percussion. Suite taken from the ballet 'Ayoub wa Naasa: Gentle Waves of the Sea'. There is an Egyptian folksong that tells the story of Job and his wife Naasa. This is very similar to the story as it occurs in religious texts but is actually an independent folk story. This folk song is repeated in various forms throughout the ballet as a linking theme, and it also appears in the suite. Each movement of the suite depicts a different scene in the story. Includes parts for clarinet in B♭, horn in F, violin, percussion. In this score the clarinet and French horn parts are in C. However in the parts they are transcribed in B flat and F respectively. Music Publisher's number: KP 0327, KP 0327a, KP 0327b, KP 0327c, KP 0327d.

Four movements for carillon.

Billy’s Swan is an electroacoustic work which assesses the fantastic escapism that dance can offer the young queer male identity. The audio adopts routine melodic fragments from Tchaikovsky’s ballet score, Swan Lake, and sets these against expressive digital sounds. The fantastic element is symbolised by a sprawling climax of bells chimes (sounds with queer potential) that develop as the piece progresses and the fragments of ballet score fade out. The piece uses musical traditions of arrangement and transcription coupled with the social and political meanings of different sound worlds to consider queer identities.

Score for clarinet solo. Music Publisher's number: KP 0353.

Score and Part for soprano, flute, clarinet, violin and piano. Music Publisher's number: KP 0330, KP 0330a, KP 0330b, KP 0330c.

A collection of unusual arrangements of Christmas carols for two or three recorders. Music Publisher's number: OMP225.

The aim of the editorial is to share research insights in early childhood with parents, families and the community in a manner that is accessible. I take the most recent research on issues relating to families with young children and discuss the implications of these for Armidale families

Score for piano solo. Six movements. Music Publisher's number: KP0367.

Composition dated 1986. Involves col legno and tapping body of instrument. Difficulty: Advanced student. Music Publisher's number: OMSS008.

The aim of the editorial is to share research insights in early childhood with parents, families and the community in a manner that is accessible. I take the most recent research on issues relating to families with young children and discuss the implications of these for Armidale families.

Seven little pieces for one or two beginner violins. Music Publisher's number: OMSS004.

Score for piano solo, eight movements. Music Publisher's number: KP 0376.

The aim of the editorial is to share research insights in early childhood with parents, families and the community in a manner that is accessible. I take the most recent research on issues relating to families with young children and discuss the implications of these for Armidale families.

Three movement for a cello quartet. Music Publisher's number: OMSS003.

Four movements for solo violin. Music Publisher's number: OMSS007.

Croutons XIV was composed for Australian natural trumpeter John Foster. It is one of a series of works for solo instruments that I have written over the years that consist of several short crunchy movements.
The three movements explore different tonal and timbral possibilities of the natural trumpet.
The first uses the movement of sound in space and the combination of vocal sounds with the trumpet sounds.
The second movement plays the the different qualities of sonic presence with echo effects and use of the mute which as well as changing the timbre allows a greater range of tonalities to be used.
The third movement again plays with contrasts, this time between marcato and cantabile articulations, and again explores the use of the mute.
Perhaps the piece could be interpreted as a mystical trumpet far from home exploring an empty and unknowable space.

This output comprises the Sound Design created for the Q Theatre’s production of Daisy Moon Was Born This Way by Australian playwright Emily Sheehan. The production was directed by Nick Atkins and featured actors Isabell Ford, Ayeesha Asj, Andre Drysdale and Mansoor Noor. The play centres around 14 year old Daisy Moon, an eccentric teen who idolises Lady Gaga. The play draws on Australian iconography of a faded beachside surf club and explores contemporary themes around pop-culture and teen attitudes. The sound design supports the major themes of the play drawing upon the music of Lady Gaga. The sound design also utilises and transforms recordings of the actor’s voices to portray the inner dialogue and emotions of the characters.
Daisy played by Isabelle Ford is a determined and passionate ‘Little Monster', a self-declared member of Lady Gaga’s tribe of super fans. She’s even founded Bateman’s Bay’s first ever Little Monsters Club for Misfits, of which she’s the first and total membership. This is where we and Daisy hear from Lady Gaga herself – heard through a disembodied omnipotent voice from above providing life coaching and counsel to Daisy (part of Donna Hewitt’s fittingly Gaga soundtrack to the play). That is until new girl in town Parker (Ayeesha Ash), arrives and Daisy finds a confidant and fellow Little Monster to share her feelings and devotion to Gaga with.
Kyle Walmsely - ArtsHub Review 11th Dec 2017

The aim of the editorial is to share research insights in early childhood with parents, families and the community in a manner that is accessible. I take the most recent research on issues relating to families with young children and discuss the implications of these for Armidale families.

This work explores the intersections between opera, puppetry and wearable technologies and contributes to the growing body of work in the contemporary opera and experimental electronic music fields. Study 1 is a new experimental work for two performers that explores the dominant themes of puppetry and specifically the notion of control and interactions with the body and projection of the voice. The world of puppetry involves a complex hierarchy for the performers and also challenges audiences to consider causal actions during the show. The traditional relationship between the puppet and the puppeteer is examined in this work where the puppeteer is deliberately placed in the position of power which is the prevalent understanding of the relationship. The puppeteer can control the limbs of the puppet and hence the resulting sounds via the use of the wearable technology which detects movements of the puppet character’s body, arms and head. The data from the wearable controllers is fed into a computer where it can be programmed to controls the sound as the puppet moves.
The work draws together the fields of electronic music, and opera performance practice to consider how the musical and performative overlap can be structured in relation to the concept of puppetry. The use of wearable gestural controllers opens up a modern paradigm for the concept of the puppet, where the data from the movement of the bodies can be used in many ways to control the performance elements. The performers can control each other, their voice and the production of the sound and media elements. The work is significant and topical in relation to recent gender politics regarding control of the body. The work offers an opportunity to extend the practices of artists from discrete fields in a new and complimentary way and is significant in its attempt to expand opera practice in Australia. The development of this work was supported by the QLab residency program at the Q Theatre.

This work explores the intersections between opera, puppetry and wearable technologies and contributes to the growing body of work in the contemporary opera and experimental electronic music fields. Study II is a new experimental work for two performers that explores the dominant themes of puppetry and specifically the notion of control and interactions with the body and projection of the voice. The world of puppetry involves a complex hierarchy for the performers and also challenges audiences to consider causal actions during the show. The traditional relationship between the puppet and the puppeteer is examined in the first work, Study I, where the puppeteer is deliberately placed in the position of power, which is the prevalent understanding of the relationship.
One Amsterdam based puppeteer, Neville Trantor, who has been working with his puppet for 35 years says his work has been an experiment with the relationship between him and his puppet. ‘It all has to do with power,’ he says, ‘and who is the boss.' Sometimes it's him, sometimes it's the puppet. Study II however plays with the paradox of the relationship inverting the normal perceived power relationships and we see the influence of the puppet on the puppeteer. The role of vocal manipulation is also examined in the context of the relationship between the two characters on stage, drawing on the idea of the ventriloquist who moves the puppet, yet produces the voice of the puppet. This influence of the puppet on the puppeteer is portrayed in the design of the performance by the puppet having control over the voice of the puppeteer via the movement of their limbs which are tracked via sensors on the wearable devices. Data from the wearable controllers is fed into a computer where it controls the processing of the puppeteers voice.
The work draws together the fields of electronic music, and opera performance practice to consider how the musical and performative overlap can be structured in relation to the concept of puppetry. The use of wearable gestural controllers opens up a modern paradigm for the concept of the puppet, where the data from the movement of the bodies can be used in many ways to control the performance elements. The performers can control each other, their voice and the production of the sound and media elements. The work is significant and topical in relation to recent gender politics regarding control of the body. The work offers an opportunity to extend the practices of artists from discrete fields in a new and complimentary way and is significant in its attempt to expand opera practice in Australia. The development of this work was supported by the QLab residency program at the Q Theatre.
Reference: Smith, Amanda. The Uncanny Life of Puppets in the Body Sphere https://www.abc.net.au/radionational/programs/archived/bodysphere/features/puppets/4618828 Accessed 14 Feb 2019

The guest blog introduces and explains the theory behind the Digital Play Framework (Bird & Edwards, 2014). By combining Vygotsky’s (1978) concept of tool mediation and Hutt’s (1966) ideas around epistemic and ludic play, the Digital Play Framework provides indicators that can be observed as children learn to use various technologies in early childhood settings. Within the blog, the observation handouts are introduced. The observation handouts take the Digital Play Framework and list the indicators children display as they are trying to learn how to use the various technologies. There are observation handouts for: all technologies, iPads, computers and cameras (still and video). Educators can use these to record when children meet each indicator as a way to assess the children’s technology skills and a way to plot the children’s technology device knowledge on the framework.

Two pieces for two recorders and humming audience. Music Publisher's number: OMP239.

The aim of the editorial is to share research insights in early childhood with parents, families and the community in a manner that is accessible. I take the most recent research on issues relating to families with young children and discuss the implications of these for Armidale families.

The aim of the editorial is to share research insights in early childhood with parents, families and the community in a manner that is accessible. I take the most recent research on issues relating to families with young children and discuss the implications of these for Armidale families.

The aim of the editorial is to share research insights in early childhood with parents, families and the community in a manner that is accessible. I take the most recent research on issues relating to families with young children and discuss the implications of these for Armidale families.

Seven pieces for 3 violins and cello. Music Publisher's number: OMSS005.

The aim of the editorial is to share research insights in early childhood with parents, families and the community in a manner that is accessible. I take the most recent research on issues relating to families with young children and discuss the implications of these for Armidale families.

This opera responds to the question of how chamber opera can involve aspects of the cabaret aesthetic. The opera is a dark satire of many character and narrative opera tropes and mediates them through the cabaret aesthetic mixed with humour, slight-of-hand, physical comedy and burlesque. The opera has been performed in bars, cabaret venues and small theatres which contribute to its cabaret aesthetic. The show challenges traditional female relationships in opera and centres on the body of a dead man instead of a dead woman as so many canonic operas do.

Score and part for violin, cello and piano in 3 movements. Music Publisher's number: KP0357.

Score for piano solo. 3 movements. Music Publisher's number: KP 0291.