Show simple item record

FieldValueLanguage
dc.contributor.authorSherrington, Suzanne Francoise
dc.date.accessioned2019-07-26
dc.date.available2019-07-26
dc.date.issued2018-06-12
dc.identifier.urihttp://hdl.handle.net/2123/20792
dc.description.abstractAustralian composer Richard Meale (1932–2009) has shown an enduring interest in writing for the flute across solo and chamber settings. His compositional output, reading interests, and personal views captured in interviews and articles also suggest a recurring interest in French music and culture more broadly. Meale’s interest in French aesthetics has been documented in relation to his 1960 Sonata for Flute and Piano which draws upon European modernist trends, particularly those of post-war composers Pierre Boulez and Olivier Messiaen. However, in 1996 towards the end of his life, Meale wrote another solo flute work, Mélisande, inspired by Claude Debussy’s opera Pelléas et Mélisande. Despite Meale drawing on this seminal twentieth-century French work, Mélisande has been largely neglected and remains relatively unknown. Furthermore, Meale has written about the two Pelléas et Mélisande–derived themes he used in Mélisande—inviting us to compare Meale’s flute work to Debussy’s opera—yet these relationships have hardly been explored. This study investigates the multiple dimensions of Meale’s history and context in his flute writing. In particular, this is through an analysis of his Flute Sonata, and an exploration of three twentieth-century solo flute works associated with a French Flute School. Secondly, this research contributes to the record of the compositional history of Mélisande by exploring dedicatee Geoffrey Collins’s relationship with Meale and perspectives on the work. The study culminates in a thematic analysis of Mélisande. Through comparing Mélisande to several key French solo flute works, this research examines the relationships between these pieces, demonstrating how Meale draws upon French Flute School traditions in his own writing. Thus Meale’s solo flute writing becomes a useful way of examining his compositional influences: bookended by the post-war modernists and the impressionists, what remains consistent is his French sources of inspiration.en_AU
dc.publisherUniversity of Sydneyen_AU
dc.publisherSydney Conservatorium of Musicen_AU
dc.rightsThe author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.en_AU
dc.titleMeale’s Mélisande: History, analysis, and French aesthetics in Richard Meale’s flute writingen_AU
dc.typePhD Doctorateen_AU
dc.type.pubtypeDoctor of Musical Arts D.M.A.en_AU
dc.description.disclaimerAccess is restricted to staff and students of the University of Sydney . UniKey credentials are required. Non university access may be obtained by visiting the University of Sydney Library.en_AU


Show simple item record

Associated file/s

Associated collections

Show simple item record

There are no previous versions of the item available.