Lawrence Mays, Mark Johnson, and Kyle Daniel

Lawrence Mays, Mark Johnson, and Kyle Daniel

PhD Candidate Milestone Presentations

4:00 — Lawrence Mays, PhD Thesis Proposal Review 'Italian comic operas set in fantastic worlds: Viragos and lunatics on the fringe'

New and imaginary worlds were prominent themes in 17th and 18th century European society, literature and performing arts. Although a number of 'New Worlds', such as the Americas, were known at least in part, more imaginative speculation about other, as yet unknown, lands was rife. With its power to represent and convey affects, opera was ideally positioned for staging the ‘other’, and depicting new 'ideal' societies. Through examination of selected Italian comic operas set in fantastic worlds, I will document how this sub-genre changed over time, focussing in particular on its relationship with changing social, cultural and political agendas.

4:30 — Mark Johnson, PhD Mid-Term Review 'Musical narrative in Norwegian black metal'

Early Norwegian black metal bands were concerned with the apparent meaninglessness of postmodern existence. They violently railed against the egalitarian, materialistic and fragmented present, and turned instead towards an imagined past redolent of the heroic, primordial and mystical. Through considering interactions between music and lyrics in songs by Burzum, Mayhem and Darkthrone, this paper presents three ways in which black metal acts to reawaken this imagined past through radical art.

5:00 — Kyle Daniel, PhD Mid-Term Review 'Dancing along the fingerboard: Understanding the choreography of left hand technique in 21st century classical double bass performance'

Developing solutions to the problems of left hand technique on the double bass can be daunting. There are often a wide range of possible fingering solutions to any given passage, each with their own technical and musical implications. This paper identifies three groups of techniques and concepts to help solve left hand issues in contemporary double bass performance. By modifying Zimmerman (1967) and Wolf’s (1991) methods of technique isolation, I will technically analyse a passage from W A Mozart's Symphony No. 40 in G minor, considering fingerings suggested by four leading orchestral double bassists.

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