HDR Seminar 2

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Dr Mary Broughton (Director of Research Training) will share recent HDR relevant information on:

1. Career Development Framework - Placements 
   • Placements are important to your professional development and access to scholarship extension and award funding
2. 3MT
   • What it is and why you should do it

TARITA BOTSMAN  

“Julie: the development and analysis of the creation of a new musical theatre work”

The seminar will outline the development of an original musical theatre stage work based on the life of Julie d’Aubigny intended for commercial presentation in Australian, European and American markets. The musical depicts the life story of French swordswoman, adventuress and opera star Julie d’Aubigny (1673–1707) in the time that she lived. Research outcomes of this artistic project will include the book, musical score, audio recordings and an analytical exegesis.  The project utilises mixed research methodologies incorporating artistic research, auto-ethnographic reflection and qualitative artist interviews.  The exegesis will draw together data from face-to-face interviews with prominent artists who have developed similar works to uncover how commercial musical theatre projects are developed with the view to drawing together and analysing best-practice methods for developing contemporary commercial musical theatre works. This analysis method will be used to interpret the themes, reflections and experiences of artists, unpacking the potentialities and limitations of musical theatre development processes. The data will then be used to establish a set of workflows for producing commercial music works intended for the stage evaluating for efficacy and transferability to other arts practitioners in Australia.
 

Biography

With a distinguished background as an opera singer, Tarita Botsman is also a director and writer. Currently Tarita is the artistic director of her company, The 7 Sopranos, which to date has engaged over four hundred Australian-based opera singers.  Since 2002 her company has toured independently both around Australia and internationally to New Zealand, Asia and across the Middle East.

Tarita followed her professional operatic debut as Papagena (Opera Queensland) at the age of 22 with study in Italy, Germany and Australia. She went on to perform twenty major operatic roles for companies across Europe and Australia and performed as an actress for all the major state theatre companies in Australia. In Europe, Tarita made her recital debut at Teatro Il Tempietto in Rome and has performed solo recitals in France, UK, Italy, UAE, Pacific Islands and Morocco.

She is a graduate of the Guildhall School of Music and Drama Opera Course, the Queensland Conservatorium of Music, and QUT Drama course.  Her many awards include Young Australian of the Year and Young Queenslander of the Year. She has been the recipient of numerous awards including the Monash University Italian Studies Opera Award, she was the first Australian representative in the Veronica Dunne International Opera Competition in Dublin, a finalist in the Robert Stolz Competition in Vienna, a recipient of the Ian Potter Cultural Trust Travel Award, a recipient of funding from the Tait Memorial Trust in the UK, the QPAC artists award, Arts Queensland Artist Individual Development Grant and was also awarded a Queen’s Trust Award for Musical Excellence.  During her time in the UK, Tarita was honoured to sing for His Royal Highness Prince Phillip at the Worshipful Company of Goldsmiths and performed regularly as a soloist at recitals at Australia House.  

In 2018 Tarita worked with Opera Q as Assistant Director of Peter Grimes for the Brisbane Festival, directed Opera in the Gardens in Brisbane (again in 2019) and directed a new children’s musical The Magic Watering Can by composer Craig Young for the Queensland Symphony Orchestra. Her previously performed jukebox musical Songs from Stage and Screen will be on tour again in 2019/2020. Recently Tarita was delighted to accept the position of Chair of the Classical Committee for the Australian Women in Music Awards 2019. Tarita is currently working on an ongoing creative project out of the US and is studying at the University of Queensland whilst running her business.

TIMOTHY REED

A Guide to Performance of Twentieth-Century Concerti for Trumpet and Orchestra by Karl Pilss, William Lovelock and John Williams

This seminar will outline my research of three twentieth-century concerti for trumpet and orchestra by Karl Pilss, William Lovelock and John Williams. Research has been compiled regarding the history of the concerto as a genre, the technological advancements made to the trumpet and the current state of the trumpet concerto. This relates to the current problem regarding the underperformance of twentieth-century works for trumpet, and the significance of the three works I have chosen to research. The methodologies I have used combine both Music Performance Research and Artistic Research in Music. I have concurrently analysed the individual sections of the concerti, while giving suggestion for performance technique and ways to overcome problematic areas. I have analysed the interpretive variation within current recordings, comparing them to the score and information given by the composers. I have also incorporated prior research regarding these concerti and my own personal practice and performance in my guide to performance. In this way the analysis of each concerto includes suggestions of ways in which to approach and overcome problematic areas within the concerti as part of my own practice-led research. Outputs from this thesis will include recorded performances of the works, and practice and performance techniques utilised, to aid future players of these concerti and other twentieth-century works.

Biography

Timothy completed his Bachelor of Music at the University of Queensland, majoring in trumpet performance in 2016, studying with Sarah Butler, Iaan Wilson and Richard Madden. In 2016 Tim joined the Queensland Youth Symphony, and in 2017 went on its international tour to China and Germany before becoming principal trumpet in 2018. He freelances around Brisbane and is a regular member of the Brisbane Contemporary Jazz Orchestra and the Queensland Wind Orchestra. At the beginning of 2018 Tim participated in the Australian Youth Orchestra National Music Camp. In March 2018 he performed as principal trumpet with the Xi’an Symphony Orchestra in their performance of Mahler’s 2nd Symphony as part of a UQ international tour. Last year he also completed a three-month internship with the Queensland Symphony Orchestra and subsequently performed with the orchestra in La Scalla Ballet Company’s production of Don Quixote and Opera Queensland’s Don Giovanni.

MARIA TERESA MORENO SALA

Ear training: research and new avenues

This presentation focuses on the results of projects investigating the strategies used by students when undertaking a melodic dictation. Students showing the best results used more varied strategies, they used strategies more often and they used more tonal strategies. We will discuss the methodological and pedagogical issues that these results have had on the changes to our aural skills program.

To develop integration of tonal awareness and strategies, to keep students interested in ear training using material that is more significant for them, and to help them to connect with other issues and with their instrumental practice, we have introduced several new approaches. For example, materiel is organized for learning through harmonic

progressions that they come to understand in a practical way. Students play them on a keyboard, improvise, compose, and play by ear, to deepen their understanding of concepts before they are asked to recognize and transcribe them. Moreover, time in the classroom is focused on learning how to apply the strategies to sight reading or dictation. Homework is completed through technologies allowing students to work on these issues during the week individually.

All these new approaches will be discussed as guides to adapt ear training to the XXI musician’s needs.

Biography

Maria Teresa Moreno Sala (Maite Moreno) is associate professor at the Laval University and director of the aural skills program. She received her B. Mus in piano, B. Mus on recorder and B. Mus and Master’s degree in music theory from the Conservatoire of Barcelona, (CSMMB, Spain). She has also obtained a Master’s in music education from Laval University (Quebec, Canada). Moreover, she received a PhD from McGill University (Montreal, Canada). She has also taught in the music department of the Quebec University in Montreal, and has significant teaching experience in ear training, instrumental music, and music education, with children and adults, in Barcelona (Spain) and in Quebec (Canada).

Maite is co-director of the LaRFADI – Research laboratory for ear training and instrumental didactics. With her colleague Francis Dubé, she secured an important grant from the Canadian found for innovation (1,049,000 $) to build the laboratory. The LaRFADI won the prize of 25,000$ US in the Harman Innovation Awards at UBTech 2016 for the quality of the research installations.

Maite is a regular member of the research center OICRM. Her research is funded by the Quebec government (FQRSC), and by the Canadian government (CRSH). The pedagogical work and software have been supported by pedagogical programs in Laval university (PADP). Her research interest includes auditory perception and cognition, as reading and writing processes, aural skills acquisition as much in adults as in children, and aural skills didactic and pedagogy. Moreover, she is interested in the integration of creativity, improvisation, composition, playing by ear, keyboard accompaniment and technologies as part of ear training. She is also interested on learning music a way to support well-being for humans.