African art music for flute: a study of selected works by African composers

Recent years have witnessed an increase in the number of Western classical music performers actively programming works employing multi-cultural musical idioms. Though there exist many compositions by African composers, African art music is not often programmed by Western performers because of the lack of exposure these compositions have received, lack of commercially-available recordings, and the difficulties of obtaining information about African musical styles. The information presented in this research aims to aid performers in their preparation and approach to performing African art music compositions, specifically those for the western flute. This research includes biographical information and compositional philosophies of five African composers: Bongani Ndodana, J.H. Kwabena Nketia, Fred Onovwerosuoke, Justinian Tamusuza and Joshua Uzoigwe. The specific pieces studied are Ndodana’s Visions for solo flute, Nketia’s Republic Suite, Onovwerosuoke’s Three Pieces for flute and piano, Tamusuza’s Okwanjula Kw’Endere, and Uzoigwe’s Oja Flute Suite. Aspects of style including the influences of traditional African musics and performance suggestions are discussed for all selected pieces. This research also includes the following additional flute-related resources for obtaining information about African composers: names of institutions specializing in African music; discographies; lists of suggested recordings of non-Western flutes, African Pianism, and African orchestral and choral music; and a list of compositions for flute by African composers

Realizing Musical Gestures with the Computer: Paradigms and Problems

This article aims to approach the creation of a gestural language in music. The writer discusses aspects of composition, notation, and performance of musical gestures for acoustic instruments

ISHQ: A collaborative film and music project - art music and image as an installation, joint art as boundary crossing

This paper is a reflective response to the process of creating a new installation art music partnership at Griffith University in 2011. The key collaborators were Dr Kim Cunio from the Queensland Conservatorium, Griffith University (QCGU), and Dr Louise Harvey from the Griffith Film School (GFS). Both participants are early career academics and established practitioners in their fields, giving the project currency in both the academy and the creative arts. The paper responds to the aesthetics of working collaboratively on a themed installation as well as defining the significance of new artistic collaborations between the participants and their host institutions, the QCGU and GFS. This project follows on from the AUC Crossing Boundaries paper of 2010 (Hitchcock, Cunio, Harvey, Chircop), which documented student led collaborations, and recommended increasing staff collaboration as between key academics