Imaginative music for Chinese-speaking children

Abstract

This thesis aims to explain my personal musical voice, illuminate creative intentions, shed developmental insight on the music theatre compositions, and argue for the positioning of these compositions as a multiplicit subversion of linear educational learning processes towards imaginative eclecticism to engage both children and adults. I consider that my music theatre compositions are underpinned by a personal creative voice that draws from my imagination and uses a wide scope of colours based on a rich hymn-like harmonic sense and juxtapositional variety within structural levels. This voice also emphasizes sound as a tangential explosion simultaneously subverting linear learning processes. I see this subverting of the linear method, where small amounts of learning are built upon in stages, and the simple into imaginative complexity, as a way of engaging Chinese-speaking children and as an escape world for adults. This imaginative journey is explored through my credo principles, historical places that inform it, and an analysis that unpacks its techniques, and concludes with its imaginative and transformative aims. My credo principles drawn from journeying are, musically: eclectic ideas and imagination, tangential relationships, combinations of elements, harmonic and timbral colour, and organic musical design leading to relentless climaxes; and educationally: textual and lyrical zaniness, juxtaposition between structure and architecture, and moving from scaffolding to simultaneous levels. Donald Schon's reflection-in-action process has given me insight into indeterminate practice-based situations and the collaborations required. The thesis analyses the three works: The Magic Jungle in terms of colouring and juxtapositional variety; Megan and the eBike, for styles and cultures; and Megan and the eBike Orchestral Suite, for orchestral colour.

Date of Award	2013
Original language	English