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• W1621280685 abstract "In this folio of compositions, which includes orchestral, chamber, electroacousticand solo pieces, an attempt was made to capture some aspects that constitutethe Maltese cultural identity in a sonic way. One of the most important factors isthe omnipresence of the Catholic Church in Malta - its physical dominance ofthe Maltese skyline and the overriding influence it exerts on the Maltesecommunity and lifestyle. Although no works in the folio can be said to fall underthe genre of 'sacred music', there is an apparent reference to religion in some ofthese works. This is most notably reflected in Banda, an electroacoustic work,which includes various brass and vocal choir samples recorded during a 'GoodFriday' procession in the Maltese town of Mosta.Another point of interest that is explored in the folio to some extent is the use oflanguage in Malta. The island boasts of having two official languages, namelyMaltese and English. Code-switching is therefore a very common phenomenon.Texts in both English and Maltese are thus employed in the composer's music.Passages of Love, for voice and piano, features a selection of poems in Englishby Maltese poet Marco Montalto. On the other hand, L-Ewwel Xita (lit. The FirstRainfall), scored for voice, cello and percussion, features a traditional Maltesenursery rhyme as well as typical snatches of conversation heard on the streetsof Malta. Sometimes the two languages occur in the same work. In anotherexample of word-setting in music called Epilogue, original words by Louis MacNiece appear alongside a Maltese translation of one of the verses. One cannot help but notice the various contradictions present in the MalteseArchipelago. The struggle to retain Malta's unique cultural identity whilesubmitting to 'foreign' pressures is of note here. In the folio, this is manifested bythe presence of Maltese folk-like melodies in Peprina (from Fjuri, a work forpiano, clarinet, violin and cello), which contrasts the forward-looking Juillet - an experimental, electroacoustic piece that was partly written at the CCMIX Studiosin Paris in 2006.Despite the `inconsistencies' inherent in Maltese culture, the folio can beregarded as a celebration of Malta's rich and diverse history - one that sawnumerous settlers leaving an indelible mark on the island and its people. TheFrench, for instance, were amongst the many colonisers of Malta. Many of thecomposer's works contain techniques that are associated with fin de siccleParis, such as orchestral Katina, for example. The title of Zammit's orchestralKavallier (lit. knight from Ritratti) pays homage to The Order of the Knights of StJohn, whilst the primary musical idea of this work stems from a variation of anearly nineteenth century dance by August Voigt entitled 'St. Julian's Cottage'.(St. Jullian's is a seaside area in Malta and was one of the first to be adopted bythe British on their arrival)." @default.
• W1621280685 created "2016-06-24" @default.
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• W1621280685 date "2008-06-01" @default.
• W1621280685 modified "2023-09-27" @default.
• W1621280685 title "Towards a notion of cultural soundscape as an informant to original music composition : with particular reference to that of the Maltese Islands" @default.
• W1621280685 hasPublicationYear "2008" @default.
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