Authenticity in Transcribing
(2024)
author(s): Marie-Lou Debels
published in: KC Research Portal
This research explores the concept of authenticity in transcription. It is applied to Béla Bartók's Six Dances in Bulgarian Rhythm, movements one, two and five. By prioritising different aspects, the overall look of the transcription is shaped. Examples of these aspects are the sonic possibilities of the chosen or original instrumentation, the general style of the composer and the piece, one's own musical context, the technical abilities of the players... All these aspects could be considered as a form of authenticity. The first chapter elaborates on the concept and discusses methods of transcription. The second chapter analyses the history of the classical guitar, including its transcriptions. The guitar's search for a place in the classical mainstream has encouraged guitarists throughout the centuries to write transcriptions. Throughout history, the concept of authenticity in these transcriptions has changed. The final chapter discusses the entire process of transcribing, from the intentions behind selecting the piece to the obstacles and dilemmas that arose during the process. It shows that the transcribing part is as important as the individual practice and rehearsals. They alternate and influence each other. The Six Dances in Bulgarian Rhythm were of great importance to Bartók. Today they are not as popular as his Six Romanian Folk Dances but given their historical context they deserve to be heard more in today's classical music scene. Finally, it becomes clear that the abstract musical idea of the composer should be kept clear from the beginning to the end of the transcription process.
An Investigation of Eastern Cultural Influences in the Classical Guitar Solo Repertoire.
(2023)
author(s): Samrat Majumder
published in: KC Research Portal
Can Eastern cultures become a more integral part of the classical guitar’s cultural identity through repertoire influenced by these cultures?
In this research exposition, I explore the ways in which cultural elements from Eastern cultures may inspire repertoire for the solo classical guitar. Through this repertoire, I shall examine how such cultural influences may promote Eastern cultures to performers and audiences of the classical guitar. In doing so, the cultural horizons of the classical guitar world may be broadened to represent a greater variety of cultures that also mirrors the growing global community of the classical guitar.
In Part I, I look at some of the pre-existing works that have been influenced by Eastern cultures including works by Toru Takemitsu; arrangements of popular and folkloric music from Eastern cultures; and original compositions that have influences from Eastern cultures. Part II deals with the ethics of cultural inspiration and looks at questions like: “How can we represent cultures authentically through music?”, “Is cultural appropriation ok?”. Finally, Part III presents an overview of the new repertoire specifically written for this research. This comprises of two arrangements of songs attributed to the Bengali polymath, Rabindranath Tagore, as well as a commissioned work with an Eastern cultural influence composed by Italian composer and classical guitarist, Marco Ramelli.
The findings of this research reveal the difficulty of assigning an objective answer to the issues surrounding cultural inspiration. I implore readers to approach this research with an open mind and hope that, at the very least, I can encourage the musical community to consider different types of questions concerning the use of cultural elements in art.