Doctoral Committee of the University Ss. Cyril and Methodius Review of Doctoral Dissertation

Official Review Report (English translation)

Bulletin of the University “Ss. Cyril and Methodius” in Skopje, No. 1239 (1 June 2021)

REVIEW REPORT
on the doctoral dissertation in the field of musical interpretation of:
– Maurice Ravel: Miroirs (M. 43)
– Leoš Janáček: In the Mists
– Samuel Barber: Piano Sonata, Op. 26
– Benjamin Britten: Piano Concerto, Op. 13 (revised version, 1945)
and the theoretical study “The Use of Digital Technologies in the Quantitative Analysis of Pianistic Interpretation”
by M.A. Mimoza Keka (Faculty of Music, Skopje)

Pursuant to the decision of the Teaching‑Scientific and Artistic Council of the Faculty of Music in Skopje, a Review Committee was formed in the following composition: Prof. Todor Svetiev (MA), Prof. Dimitrije Buzharovski (PhD), Prof. Marija Gjoshevska (PhD), Prof. Emilija Potevska Popivoda (PhD) and Prof. Trena Jordanoska (PhD), to evaluate the doctoral dissertation and submit a report.

The doctoral dissertation consists of two performance components and a theoretical study. The first performance component (Ravel: Miroirs; Janáček: In the Mists; Barber: Piano Sonata Op. 26) took place on 11 January 2021 at 12:00, in the format of a ZOOM conference with an integral video presentation of the candidate’s performance.

The candidate, M.A. Mimoza Keka, addressed with distinction the interpretative challenge posed by a programme of major works that mark 20th‑century pianism. In this part of the defence, she demonstrated an exceptionally formed individual ability to build the complex formal structure of each work, successfully balancing and unifying the interpretative elements into a coherent whole. Her performance was characterised by clear and suggestive creative imagination in presenting the thematic material and its development, a precisely developed plan of dynamics, articulation and rhythm, and an exceptionally well‑developed pianistic technique. It is notable that, in our context, the works in this recital were performed practically for the first time: as a premiere (S. Barber: Sonata Op. 26) and in complete performances (L. Janáček: In the Mists; M. Ravel: Miroirs). The stage presence, suggestiveness and energy with which the candidate concluded this component were also impressive. The Review Committee concludes that the candidate fully met the complex task set by the selected programme and fulfilled the musical‑artistic standards required for the defence of the independent recital component of a doctoral dissertation in pianistic interpretation.

The second performance component (Benjamin Britten: Piano Concerto Op. 13, revised version 1945) took place on 18 March 2021 at 11:00, also in the format of a ZOOM conference with an integral video presentation. The piano collaborator was M.A. Jovana Trajčeva. For this component as well, the Review Committee concludes that the candidate demonstrated a high professional, technical, artistic and aesthetic level and fully satisfied the criteria required for the defence of this part of the doctoral programme.

The theoretical component of the doctoral dissertation, titled “The Use of Digital Technologies in the Quantitative Analysis of Pianistic Interpretation,” comprises 111 pages and includes the standard four chapters (research topic, literature review, method and results), followed by conclusions and bibliography. In the introduction, the candidate notes the major impact of electroacoustic technologies and digital sound processing on musical creation, interpretation and reception, and argues that new information technologies open significant possibilities for researching and analysing the problem of musical interpretation. Considering that previous efforts in developing interpretative theory were largely limited to qualitative methods (primarily description and attempts to understand the performer’s intentions), the candidate turns to new digital technologies and various new recordings, examining their application through quantitative methods. In this context, she builds on the conclusions drawn in the theoretical work of Prof. Dr. Dimitrije Buzharovski, who for more than two decades has addressed the use of digital MIDI, audio and video recordings as a basis for quantitative analysis of musical creativity and interpretation.

The study develops the research problem into three research questions:
1) Does the analysis of MIDI, audio and video digital recordings open new possibilities in the analysis of pianistic interpretation?
2) Do new quantification methods obtained through the analysis of digital recordings yield better results than conventional methods?
3) Can the knowledge gained through the analysis of pianistic interpretation using digital tools be applied to the further development and improvement of interpretative technique?

From these questions, the research hypothesis is formulated: new MIDI, audio and video digital recordings enable a quantified approach to the problem of pianistic interpretation. The hypothesis is further examined through a pilot project in which the possibilities for analysis of MIDI, audio and video recordings are tested and compared. On the basis of the analyses and comparisons, the three corresponding null hypotheses are rejected and the initial research hypothesis is confirmed. The study also points to the triangulation of results achieved through the three types of recordings and notes the practical significance of the project for interpretative work on new repertoire and for the use of digital tools as assistance to the performer.

In conclusion, regarding the theoretical study, the Review Committee emphasises that it is an innovative theoretical project that opens new perspectives in approaching previously difficult‑to‑measure characteristics of pianistic interpretation, and musical interpretation more broadly. Based on the confirmed research hypothesis that digital technologies provide a solid basis for quantitative analysis (an approach largely absent in this field of musical art so far), the Committee notes that the work can serve as a foundation for designing broader research that would further establish methodological principles for this approach, including more extensive use of statistical techniques, which could lead to deeper insights into the essence of the performing phenomenon. Overall, the theoretical study fully meets the required norms, level and tasks for the theoretical component of a doctoral dissertation in musical interpretation.

Taking into account all conclusions presented—both regarding the performance components and the submitted theoretical study—the Review Committee concludes that the candidate, M.A. Mimoza Keka, fully fulfilled the interpretative requirements for a doctoral dissertation in musical interpretation and submitted a theoretical study which, by its choice of topic, treatment, commentary and conclusions, represents an advance in the theoretical approach to interpretative problems in Macedonian musicology. Therefore, the Review Committee proposes to the Teaching‑Scientific and Artistic Council of the Faculty of Music in Skopje to approve and schedule the defence of the final theoretical part of the doctoral dissertation of M.A. Mimoza Keka.

Review Committee:
Prof. Todor Svetiev, MA
Prof. Dimitrije Buzharovski, PhD
Prof. Marija Gjoshevska, PhD
Prof. Emilija Potevska Popivoda, PhD
Prof. Trena Jordanoska, PhD