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Copyright by Rachel Elice Mitchell 2009 Copyright by Rachel Elice Mitchell 2009 The Dissertation Committee for Rachel Elice Mitchell certifies that this is the approved version of the following dissertation: An Examination of the Integration of Serial Procedures and Folkloric Elements in the Music of Roberto Gerhard (1896–1970) Committee: ____________________________ Edward Pearsall, Supervisor ____________________________ Guy Capuzzo ____________________________ Virginia Higginbotham ____________________________ David Neumeyer ____________________________ Marianne Wheeldon An Examination of the Integration of Serial Procedures and Folkloric Elements in the Music of Roberto Gerhard (1896–1970) by Rachel Elice Mitchell, B.M.; M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2009 To Jason Acknowledgements This dissertation, which serves as the culminating work for my doctoral degree, would not be possible without the support of everyone around me. I would like to begin by thanking my husband, Jason, who has stood by me throughout this entire academic endeavor, in spite of all the difficulties that come with pursuing a graduate degree. I appreciate his outstanding research skills and am forever grateful for his unselfish desire to see me succeed. It was actually through Jason that I discovered the works of Roberto Gerhard for the first time. I was introduced to Dr. James Bogle, guitar professor emeritus at Texas Tech University, who had once performed a work by this composer and expressed to me his enthusiasm for Gerhard’s compositions. I am also grateful to the members of my dissertation committee. Their thoughtful critique and attention to detail has enabled me to compose a more effective document than I had originally proposed. I would also like to thank all of the people who have listened to parts of this research at music conferences throughout the US and even in the UK. Based on their comments and feedback, I have re-evaluated many aspects of my theories and analyses. I also enjoyed living in Austin for much of this degree as it enabled me to visit my family with more frequency. Aside from the dive-bombing crop dusters, the mornings at home were a peaceful retreat from the bustling sounds of the city. I thank my parents for instilling in me the importance of education and for offering their love and support when I needed it most. I also thank my v grandmother for giving me my great aunt’s doctoral dissertation, which served as a concrete reminder that I too could complete this project. During the middle of the writing process, I made a new home in Champaign, Illinois. I would like to thank the composition faculty as well as many of the department’s graduate students at the University of Illinois at Urbana-Champaign for being supportive of my endeavors by providing me the opportunity to teach at the university and for allowing me to share my research and ideas. And finally, I could not have made it through this process without the friendships made with my fellow colleagues in the music-theory hallway at the University of Texas. I especially enjoyed the daily conversations with my office partners about nearly everything under the sun. Along with this list of friends, I thank Michelle for her friendship and for inviting Jason and me into her family, and Desiree for giving me a home and friendship during the first year of my degree. vi An Examination of the Integration of Serial Procedures and Folkloric Elements in the Music of Roberto Gerhard (1896–1970) Publication No.: __________ Rachel Elice Mitchell, Ph. D. The University of Texas at Austin, 2009 Supervisor: Edward Pearsall Roberto Gerhard was a twentieth-century Spanish composer known for his unique treatment of the twelve-tone system. A student of the Spanish nationalist composer, Felipe Pedrell in Barcelona and also a pupil of Arnold Schoenberg in both Vienna and in Berlin, Gerhard’s musical trajectory led to a synthesis of these disparate compositional traditions. In this dissertation I will explore the development of Gerhard’s compositional procedures. Here, his first string quartet, composed between 1950 and 1955, becomes a useful tool to illustrate how he made the transition from one musical style to another. Gerhard’s first string quartet, composed between 1950 and 1955 exhibits various experimental formal procedures but is governed by a single twelve-tone row. The work is composed in the twelve-tone idiom, but vii nationalist elements decorate the musical surface. The first movement follows the classical model of sonata-allegro form, while mathematical proportions govern durations and formal elements in later movements. I will first investigate Gerhard’s musical language and pitch material and then consider the challenges raised by implementing sonata form outside of a tonal idiom. I will then examine his unique mathematical approach to formal design in the third movement. In addition to the string quartet, I will explore Gerhard’s treatment of form in such works as his Wind Quintet (1928) and Metamorphoses – Symphony no. 2 (1957-59). viii Table of Contents Acknowledgements ...........................................................................................v Abstract ........................................................................................................... vii Table of Contents............................................................................................. ix List of Musical Examples............................................................................... xii List of Figures .................................................................................................xvi Chapter 1: Introduction ....................................................................................1 Chapter 2: Student Years................................................................................10 Gerhard’s early years and studies with Pedrell ....................................10 Musical studies with Schoenberg ..........................................................16 Synthesis and Reconciliation.................................................................19 Chapter 3: Return to Spain............................................................................20 The Wind Quintet .................................................................................. 23 Reconciling national identity with the twelve-tone method .............. 38 Conclusion.............................................................................................. 50 Chapter 4: Years in Exile, Part I.................................................................... 52 Hexachordal harmony........................................................................... 56 Tonal form in Gerhard’s String Quartet no. 1...................................... 72 Tonal organization in Gerhard’s String Quartet no. 1, movement I.. 83 Folkloric rhythms as structural markers in String Quartet no. 1....... 99 Conclusion..............................................................................................111 ix Chapter 5: Years in Exile, Part II ................................................................. 112 Evaluating the twelve-tone method with respect to the temporal dimension ..................................................................................... 113 Derivation of a temporal series from a twelve-tone row ................... 116 Temporal procedures in Metamorphoses ..........................................126 Gerhard’s rendering of the complete serial field in movement III of String Quartet no. 1......................................................................134 Regarding pitch in Gerhard’s String Quartet no. 1, movement III .......................................................................................................136 On serializing temporal durations in Gerhard’s String Quartet no. 1, movement III................................................................................139 Conclusion.............................................................................................149 Chapter 6: Intellectual and Intuitive Dichotomy in Gerhard’s Atonal Tonality ............................................................................................................... 150 Appendix A: Categorical and Chronological List of Roberto Gerhard’s Compositions ........................................................................................175 Vocal ......................................................................................................175 Chamber and solo instrumental..........................................................177 Orchestral..............................................................................................179 Stage...................................................................................................... 180 Incidental music ...................................................................................181 Theater..........................................................................................181 Film music ....................................................................................181 Music for radio ............................................................................ 182 Music for television..................................................................... 183 Music for tape .....................................................................................
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