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Rewriting John Cage's Sonatas and Interludes for Solo Multiple Percussion

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Rewriting John Cage's Sonatas and Interludes for Solo Multiple Percussion Timbre-based adaptation: Rewriting John Cage's Sonatas and Interludes for solo multiple percussion Author Scott, Bradley Adam Published 2018-12 Thesis Type Thesis (Professional Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/189 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/382689 Griffith Research Online https://research-repository.griffith.edu.au Timbre-based adaptation: Rewriting John Cage’s Sonatas and Interludes for solo multiple percussion Bradley Adam Scott MM, BMus(Hons), AMusA Queensland Conservatorium Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Musical Arts December 2018 1 2 I hereby declare that this submission is my own work and has not been submitted for a degree or diploma in any university. To the best of my knowledge and belief, it contains no material previously published or written by another person except where due reference has been made in the thesis itself. Bradley Adam Scott, December 2018 3 Table of Contents Acknowledgements .................................................................................................................... 9 Abstract .................................................................................................................................... 10 Foreword: A Personal Narrative .............................................................................................. 11 Native Adaptation ................................................................................................................ 11 Sonatas and Interludes .......................................................................................................... 12 Chapter 1: Introduction ............................................................................................................ 16 Topic Question ..................................................................................................................... 16 Definitions ............................................................................................................................ 17 Methodology ........................................................................................................................ 19 Scope .................................................................................................................................... 21 Chapter Structure.................................................................................................................. 21 Literature Review ................................................................................................................. 22 Chapter 2: Adaptation – Etymology and Rationale ................................................................ 36 Etymology ............................................................................................................................ 38 Rationale............................................................................................................................... 46 Summary .............................................................................................................................. 52 Chapter 3: Dynamics................................................................................................................ 53 Etymology ............................................................................................................................ 54 History of Dynamic Markings ............................................................................................. 55 Other Notational Developments ........................................................................................... 60 Instruments With Unusual Dynamic Characteristics ........................................................... 61 A Dynamic Scale .................................................................................................................. 62 Dynamic Characteristics: Prepared Piano and Multiple Percussion .................................... 62 4 Effect on the Adaptation ...................................................................................................... 67 Summary .............................................................................................................................. 68 Chapter 4: Phrase Contour ....................................................................................................... 69 Background to Pitch-Location Relationship ........................................................................ 69 Relationship With Regard to Multiple Percussion ............................................................... 70 Relationship With Regard to Prepared Piano ....................................................................... 70 Evolution of Methodologies ................................................................................................. 71 Summary .............................................................................................................................. 81 Chapter 5: Specific Notation Requirements ............................................................................ 82 Notation Approaches: Prepared Piano and Multiple Percussion ......................................... 82 Notation During the Adaptation Process .............................................................................. 83 Summary .............................................................................................................................. 95 Chapter 6: Evolution of the Score ............................................................................................ 97 Example 1: Sonata V, Bars 32-40 ........................................................................................ 97 Example 2: Sonata VI, Bars 1-2 ......................................................................................... 103 Summary ............................................................................................................................ 106 Chapter 7: Conclusion............................................................................................................ 107 Topic Question Answered .................................................................................................. 107 Learning Outcomes ............................................................................................................ 108 Opportunities for Future Research ..................................................................................... 110 List of References .................................................................................................................. 114 Appendix: Sonatas and Interludes for Prepared Piano, Adapted for Solo Four, Five, and Six- Mallet Multiple Percussion 5 List of Figures Figure 1. Research Question Dissection .................................................................................. 23 Figure 2. Research Question Dissection (Sonatas and Interludes) ......................................... 24 Figure 3. Research Question Dissection (Adaptation Process) ............................................... 27 Figure 4. Research Question Dissection (Multiple Percussion / Notation) ............................. 31 Figure 5. Simple Dynamic Changes Over a Limited Score Range ......................................... 64 Figure 6. Force vs. Volume: Conventional Pitch-Based Instrument ....................................... 65 Figure 7. Force vs. Volume: Percussion .................................................................................. 66 Figure 8. Force vs. Volume: Prepared Piano ........................................................................... 66 Figure 9. Sonata XIV, Bars 21-22 (As Notated With Annotations) ........................................ 71 Figure 10. Sonata XIV, Bars 21-22 (As Notated, Graphical Representation) ......................... 72 Figure 11. Sonata XIV, Bars 21-22 (Sounding Pitches of Percussion Adaptation) ................. 73 Figure 12. Audio Contour, Sonata XIV, Bars 21-22 (Prepared Piano Recording) .................. 74 Figure 13. Sonata XIV, Bars 21-22 (As Notated) .................................................................... 76 Figure 14. Sonata XIV, Bar 22, First Two Notes, Sounding Pitches (Aggregated) ................ 76 Figure 15. Sonata XIV, Bar 22, First Two Notes, Sounding Pitches (Individual Recordings) 77 Figure 16. Tonality in Sonata XIV, Bars 21-22 ....................................................................... 78 Figure 17. Sonata XIV, Bars 21-22, Audio Contour, Showing Groups of Instruments .......... 79 Figure 18. Sonata V (2004 Version), Bars 1-4 ........................................................................ 84 Figure 19. Cross-Staff Beaming in Sonata VII, Bars 15-16 .................................................... 88 Figure 20. Instrument Setup Diagram Showing Staff Order ................................................... 89 Figure 21. Sonata V Bars 1-4 (As Notated for Prepared Piano) .............................................. 90 Figure 22. Lack of Cross-Staff Beaming in Sonata V, Bars 1-4 ............................................. 90 Figure 23. Changing Note Values to Enable Beaming in Sonata V, Bars 1-4 ........................ 91 6 Figure 24. Changing Note Values (With Ties) to Enable Beaming in Sonata V, Bars 1-4 ..... 91 Figure 25.
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