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The Expanding Solo Multi-Percussionist

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The Expanding Solo Multi-Percussionist The Expanding Solo Multi-Percussionist: The Performing Body Within Music and Beyond Diego Espinosa Cruz González Schulich School of Music McGill University Montreal, Quebec September, 2014 A doctoral paper submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Music in Performance Studies © Diego Espinosa Cruz González 2014 Abstract Solo multi-percussion is conventionally defined as a single person playing two or more percussion instruments. It was established as a specialized discipline at the end of the 1950s. In this paper, I argue that it has since developed into a hybrid discipline as composers and performers alike have pushed the technical and expressive boundaries to embrace the acoustic and the electronic, as well as the potential of dance and the dramatic or conceptual. The complex challenges posed by the repertoire are explored under three headings: sonic and physical organization, gesture, and rapid mastery. The paper then presents the results of three contrasting case studies that document how I have pushed the boundaries of performance practice in my work through different composer collaborations. The case studies are: 1. Aphasia-Dialogue (2014) by M. Applebaum (chor. by D. Espinosa) 2. 150pF for body capacitance (2014) by H. Morales and D. Espinosa 3. Six Drawings by Randall (2012) by D. Adamcyk and D. Espinosa These works expand the solo multi-percussion repertoire. Through the creation of new instruments and techniques, the works also heighten the possibilities of the performing body as a multi-faceted instrument that cuts across different artistic disciplines—music, the visual arts, and dance. ii Abrègè La multi-percussion soliste est définie traditionnellement comme une seule personne jouant de deux ou plusieurs instruments à percussion, et c'est à la fin des années 1950 que cette pratique s'est établie en tant que discipline spécifique. Le présent document soutien que la multi-percussion soliste s'est développée comme une discipline hybride sous l'impulsion des compositeurs et interprètes, qui ont fait éclater les frontières techniques et expressives habituelles pour incorporer le medium électronique, tout comme des éléments provenant de la danse, du drame ou de l'art conceptuel. Le mémoire présent les résultats de trois études de cas qui documentent la manière dont j'ai repoussé les limites de mes propres pratiques d'interprète, grâce à plusieurs collaborations. Ces études de cas sont: 1. Aphasia-Dialogue (2014) par M. Applebaum (cor. par D. Espinosa) 2. 150pF for body capacitance (2014) par H. Morales et D. Espinosa 3. Six Drawings by Randall (2012) par D. Adamcyk et D. Espinosa Ces œuvres élargissent le répertoire de la multi-percussion soliste. Par la création de nouveaux instruments et de nouvelles techniques, elles amplifient les possibilités que présente le corps performant à devenir un instrument polyvalent, à la croisée de différentes disciplines artistiques: la musique, les arts visuels et la danse. iii Acknowledgements I dedicate this paper to Rebeca, Lilia, Andrés, Emilio, Nuria, Irene, Roli, Pablo, all my family, and friends. Without your support this would not have been possible. Special thanks to Aiyun Huang and Eleanor Stubley for their impeccable commitment as members of my committee together with Sean Ferguson and Fabrice Marandola. Thanks to Richard McKenzie from DCS, all the team from CIRMMT, as well as John Rea, Helene Drouin, Amie Watson, Christian Rivera, and José Luis Aguirre. My deepest gratitude to the financial support from Mr. Seymour Schulich, the Schulich Scholarship, Provost Graduate Fellowship, Graduate Exellence Award, Great Award, Graduate Mobility Award, Music Travel Award, CIRMMT Travel Award, and the Nikki Yanofsky Audio-Technica Prize. To my teachers and colleagues, Robert Miles, Melissa Hui, Cathy Martin, David Brackett, Wim Vos, Luuk Nagtegaal, Dou Dou N'Diaye Rose, Ali N'Diaye Rose, Mario Jáuregui, Salvador Agüero, Steven Schick, Samuel Fabre, Tambuco, Iván Manzanilla, Popis, Carlos López, Benjamín Correa, Ulrich Pöhl, María Antonieta Lozano, Alejandro Velasco, Los Utrera, Alejandra Hernández, Luís Miguel Costero, Agustín Bernal, Antonio López Ramos, Alejandro Castañón, Ear Massage, The Electronic Hammer, Luna Negra, SDH, Ziggurat, Delia, y a todos los Kakayaris, Marakates y Teokaris. Thanks to all composers with whom I collaborated during my doctorate: Kaija Saariaho, John Luther Adams, Pierre Boulez, Peter Eötvos, David Adamcyk, Jasna Veličković, Hugo Morales, Felipe Waller, Juan Sebastián Lach, Mark Applebaum, James Wood, Henry Vega, Robin de Raaf, Alejandro Castaños, Anthony Pateras, Amit Gilutz, Levy Lorenzo, and Eliot Britton. iv Table of Contents Abstract................................................................................................................................ii Abrègè................................................................................................................................iii Acknowledgements.............................................................................................................iv List of Figures.....................................................................................................................ix Chapter 1: Defining Solo Multi-Percussion.....................................................................1 1.1 Definitions of Multi-Percussion.....................................................................................1 1.2 Methodology..................................................................................................................2 1.3 History............................................................................................................................3 1.3.1 Early Percussion Ensemble.............................................................................6 1.3.2 Solo Multi-Percussion Repertoire...................................................................8 1.4 Principles of Multi-Percussion Performance.................................................................9 1.4.1 Sonic and Physical Organization..................................................................10 1.4.2 Gesture..........................................................................................................11 1.4.3 Rapid Mastery...............................................................................................12 1.5 The Foundations of Multi-Performance Performance Practice...................................13 1.5.1 Zyklus (1959) by Karlheinz Stockhausen.....................................................13 1.5.2 27' 10.554" (1956) by John Cage..................................................................15 1.5.3 The King of Denmark (1964) by Morton Feldman.......................................18 Chapter 2: Aphasia..........................................................................................................22 2.1 Applebaum's Venture Into Choreography...................................................................22 v 2.2 Intention and Impact....................................................................................................24 2.3 Tape Part......................................................................................................................25 2.4 Music Notation.............................................................................................................26 2.5 Performing Aphasia.....................................................................................................29 2.6 Expanding Percussion Technique................................................................................31 2.7 Humor and Critical Approach......................................................................................32 2.8 Creating Espinosa's Version........................................................................................33 2.8.1 Motivation.....................................................................................................33 2.8.2 Improvisation................................................................................................33 2.9 Impact of Applebaum's Choreography versus Espinosa's Choreography............................................................................36 2.9.1 Different Relation to the Tape Part...............................................................38 2.9.2 Aphasia-Dialogue.........................................................................................42 2.10 Multi-Percussion Principles Within Aphasia-Dialogue............................................42 Chapter 3: 150pF for body capacitance..........................................................................44 3.1 Technology and Body..................................................................................................44 3.2 Context and Research Process.....................................................................................45 3.2.1 First Stage: New Sound Articulators............................................................46 3.2.2 Experimenting with Amplification and Sound Control................................46 3.2.3 Evaluation Prompts New Directions.............................................................50 3.2.4 Second Stage: Finger Contact as Sound Articulator.....................................51 3.2.5 First Version..................................................................................................52 vi 3.2.6 Video-Audio Recording Generates New
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