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Hurdy-Gurdy: New Articulations | Piotr Nowotnik

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Hurdy-Gurdy: New Articulations | Piotr Nowotnik Hurdy-gurdy: New Articulations | Piotr Nowotnik 2 Hurdy-gurdy: New Articulations | Piotr Nowotnik Hurdy-gurdy: New Articulations by Piotr Marian Nowotnik Submitted in partial fulfilment for the degree of Master of Fine Arts (Contemporary Music) The University of Melbourne Victorian College of the Arts and Melbourne Conservatory of Music Cover photo by Hayden Golder (2012) February 2016 3 Hurdy-gurdy: New Articulations | Piotr Nowotnik 4 Hurdy-gurdy: New Articulations | Piotr Nowotnik Abstract The purpose of this thesis is to expand existing literature concerning the hurdy-gurdy as a contemporary musical instrument. Notably, it addresses the lack of hurdy-gurdy literature in the context of contemporary composition and performance. Research into this subject has been triggered by the author’s experience as a hurdy-gurdy performer and composer and the importance of investigating and documenting the hurdy-gurdy as an instrument capable of performing well outside the idioms of traditional music. This thesis consists of a collection of new works for hurdy-gurdy and investigation of existing literature including reference to the author’s personal experience as a hurdy-gurdy composer and performer. It will catalogue and systematically document a selection of hurdy-gurdy techniques and extended performance techniques, and demonstrate these within the practical context of new music compositions created by the author. This creative work and technique investigation and documentation is a valuable resource for those seeking deeper practical and academic understanding of the hurdy-gurdy within the context of contemporary music making. 5 Hurdy-gurdy: New Articulations | Piotr Nowotnik Attestation I understand the nature of plagiarism, and I am aware of the University’s policy on this. I certify that this dissertation reports my original work while any external sources – such as quotations, pictures, rightful copyright owners of attached music materials – have been annotated accordingly to remain compliant with the practices of intellectual property and ownership. Name and signature: Piotr Nowotnik Date: February 2016 6 Hurdy-gurdy: New Articulations | Piotr Nowotnik Acknowledgements I would like to thank the following individuals who assisted me in my work on this dissertation: For methodological, linguistic and academic support: Associate Professor Mark Pollard Ade Vincent For helping me to organise my workspace, schedule and continuous emotional support: Rachel Nowotnik For building my hurdy-gurdy: Stanisław Wyżykowski For providing me with encouragement, computing and library facilities: VCA/MCM Staff 7 Hurdy-gurdy: New Articulations | Piotr Nowotnik 8 Hurdy-gurdy: New Articulations | Piotr Nowotnik Contents Abstract ........................................................................................................................................................... 5 Attestation ...................................................................................................................................................... 6 Acknowledgements ......................................................................................................................................... 7 Contents .......................................................................................................................................................... 9 Part 1: The Instrument .................................................................................................................................. 11 1.1 Research. Purpose, Scope and Limitations ................................................................................... 11 1.2 Sociohistorical Brief ...................................................................................................................... 12 1.3 Observations ................................................................................................................................. 14 1.4 Selected Hurdy-gurdy Literature................................................................................................... 17 Part 2: New Articulations .............................................................................................................................. 21 2.1 Introduction .................................................................................................................................. 21 2.2 Basic Sound Characteristics .......................................................................................................... 23 2.2.1 The Wheel ........................................................................................................................... 23 2.2.2 The Strings ........................................................................................................................... 24 2.2.3 The Notation ....................................................................................................................... 26 2.2.4 Summary (table) .................................................................................................................. 29 2.3 New Performance Techniques ...................................................................................................... 30 2.3.1 Chanters .............................................................................................................................. 30 2.3.2 Drones ................................................................................................................................. 45 9 Hurdy-gurdy: New Articulations | Piotr Nowotnik Part 3: Compositions ..................................................................................................................................... 53 3.1 Introduction .................................................................................................................................. 53 3.2 Selected Pieces .............................................................................................................................. 55 3.2.1 “Tok Jons” (trad.) ................................................................................................................ 55 3.2.2 “Mount Hekla” (orig.).......................................................................................................... 57 3.2.3 “The Marshy Alders” (orig.) ................................................................................................ 59 3.3 Hurdy-gurdy and String Trio – “The Alder Grove” ........................................................................ 62 3.3.1 Introduction ........................................................................................................................ 62 3.3.2 Program notes ..................................................................................................................... 63 3.3.3 Performance notes .............................................................................................................. 63 3.3.4 Special techniques and points of interest (table) ............................................................... 64 3.4 “Cerebrum” ................................................................................................................................... 67 3.4.1 Introduction ........................................................................................................................ 67 3.4.2 The Development ................................................................................................................ 68 3.4.3 The Structure and application of the new articulations ..................................................... 69 3.5 “Magical”....................................................................................................................................... 75 3.5.1 Introduction ........................................................................................................................ 75 3.5.2 The Use of New Hurdy-gurdy Articulation .......................................................................... 75 3.6 The Audio-visual Materials ........................................................................................................... 77 3.6.1 Hurdy-gurdy: New Articulations (Main Segment)............................................................... 77 3.6.5 “Cerebrum” – live performance recording ......................................................................... 78 3.6.7 “Magical” – audio/video reference ..................................................................................... 78 3.6.8 Archival recordings of “Mt. Hekla”, “Marshy Alders” and “Tok Jons” ................................ 78 Bibliography .................................................................................................................................................. 79 10 Hurdy-gurdy: New Articulations | Piotr Nowotnik Part 1: The Instrument 1.1 Research. Purpose, Scope and Limitations This dissertation aims to expand knowledge of the hurdy-gurdy and provide practical insight into its possibilities as a capable contemporary instrument. By focusing on unorthodox approaches to hurdy-gurdy performance and composition through experimentation within a contemporary music context, this research will provide a better understanding of the sonic potential of the instrument. The educational and informational materials included here will focus on solo extended performance techniques and the compositional component will place these within an ensemble
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