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University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2019 A PERFORMER'S ANALYSIS OF THE COMPOSITIONAL APPROACHES IN SHORT STORIES FOR SAXOPHONE QUARTET BY JENNIFER HIGDON Nicholas J. Stow University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Stow, Nicholas J., "A PERFORMER'S ANALYSIS OF THE COMPOSITIONAL APPROACHES IN SHORT STORIES FOR SAXOPHONE QUARTET BY JENNIFER HIGDON" (2019). Student Research, Creative Activity, and Performance - School of Music. 133. https://digitalcommons.unl.edu/musicstudent/133 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. A PERFORMER’S ANALYSIS OF THE COMPOSITIONAL APPROACHES IN SHORT STORIES FOR SAXOPHONE QUARTET BY JENNIFER HIGDON by Nicholas J. Stow A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Paul Haar Lincoln, Nebraska December, 2019 ii © Copyright 2019, Nicholas J. Stow iii A PERFORMER’S ANALYSIS OF THE COMPOSITIONAL APPROACHES IN SHORT STORIES FOR SAXOPHONE QUARTET BY JENNIFER HIGDON Nicholas J. Stow, D.M.A. University of Nebraska, 2019 Advisor: Paul Haar The purpose of this document is to further the saxophonist’s understanding of Short Stories (1996) for saxophone quartet by Jennifer Higdon. By connecting biographical information with a thorough analysis including a commentary on programmatic influences, the saxophonist can gain a greater awareness of the context surrounding the piece and successfully portray important compositional elements inherent in the work. Jennifer Higdon is one of the most respected classical composers of the early 21st Century, gaining acclaim through a continually expanding catalogue of works that include operatic, orchestral, choral, and chamber compositions. As a two-time Grammy and Pulitzer Prize awardee, Higdon’s music has already received scholarly attention through an investigation of her works to better understand her compositional devices. Previous research focuses on select orchestral works and chamber works for flute while little research exists on the works for saxophone. This document first presents an overview of Higdon’s childhood experiences in the 1960s-70s which influence her compositional style. An overview of Higdon’s general style follows with references to some of her most successful works. Next, this document reveals the genesis of Short Stories by providing historical information of the iv commissioning process gained through interviews with members of the commissioning ensembles and the composer. Lastly, this document investigates the compositional approaches of the piece through an analysis of form, texture, melody, harmony, timbre, and rhythm, including a commentary on key programmatic elements. v For Destini vi ACKNOWLEDGEMENTS To the faculty who supported and mentored me along the way, I give my deepest gratitude. To Dr. Victor Mansure for showing me that I am capable of scholarly writing. To Dr. Jennifer Snodgrass for guiding me through my first graduate studies. To Dr. Scott Kallestad for introducing me to saxophone pedagogy. To Dr. Anthony Bushard, Dr. William McMullen, and Steve Kolbe for their guidance through the compositional and revision process of this document. To Dr. Paul Haar for not only his mentorship, but also his friendship which I will forever cherish. Thank you, Dr. Jennifer Higdon, for your involvement in the process and to the members of the ANCIA and PRISM quartets. Thank you, Dr. Griffin Campbell, Dr. Jeffery Heisler, and Dr. Scott Turpen for your valuable input. Lastly, I would like to thank my parents Alicia and Jim Stow, and Sheila and Roy Petitt for their continued support of my academic pursuits. Without them, none of this would be possible. vii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................... vi LIST OF FIGURES ........................................................................................................... ix LIST OF TABLES ........................................................................................................... xiii CHAPTER I – INTRODUCTION ...................................................................................... 1 RATIONALE .......................................................................................................... 2 BIOGRAPHY ......................................................................................................... 5 COMPOSITIONAL APPROACH ....................................................................... 18 CHAPTER II - SHORT STORIES..................................................................................... 25 SHORT STORIES ‒ “CHASE” ............................................................................. 34 Guided Analysis ........................................................................................ 41 Conclusion ................................................................................................ 54 SHORT STORIES ‒ “SUMMER’S EVE”............................................................. 57 Guided Analysis ........................................................................................ 59 Conclusion ................................................................................................ 77 SHORT STORIES ‒ “LULLABY”........................................................................ 79 Guided Analysis ........................................................................................ 82 Conclusion ................................................................................................ 93 SHORT STORIES ‒ “SPLASHING THE CANVAS” .......................................... 94 Guided Analysis ........................................................................................ 96 viii Conclusion .............................................................................................. 112 SHORT STORIES ‒ “COYOTE NIGHTS” ........................................................ 114 Guided Analysis ...................................................................................... 115 Conclusion .............................................................................................. 130 SHORT STORIES ‒ “STOMP & DANCE” ........................................................ 132 Guided Analysis ...................................................................................... 133 Conclusion .............................................................................................. 149 CHAPTER III - CONCLUSION .................................................................................... 151 BIBLIOGRAPHY ........................................................................................................... 156 DISCOGRAPHY ............................................................................................................ 160 APPENDIX I .................................................................................................................. 161 ix LIST OF FIGURES Figure Page 2.1 Short Stories – “Chase” diagram ...................................................................... 40 2.2 Short Stories ‒ “Chase” measure 1 .................................................................... 42 2.3 Short Stories ‒ “Chase” measure 5 ................................................................... 42 2.4 Short Stories – “Chase” measures 7-8 .............................................................. 43 2.5 Short Stories – “Chase” measures 16-21 .......................................................... 44 2.6 Short Stories ‒ “Chase” measures 23-25 .......................................................... 45 2.7 Short Stories ‒ “Chase” measures 32-33, 65-66 ............................................... 48 2.8 Short Stories ‒ “Chase” measures 76-78 .......................................................... 50 2.9 Short Stories ‒ “Chase” measures 96-100 ........................................................ 51 2.10 Short Stories ‒ “Chase” measures 107-109 ...................................................... 52 2.11 Short Stories – “Chase” measures 112-113 ...................................................... 53 2.12 Short Stories ‒ “Chase” measures 120-122 ...................................................... 54 2.13 Short Stories ‒ “Chase” measures 129-130 ...................................................... 54 2.14 Short Stories – “Summer’s Eve” measures 1-3 ................................................ 63 2.15 Short Stories – “Summer’s Eve” measures 4-6 ................................................ 64 2.16a Short Stories – “Summer’s Eve” measures 12-15 ............................................ 65 2.16b Short Stories – “Summer’s Eve” measures 15-18 ............................................ 65 2.17 Short Stories – “Summer’s Eve” measures 19-24 ............................................ 66 2.18 Short Stories – “Summer’s Eve” measures 28-30 ...........................................
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