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HUBLEY-DISSERTATION-2015.Pdf (9.140Mb) DAVID LANG AND THE SO-CALLED LAWS OF NATURE _______________ A Dissertation Presented to The Faculty of the Department of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________ By Robert L. Hubley May, 2015 DAVID LANG AND THE SO-CALLED LAWS OF NATURE _________________________ Robert L. Hubley APPROVED: _________________________ Blake Wilkins, D.M.A. Committee Chair _________________________ Timothy Koozin, Ph.D. _________________________ Howard Pollack, Ph.D. _________________________ Alec Warren _________________________ Steven G. Craig, Ph.D. Interim Dean, College of Liberal Arts and Social Sciences Department of Economics !ii DAVID LANG AND THE SO-CALLED LAWS OF NATURE _______________ An Abstract of a Dissertation Presented to The Faculty of the Department of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________ By Robert L. Hubley May, 2015 ABSTRACT DAVID LANG AND THE SO-CALLED LAWS OF NATURE David Lang is a celebrated American composer whose unique voice often employs strict, process-based compositional techniques. His works exhibit a mastery of contrapuntal techniques rooted in early music but also follow the experimental tradition of twentieth- century American music. The so-called laws of nature is a complex composition for percussion quartet in which every note is part of a larger pattern. The analysis presented here reveals each of these processes and their relationship to the formal organization of the work. Many of the processes used in the so-called laws were first used in earlier works, most importantly memory pieces; this is a particularly strong element of the composer’s style. A deeper understanding of the organization of this composition will be useful for any musician that is presenting a performance of the so-called laws of nature. !iv ACKNOWLEDGEMENTS This document would not have been possible without the support and guidance of several important people. I would like to first thank David Lang, whose music inspired this dissertation and who generously visited with me as I prepared my research. I also would like to thank Steven Schick for providing unique insight on his work with Lang. Additionally, I greatly appreciate Jason Treuting, Adam Sliwinksi, Douglas Perkins, and Todd Meehan for providing me with an abundance of information on their experiences with the so-called laws of nature. The guidance and feedback provided by the members of my dissertation committee was of paramount importance in the preparation of this document. I would like to express profound appreciation for the advice and support of Blake Wilkins, Howard Pollack, Alec Warren, and Timothy Koozin. I also wish to thank my parents, Janet and Grover Hubley Jr., who have supported me in every possible way through each stage of my education and for inspiring me to pursue a doctoral degree. And finally, I would like to express my sincerest and greatest appreciation for my wife Maria, who has provided incredible support and patience through all of my graduate work. This document, and all of my graduate work, would not be complete without the support of my loving family. !v TABLE OF CONTENTS Acknowledgements…………………………………………………….……………………v List of Tables……………………………………………….….………………………….viii Chapter One: Introduction…………………………………………………….…………… 1 Chapter Two: Biography and Background…………………………………………………. 5 Education………………………………………………….……………………….. 5 Bang on a Can……………………………………………………………………… 8 Lang’s Later Years………………………………………………………………….13 Sō Percussion……………………………………………………………………….19 Chapter Three: Instrumentation of the so-called laws of nature…………….………..…… 22 Author’s Instrumentation Experience……………………………………………… 28 part I..…………………………………………………………………….… 29 part II..……………………………………………………………………… 30 part III……………………………………………………………………… 33 Implements…..…………………………………………………………..… 35 Part Two: Analysis of the so-called laws of nature Chapter Four: Analysis of Part I…………………………..……………………………….. 38 Form………..………………………………………………………………………. 38 Moving-Rest Procedure……………………………………………………………. 41 A Section………..………………………………………………………………….. 45 B Section…………………………………………………………………………… 50 Chapter Five: Analysis of Part II……………………………..………………………..……53 Source Material………….…………………………………………………………. 54 Form and Process………………………………………………………………..…. 56 A Section: Metallic Melody……………..……………………………………….… 57 B Section: High Metals…………….………………………………………………. 58 C Section: Drums………………………..……………………………………….… 60 D Section: Synthesis………………..……………………………………………… 66 E Section: Climax………………………………………………………………….. 67 !vi Chapter Six: Analysis of Part III……………………………………………………………70 Form and Process……..………………………………………………………….… 71 The A Section: Flowerpot Chord Cycle……………………………………………. 73 The A Section: Teacup Process………………………………………………..…… 74 The A Section: Bell Process…………………………………………………….….. 76 B Section: Woodblocks……………………………………………………………. 78 Observations….…………………………………………………..…………..….… 79 Chapter Seven: Conclusion…….………………..………..……………………….………. 81 Bibliography…………….………………..………..……………………….……………….83 !vii LIST OF TABLES 4.1 Part I Formal Diagram………………………………………………………………39 4.2 beach Melody, m. 1 - 20…………………………………………………………… 42 4.3 cheating, lying, stealing Rest-Insertion Procedure………………………………… 44 4.4 Part I, A Section Form of the so-called laws of nature…………………………….. 45 4.5 the so-called laws, part I, m. 1 - 4…………………………………………………. 46 4.6 Moving-Rest Procedure……………………………………………………………. 46 4.7 Moving-Rest Procedure, Retrograde………………………………………………. 46 4.8 Simultaneous occurrence of the primary motive and counter-melody…….………. 47 4.9 Counter-melody moving-rest procedure…………………………………………… 49 4.10 Part I, B Section Form of the so-called laws of nature…………………………….. 50 4.11 B section melody rhythm maintained in new meter……………………………….. 51 4.12 Coda - Simultaneous occurrence of primary motive and B section melody, showing unisons……………………………………………………………………. 52 5.1 wed Rhythmic Pattern……………………………………………………………… 54 5.2 wed Rhythmic Pattern with Triplet Rotation………………………………………. 55 5.3 cello Rhythmic Pattern…………………………………………………………….. 55 5.4 Part II Formal Diagram……………………………………………………………. 56 5.5 Part I, A Section Form of the so-called laws of nature…………………………….. 57 5.6 Part II, B Section Form of the so-called laws of nature…………………………….58 5.7 Part II, B Section Rhythmic Pattern………………………………………….…….. 59 5.8 Part II, B Section Rhythmic Pattern, Statement 1…………………………………. 59 5.9 Part II, B Section Rhythmic Patterns, All Five Statements………………………… 60 5.10 Part II, C Section Form of the so-called laws of nature…………………..……….. 61 5.11 Part II, C Section, Drum Process, Rotation No. 1…………………………………. 62 5.12 Part II, C Section, Drum Process, Rotation No. 1, Table Form……………………. 62 5.13 Part II, C Section, Player 1 Drum Music, Opening Rhythm of Each Rotation……. 63 5.14 Part II, C Section, Player 1 Drum Music, Complete Rotational Cycle……………. 64 5.15 Part II, C Section, Player 2 & 4 Drum Music Rhythmic Pattern………………….. 65 5.16 Part II, D Section Form of the so-called laws of nature…………………………….66 5.17 Part II, E Section Form of the so-called laws of nature……………………………. 67 5.18 Part II, m. 535 - 538……………………………………………………………….. 68 5.19 Part II, m. 615 - 620, simultaneous conclusion of bass drums and high metals melody………………………………………………………………… 69 6.1 Part III Formal Diagram……………………………………………………………. 72 6.2 Part III m. 106 - 108……………………………………………………………….. 72 6.3 Part III, A Section Form of the so-called laws of nature……………………………73 6.4 Part III, Flowerpot Chord Cycle…………………………………………………….73 6.5 the so-called laws of nature, part III, m. 1 - 9……………………………………… 74 6.6 Part III, Initial Teacup Statement, and First Four Rotations……………………….. 75 6.7 Part III, One Complete Cycle of the Teacup Rhythmic Pattern……………………. 75 !viii 6.8 Teacup Rhythmic Pattern, Initiation Point of the Five Cycles………………….…. 76 6.9 Part III, High Bell Rhythmic Pattern………………………………………………. 77 6.10 Part III, Bell Complex……………………………………………………………… 77 6.11 Part III, B Section Form of the so-called laws of nature……………………………78 6.12 Part III, Woodblock Rhythmic Pattern…………………………………………….. 78 6.13 Part III, Rhythmic movement of all voices, m. 108 - 178………..…………………80 !ix This work is dedicated to my wife Maria, and our son, Lawson. !x Chapter One: Introduction The so-called laws of nature (2002) is a large-scale composition for percussion quartet that has become an important part of the chamber percussion repertoire. Lang’s composition, along with Steve Reich’s Drumming (1970 - 1971), Iannis Xenakis’ Pleides (1979), John Luther Adams’ Strange and Sacred Noise (1991-1997), and the more recent Threads (2005) by Paul Lansky are arguably the greatest works of the chamber percussion repertoire. The so-called laws of nature is a complex composition that requires virtuoso performers, and with a thorough analysis, a multi-layered structure is revealed. A deeper understanding of the organization of this composition will be useful for any musician that is presenting a performance of the so-called laws of nature. The analysis presented here will demonstrate important compositional traits and techniques used by Lang; this insight hopefully will aid future analytical works on Lang’s music. David Lang is an esteemed American composer whose unique voice relies heavily on strict, process-based compositional techniques and an ability to elicit authentic emotional responses from the audience. His works exhibit a mastery of contrapuntal techniques rooted in early music
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