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The University of Oklahoma Graduate College THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE CANADIAN PEDAGOGICAL PIANO REPERTOIRE SINCE 1970: A SURVEY OF CONTEMPORARY COMPOSITIONAL STYLES AND TECHNIQUES A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Musical Arts By CHRISTOPHER CHARLES HAHN Norman, Oklahoma 2005 UMI Number: 3203289 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3203289 Copyright 2009 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 CANADIAN PEDAGOGICAL PIANO REPERTOIRE SINCE 1970: A SURVEY OF CONTEMPORARY COMPOSITIONAL STYLES AND TECHNIQUES A document APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Edward Gates, Chair Dr. Jane Magrath, Chair Dr. Barbara Fast Dr. Michael Lee Dr. Sandra Ragan © Copyright by Christopher Hahn 2005 All Rights Reserved ACKNOWLEDGEMENTS I am indebted to many wonderful individuals and organizations for their contributions to this document. My sincere thanks go to Dr. Edward Gates for his invaluable guidance and patience with respect to the writing style and overall direction of this paper. In addition, his wisdom and insight in the teaching studio continues to provide constant inspiration in my own teaching and performing. I would like to thank Dr. Jane Magrath for her advice on pedagogical and professional matters throughout my doctoral studies, and for her knowledge and assistance with the research and writing process. My appreciation is also extended to the other members of my graduate committee for their careful reading and assistance: Dr. Barbara Fast, Dr. Michael Lee, and Dr. Sandra Ragan. I am grateful to the following publishers and composers who contributed books and manuscripts for my research, and for granting copyright permissions to include excerpts in the document: the Waterloo Music Company Limited; The Frederick Harris Music Co., Limited; Studea Musica; Blis Music Publications; Roberta Stephen and The Alberta Keys Music Publishing Co. Limited; Debra Wanless and Julyn Music; Stella terHart and Oceanna Music Publications; Dale Sorenson and Pine Grove Music; Professor Boyd MacDonald; and Dr. Jack Behrens for copies of his recently completed manuscripts. A special thank-you to David Duke, Stephen Chatman, Roberta Stephen, Alexina Louie, Debra Wanless and Stella terHart for their time and support of my research during our informal correspondence. I also want to thank the librarians at the Canadian Music Centre who helped with the acquisition of unpublished scores and information pertaining to composition and contemporary music in Canada. I would like to thank my family for their unfailing encouragement, interest and pride in all of my musical endeavors. To my friends and colleagues in Canada and the United States, I offer my sincere gratitude for your friendship and support during my graduate studies. And to iv each of my teachers who nurtured and guided me in the pursuit of musical enlightenment, I feel honored to have learned from such wonderful pedagogues. Most importantly, I offer my deepest feelings of love and respect to my wife, Valerie, and my two beautiful children, Clara and Adam. Your constant understanding and patience, your adaptability to change, your desire to grow, and your boundless support and energy keeps me focused, centered, and inspired. I dedicate this document and all that it represents to each of you. v TABLE OF CONTENTS Acknowledgements ...............................................................................................................iv Abstract .................................................................................................................................viii Chapter 1. INTRODUCTION.....................................................................................................1 Purpose of the Study ................................................................................................3 Need for the Study ...................................................................................................4 Procedures................................................................................................................8 Limitations ...............................................................................................................8 Related Literature.....................................................................................................9 Organization of the Study ........................................................................................14 2. AN OVERVIEW OF MUSIC COMPOSITION IN CANADA................................16 The Establishment of Contemporary Composition in Canada.................................16 The Support of Contemporary Music within Canada ..............................................18 Publishing of Contemporary Music in Canada ........................................................20 Biographical Sketches of Composers.......................................................................23 3. RHYTHM AND METER Introduction..............................................................................................................47 3.1 Shifting Accents..........................................................................................48 3.2 Changing Meters .........................................................................................51 3.3 Asymmetrical Meter....................................................................................59 3.4 Polymeter ....................................................................................................63 3.5 Non-metric Notation ...................................................................................67 3.6 Metric and Non-metric Notation.................................................................83 4. HARMONY AND TONALITY Introduction..............................................................................................................89 4.1 Tertian Harmony .........................................................................................90 4.2 Non-Tertian Harmony.................................................................................93 4.3 Ostinato .......................................................................................................99 4.4 Bitonality.....................................................................................................104 4.5 Atonality .....................................................................................................109 4.6 Parallelism...................................................................................................115 4.7 Tone Clusters ..............................................................................................119 vi 5. MELODY AND MODALITY Introduction..............................................................................................................126 5.1 Church Modes .............................................................................................127 5.2 Pentatonic Scale ..........................................................................................135 5.3 Whole-tone Scale ........................................................................................140 5.4 Chromatic Scale ..........................................................................................143 5.5 Disjunct Melody..........................................................................................146 6. TEXTURES AND EXTENDED TECHNIQUES Introduction..............................................................................................................152 6.1 Monophony ..................................................................................................153 6.2 Polyphony ....................................................................................................158 6.3 Indeterminacy...............................................................................................168 6.4 Minimalism ..................................................................................................184 6.5 Inside the Piano ............................................................................................189 6.6 Percussive and Vocal Effects .......................................................................194 7. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS Summary .....................................................................................................204 Conclusions.................................................................................................205 Recommendations for Further Study ..........................................................208 SELECTED BIBLIOGRAPHY ...............................................................................210 APPENDICES A. Graded Repertoire Chart .............................................................................220 B. Compositional Technique Chart .................................................................240 C. Music Publishers in Canada ........................................................................261 vii ABSTRACT CANADIAN PEDAGOGICAL
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