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Microtonality and the Recorder -COPYRIGHT-SAFE.Pdf Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Bowman, P. (2014) Microtonality and the recorder 1961-2013: repertoire, tone colour, and performance. Ph.D. thesis, Canterbury Christ Church University. Contact: [email protected] i Microtonality and the Recorder 1961 – 2013: Repertoire, Tone Colour and Performance By Peter Bowman Canterbury Christ Church University Thesis submitted for the degree of Doctor of Philosophy 2014 ii Acknowledgements I am greatly indebted to the following people for their support and assistance during the research and writing of this thesis. I would like to thank my supervisor Professor Roderick Watkins for his patience, advice and constructive criticism. Professor Grenville Hancox has also been tireless in his support and encouragement for my work at Canterbury Christ Church University over the past twenty years. Dr. Eva Mantzourani and Dr. Matthew Wright have at different times taken on the role of second supervisor and have been generous with their advice. Kathryn Bennetts and Dr. Wright have devoted hours of their time respectively to preparing and recording my composition. David Lumsdaine, Nicola LeFanu, Markus Zahnhausen and Professor Christopher Fox provided invaluable information about their works whilst Dr. Michael Wolters’ support, commitment to the recorder and microtonal compositions, have themselves been inspirational. Anthony Gilbert provided information about Australian birdsong and the background to the creation of Metamorphosis at Mullet Creek and Dawn’s Dove. Dr. Andrew Mayes made available information about Carl Dolmetsch and Dr. Dieter Haberl of the Proskesche Musikabteilung at the Bischöfliche Zentralbibliothek, Regensburg, furnished me with details of developments in the Graduale Romanum around the turn of the twentieth century. Andover Educator Jerald Harscher has been inspirational in helping me on the path to recovery from focal dystonia. To my wife Kathryn, my heartfelt thanks for her unending tolerance, patience and help. iii Contents Abstract ……………………………..………………………………………….....…1 Chapter 1: Introduction ……………………………………………………………….............3 Chapter 2: Elements of Performance – Intonation and Interpretation ...…………….….…12 Chapter 3: Tone Colour and Dynamics on the Recorder .…….………………………..........27 Chapter 4: Microtonality and the Recorder ...……………………………………….…...….60 Chapter 5: Investigation into Tone-Colour Variations Using Dynamic and Microtonal Fingerings….......….............................................94 ***** Volume 2 Chapter 6: Discussion and Analysis of a Selection of Twentieth Century Microtonal Works - Introduction…………………………………………….....143 1. Winds of Heaven Christopher Fox ..……........151 2. Lux Aeterna Markus Zahnhausen …........166 3. Dawn’s Dove Nicola LeFanu ………...…...193 4. Metamorphosis at Mullet Creek David Lumsdaine ………….217 5. No.2 from Five Quarter-tone Pieces Donald Bousted …………...240 6. Whale Song Donald Bousted …………...250 7. The Voyage Michael Wolters ……….….284 8. Dialogue for One Recorder Player Peter Bowman ………….…304 Conclusion to Chapter 6 ………..…………………………………......................318 iv Chapter 7: Conclusion ...…...............………………………………...……...…....320 Appendix 1: Notes Analysed….................…………………………………...……..329 Appendix 2: Method of Analysis……………………………………….………..….330 Appendix 3: Results of Analysis (Coolsma)………………………………….....…..335 Appendix 4: Results of Analysis (Yamaha)……….………………………….....…..338 Appendix 5: Analysis Bar Charts (Coolsma) .............................................................341 Appendix 6: Microphone Details ...............................................................................348 Appendix 7: Comparison of Instruments....................................................................349 Appendix 8: Spectral Analysis by Arndt von Lüpke (1940) .....................................358 Appendix 9: Raga Asavari .........................................................................................359 Appendix 10: Score – Winds of Heaven ....................................................................353 Appendix 11: Score – Lux Aeterna ...........................................................................357 Appendix 12: Score – Dawn’s Dove .........................................................................360 Appendix 13: Score – Metamorphosis at Mullet Creek ............................................362 Appendix 14: Score – Microtonal Study No. 2 .........................................................364 Appendix 15: Score – Whale Song ...........................................................................366 Appendix 16: Score – Dialogue for One Recorder Player ......................................377 Appendix 17: Microtonal Fingering Chart ...............................................................389 Bibliography ……………………………………………………… ..……...….….393 Word Count ..........................................................................................................77561 CD Track Title Composer Performer(s) 1 Winds of Heaven1 C. Fox Peter Hannan 2 Whale Song2 D. Bousted Bennetts/Bowman 3 The Voyage4 M. Wolters * see below 4 Dialogue (Mvt. 1)3 P. Bowman K. Bennetts 5 Dialogue (Mvt. 2)3 P. Bowman K. Bennetts 6 Dialogue (Mvt. 3)3 P. Bowman K. Bennetts 7 Midsummer Night’s Dream4 M. Wolters Bennetts/Bowman/ Purkis v 8 Measure for Measure4 M. Wolters “ “ “ 9 Macbeth4 M. Wolters “ “ “ 10 Romeo and Juliette4 M. Wolters “ “ “ 11 Hamlet4 M. Wolters “ “ “ 12 Antony and Cleopatra 4 M. Wolters “ “ “ 13 King Lear4 M. Wolters “ “ “ 14 She Stays4 M. Wolters Bennetts/ Bowman 15 My Own Stepsong4 M. Wolters Bennetts/Bowman/ Purkis/Fumiko The Voyage Performers Mezzo-Soprano: Suzi Purkis Solo recorder: Michelle Holloway Double bass: Sebastiano Dessanay Microtonal Recorders: Kathryn Bennetts/Peter Bowman Ensemble Recorders: Sarah Langdon, Clare Murphy, Kate Rose, Charlotte Hiller, Ben Rose, Maryanne Coughlan, Kathryn Harris, Emily Bannister. Conductor: Dan Watson Notes; 1. CD Recording SRI Classics SRI 001 (1989) 2. Recorded Live at St. Gregory’s, Canterbury, 28 October 2013 3. Recorded at Canterbury Christ Church University 21 October 2013. Recorded by Dr Matt Wright. 4. CD Recording Birmingham Record Company CD1 (2013) 1 ABSTRACT This thesis investigates the development of the recorder’s microtonal repertoire from 1961 through to 2013. The artistic impulses for the use of microtones are discussed and selected pieces studied and performed. An investigation is also undertaken into the relationship between pitch, dynamic, and tone colour. This leads to the development of a method for objectively identifying the changes in tone colour that result from using various microtonal fingerings. Very little substantial research has been undertaken into the recorder’s contemporary repertoire, and even less so with regard to its engagement with microtones. The skills for producing the expressive effects of dynamic and tone colour, and thus microtones, were known in the early 16th century, lost, and then revived during the period of musical experimentation in post-war Europe. The application of this knowledge, however, has remained limited. This thesis addresses these shortcomings. Following consideration of intonation and interpretation in Chapter 2 a survey of writings analyzing changes in tone colour and dynamic, and the relationship between them, is undertaken in Chapter 3. These include a number of foreign language texts, whilst others appear in American journals, or conference papers not generally available to the British reader. They highlight the tendency for writers to discuss tone colour and dynamic in vague and subjective terms, and in relation to the performance of early music but rarely in the context of contemporary music. This strand of my inquiry is brought to fruition in Chapter 5, where research leading to the development of a method for identifying and quantifying changes in tone colour, through the application of different fingerings, is applied for the first time. 2 The results of an investigation into the evolution of microtonal repertoire composed since the 1960s are recorded in Chapter 4. Different compositional approaches to both instrument and microtonality are reflected in my choice of seven pieces, plus my own composition, that are the subject of detailed study in Chapter 6. The analyses of the pieces discussed in this thesis, and the contexts in which they were composed, represent a significant step forward in the understanding of the instrument and the use of microtones in compositions of the period. My thesis concludes with a live performance in which a selection of microtonal pieces is presented. This serves as a demonstration and confirmation of the principles discussed in this thesis, drawing together the threads of my research, and applying the insights gained in the course
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