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The Guitar Duo: Interaction and Group Creativity

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The Guitar Duo: Interaction and Group Creativity The Guitar Duo: Interaction and Group Creativity by Adam Batstone A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Department of Music University of Toronto © Copyright by Adam Batstone 2020 The Guitar Duo: Interaction and Group Creativity Adam Batstone Doctor of Musical Arts Department of Music University of Toronto 2020 Abstract The aim of this study was to examine the phenomenon of group creativity through the guitar duo, an ensemble which has received little scholarship in the field of music ensemble research. Specifically, this study revealed ways in which professional guitar duos manage non- verbal communication, and how they perceive moments of empathetic creativity during rehearsal and performance. A historical survey of the development of the guitar duo ensemble, along with literature review on specific issues of ensemble performance served as the backdrop for an observational study on the Henderson-Kolk guitar duo. Qualitative data was derived from video recordings of rehearsal and performance in order to examine rehearsal strategies that professional guitar duos utilize in order to promote group synergy and empathetic attunement during performance. A questionnaire was also forwarded to four members of other professional guitar duos which revealed insights into each individual’s own perception of the experience of empathetic attunement and how moments of empathetic creativity are cultivated. Results revealed an overall change in the main mode of communication between rehearsal to performance. Guitar duos utilize different rehearsal strategies to inspire or generate moments of creativity during performance, and the flow of empathetic communication is contingent on a duo’s capacity to listen and respond to each other’s musical intuitions in the moment. ii Acknowledgments First and foremost, I would like to thank my supervisor, Dr. Jeffrey McFadden for his guidance and patience throughout the process of planning and executing this research. Your musical knowledge and expertise have been a constant source of inspiration. Thanks to my advisory committee, Dr. Robin Elliott and Dr. John Brownell for taking interest in my research and providing valuable guidance throughout the process. I would like to thank Dick Bourgeois-Doyle for the constant feedback and encouragement. I appreciate all the time you gave me, reading and re-reading drafts of my work. I would also like to thank my wife, Dr. Rebecca Batstone for all the unwavering support while completing this research. Watching you achieve your success in academia has inspired me and kept me on the path to completing this journey. I couldn’t have asked for a better role model and best friend. Finally, I would like the thank my parents, Angie and Peter for their unconditional love and support. Without their encouragement, I may have never followed my dream in becoming a musician. iii Table of Contents Acknowledgments.......................................................................................................................... iii Table of Contents ........................................................................................................................... iv List of Appendices ........................................................................................................................ vii General Introduction .................................................................................................................... viii Chapter 1 .........................................................................................................................................1 1.1 Introduction ..........................................................................................................................1 1.2 17th and 18th Century ............................................................................................................2 1.3 19th Century ..........................................................................................................................6 1.3.1 Mauro Giuliani .........................................................................................................7 1.3.2 Fernando Sor ..........................................................................................................12 1.3.3 Second Half of 19th Century ..................................................................................18 1.4 Spain and South America ...................................................................................................21 1.5 Presti-Lagoya .....................................................................................................................25 1.6 Abreu Brothers ...................................................................................................................35 1.7 Assad Duo ..........................................................................................................................38 1.8 Concluding Remarks ..........................................................................................................44 Chapter 2 .......................................................................................................................................46 2.1 Introduction ........................................................................................................................46 2.2 Hierarchy of Group ............................................................................................................49 2.3 Verbal Communication ......................................................................................................54 2.4 Notation / Group Interpretation .........................................................................................56 iv 2.5 Nonverbal Communication, Visual Cues/Gesture .............................................................61 2.6 Musical Communication ....................................................................................................70 2.7 Concluding Remarks ..........................................................................................................77 Chapter 3 .......................................................................................................................................80 3.1 Introduction ........................................................................................................................80 3.2 Methodology ......................................................................................................................82 3.3 Observational study results ................................................................................................86 3.3.1 Rehearsal and performance communication results ..............................................88 3.4 Discussion ..........................................................................................................................92 3.5 Creativity............................................................................................................................95 3.6 Questionnaire responses.....................................................................................................98 3.7 Concluding remarks .........................................................................................................102 3.8 Future directions ..............................................................................................................104 References ....................................................................................................................................106 Appendices ...................................................................................................................................117 Copyright Acknowledgements.....................................................................................................152 v List of Figures Figure 1: Johnson, The Flatt Pavin, transcribed for guitar, mm. 33–37 ......................................... 5 Figure 2: Giuliani, Variazioni concertanti, Op. 130, Theme, mm. 1-4 .......................................... 9 Figure 3: Rossini, Sinfonia nell' Opera Elisabetta (Il Barbiere di Siviglia), arranged by Giuliani, mm. 1-4. ........................................................................................................................................ 11 Figure 4: Sor, Les Deux Amis, Op. 41, Theme, mm. 1-8 .............................................................. 17 Figure 5: L’hoyer, Trois duos Concertants, Op. 31, no. I, mvt. III, Rondo, mm. 1-5................... 21 Figure 6: Falla, Danse Española no. I, La vie brève, mm. 5-13 ................................................... 23 Figure 7: Rodrgio, Tonadilla, Mvt. I, Allegretto ma non troppo, mm. 7-12. ................................ 29 Figure 8: Castelnuovo-Tedesco, Les Guitares bien Temperes, Prelude no. 4 in E major, Op. 199, mm. 1-2. ........................................................................................................................................ 31 Figure 9: Castelnuovo-Tedesco, Les Guitares bien Temperes, Prelude no. 17 in B major, Op. 199, mm. 1-4. ................................................................................................................................ 32 Figure 10: Piazzolla, Tango Suite, Mvt. I, Allegro, mm. 133–135 ............................................... 42 Figure 11: Assad, Tres Cenas Brasileiras pour deux guitars, Mvt. III, Recife Doe Corais, mm. 1- 6....................................................................................................................................................
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