University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-2018 The nflueI nce of Minimalist Compositional Techniques on Literature for Wind Ensemble Justin Thomas Zanchuk Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Zanchuk, Justin Thomas, "The nflueI nce of Minimalist Compositional Techniques on Literature for Wind Ensemble" (2018). Dissertations. 540. https://digscholarship.unco.edu/dissertations/540 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 JUSTIN THOMAS ZANCHUK ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE INFLUENCE OF MINIMALIST COMPOSITIONAL TECHNIQUES ON LITERATURE FOR WIND ENSEMBLE A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Justin Thomas Zanchuk College of Performing and Visual Arts School of Music Wind Conducting December 2018 This dissertation by: Justin Thomas Zanchuk Entitled: The Influence of Minimalist Compositional Techniques on Literature for Wind Ensemble has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing and Visual Arts in School of Music, Program of Wind Conducting Accepted by the Doctoral Committee ______________________________________________________ Kenneth Singleton D.M.A., Research Advisor ______________________________________________________ Jonathan Bellman D.M.A., Co-Research Advisor _______________________________________________________ Richard Mayne Ph.D., Committee Member _______________________________________________________ Carissa Reddick Ph.D., Committee Member _______________________________________________________ Michael Welsh Ph.D., Faculty Representative Date of Dissertation Defense 5 October 2018 Accepted by the Graduate School _________________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions Research and Sponsored Projects ABSTRACT Zanchuk, Justin Thomas. The Influence of Minimalist Compositional Techniques on Literature for Wind Ensemble. Published Doctor of Arts dissertation, University of Northern Colorado, December 2018. There is an abundance of literature that has been and is currently being written for the wind ensemble that is influenced by the compositional techniques utilized in minimalism, one of the most significant musical styles of the late twentieth-century, and is associated with the music of LaMonte Young, Terry Riley, Steve Reich, Philip Glass, John Adams, and Michael Torke. This influence has expanded the vocabulary of the expressive musical language of the wind ensemble in regards to musical elements such as form and process, melody, harmony, rhythm, texture, and sound. By identifying minimalist compositional characteristics, as well as examining the history of the relationship between minimalism and the wind ensemble, it is possible to trace the gradual development of this influence on literature for the medium from the 1960s to the present day. A process for detailed examination and analysis of compositional techniques that demonstrate the influence of minimalism by composers of wind ensemble literature is developed by building on and incorporating elements of prior analytical models. By engaging in this type of study, wind ensemble conductors will gain historical context of the literature, as well as develop a deeper understanding of the musical language of minimalism and how its influence is utilized. This results in the iii development of a more effective comprehension of the literature for the conductor, leading to fulfilling musical performances for the performers and audience. Keywords: Music, minimalism, wind ensemble, wind band, conductor iv TABLE OF CONTENTS CHAPTER 1. INTRODUCTION …………………………………………………….. .. 1 The Evolution of Minimalism and the Wind Ensemble….……………… 3 Why Minimalism and the Wind Ensemble?...…………………………… 6 Research Overview………………………………………………………. 7 2. BACKGROUND……………..………………………………………….. 8 Review of Relevant Literature……………………………….................... 9 3. METHODOLOGY………………………………………………………. 15 Defining the Wind Ensemble……………………………………………. 15 Defining Minimalism………………………….………………………… 16 Identifying Minimalist Characteristics in Music………………………… 18 A Method for Analyzing Minimalist Characteristics in Music………...... 27 Works to be Examined…………………………………………………... 30 4. ANALYSIS…………………………...…………………………..……... 31 A Brief History of the Relationship between Minimalism and the Wind Ensemble: The 1960’s to 1999…….…………………………………….. 31 Sun Paints Rainbows on the Vast Waves by David Bedford…….………. 38 Festivo by Edward Gregson……………………………………………... 47 Symphony No. 4 by David Maslanka...…………………………………... 54 Dance Movements, Movement II by Phillip Sparke..……………………. 56 A Brief History of the Relationship between Minimalism and the Wind Ensemble: The 2000’s to the Present...…..……………………………… 61 Equus by Eric Whitacre………………………………………………….. 70 Homecoming by Alex Shapiro…………………………………………… 81 Bliss by Michael Torke…………………………………………………... 87 Lichtweg/Lightway by Jennifer Jolley…………………………………… 98 In the Open Air, In the Silent Lines by Aaron Perrine………………..….. 112 v 5. CONCLUSIONS………………………………………………………… 122 Recommendations for Further Study………………………….................. 124 Application………………………...………………………….................. 125 Summary………………………………………………………................. 128 BIBLIOGRAPHY ..................................................................................................... 129 APPENDIX A – A List of Representative Works that Demonstrates the Influence of Minimalist Compositional Techniques on Literature for Wind Ensemble…………………………………………………........................................ 136 vi LIST OF MUSICAL EXAMPLES 3.1 Steve Reich, Clapping Music………………………………………...….. 19 3.2 Terry Riley, In C…………………………………………………………. 21 3.3 LaMonte Young, Composition 1960 # 7………………………………… 22 3.4 Steve Reich, Music for 18 Musicians, cycle of chords…………………... 23 3.5 Louis Adreiessen, De Staat, mm. 1–4…………………………………… 24 3.6 Philip Glass, Music in Fifths, Melodies 1–10……………………………. 26 4.1 David Bedford, Sun Paints Rainbows on the Vast Waves, Reduction of the “Progression of Eight Chords,” mm. 1–8….………………………. 40 4.2 David Bedford, Sun Paints Rainbows on the Vast Waves, mm. 9–14...…. 41 4.3 David Bedford, Sun Paints Rainbows on the Vast Waves, mm. 31–32.…. 42 4.4 David Bedford, Sun Paints Rainbows on the Vast Waves, composite melodic figure, mm. 31–32………………………………………………. 43 4.5 David Bedford, Sun Paints Rainbows on the Vast Waves, mm. 27–28...... 44 4.6 David Bedford, Sun Paints Rainbows on the Vast Waves, Melodic fragment, mm. 74–75.................................................................................. 45 4.7 Edward Gregson, Festivo, Melodic patterns utilized in the second episode, mm. 102–138…………………………………………………… 49 4.8 Edward Gregson, Festivo, mm. 102–105…………………………...…… 50 4.9 David Maslanka, Symphony No. 4, mm. 88–89………………………….. 55 4.10 Philip Sparke, Dance Movements, Movement II, mm. 190–91..………… 59 4.11 Philip Sparke, Dance Movements, Movement II, mm. 215–18..………… 60 vii 4.12 Eric Whitacre, Equus, mm. 6–7………...………………………………... 72 4.13 Eric Whitacre, Equus, mm. 33–38……...………………………………... 73 4.14 Eric Whitacre, Equus, mm. 48–49……...………………………………... 74 4.15 Eric Whitacre, Equus, mm. 106–108…………………………...………... 75 4.16 Eric Whitacre, Equus, mm. 141–45 (saxophones representative of full ensemble)……………………………………………………………….... 76 4.17 Eric Whitacre, Equus, mm. 178–79 (B-flat clarinets only)..……...……... 77 4.18 Eric Whitacre, Equus, mm. 252–54..……………………………..……... 79 4.19 Alex Shapiro, Homecoming, Melodic pattern #1……………………….. 83 4.20 Alex Shapiro, Homecoming, Melodic pattern #2……………………….. 83 4.21 Alex Shapiro, Homecoming, Melodic pattern #3……………………….. 84 4.22 Alex Shapiro, Homecoming, Melodic pattern #4……………………….. 85 4.23 Michael Torke, Bliss, Thematic beat-class set [0135689]………………. 91 4.24 Michael Torke, Bliss, Augmented thematic beat-class set [0135689]….. 91 4.25 Michael Torke, Bliss, Juxtaposition of original and augmented beat- class sets…………………………………………………………………. 92 4.26 Michael Torke, Bliss, New rhythmic notation for augmented beat-class set………………………………………………………………………... 93 4.27 Potential transposed rhythms for Bliss…………………………………... 94 4.28 Michael Torke, Bliss, Prolongation Region T0,2, mm. 359–60..…………. 95 4.29 Philip Glass, Music in Fifths, Melody 18………………………………... 101 4.30 Jennifer Jolley, Lichtweg/Lightway, “Melodic ostinato” (Time signatures omitted)……………………………………………................. 102 4.31 Jennifer Jolley, Lichtweg/Lightway, mm. 73–79...………………………. 104 4.32 Jennifer Jolley, Lichtweg/Lightway, Melodic patterns from the C section 105 viii 4.33 Potential transposed rhythms for three-note melodic pattern from Lichtweg/Lightway……………………………………………………….. 105 4.34 Jennifer Jolley, Lichtweg/Lightway, Prolongation region T0,2…………... 106 4.35 Jennifer Jolley, Lichtweg/Lightway, Phase-shifting progression, counterpoint to three-note prolongation region, mm. 110–12..………….. 107 4.36 Jennifer Jolley, Lichtweg/Lightway, Phase-shifting progression, three- note prolongation region to counterpoint, mm. 118–19.....……………… 107 4.37 Jennifer Jolley, Lichtweg/Lightway, mm. 119–22.....…………………….