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Conductors' Annotated Scores: a Comprehensive Study Leandro De Magalhaes Gazineo [email protected]

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Conductors' Annotated Scores: a Comprehensive Study Leandro De Magalhaes Gazineo Lgazin1@Lsu.Edu Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2-19-2019 Conductors' Annotated Scores: A Comprehensive Study Leandro de Magalhaes Gazineo [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons, and the Music Practice Commons Recommended Citation de Magalhaes Gazineo, Leandro, "Conductors' Annotated Scores: A Comprehensive Study" (2019). LSU Doctoral Dissertations. 4807. https://digitalcommons.lsu.edu/gradschool_dissertations/4807 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. CONDUCTORS’ ANNOTATED SCORES: A COMPREHENSIVE STUDY A Dissertation Submitted to the Graduate FaCulty of the Louisiana State University and AgriCultural and MeChaniCal College in partial fulfillment of the requirements for the degree of Doctor of MusiCal Arts in The SChool of MusiC by Leandro de Magalhães Gazineo B.M., Universidade Federal da Bahia, 2000 M. M., Universidade Federal da Bahia, 2004 May 2019 To my wife Carmem ii Music can name the unnamable and communicate the unknowable. Leonard Bernstein iii ACKNOWLEDGEMENTS First, I would like to express my sincere gratitude to my advisor Prof. Carlos Riazuelo for his Continuous support and guidance. In addition, I would like to thank the rest of my dissertation’s Committee: Prof. MiChael Gurt, Dr. John DiCkson, and Dr. Todd Gibson, for their insightful comments and encouragement, but also for asking the hard questions that guided me to widen my research from various perspeCtives. A sincere thank you to my dear friend and conductor, Professor Mark Cavanaugh of Nova Southeastern University, for his diligent proofreading and disCussions about this study. My sincere thanks also go to the First Presbyterian Church in Baton Rouge, my friends Brittany and JaCk, Hanna Yeo, Suzanne Rome, Eun-bi Kim, Suellen e Luciano, Bruna e Ale, Angelo Rafael, Caio and my teaChers Ligia Amadio, EriCk VasConcelos, Manuel Veiga, Dante Anzolini, Wellington Gomes, Jan Grimes, and Dr. Mara Gibson whose lessons extend beyond the classroom. Thanks to the LSU Symphony, Rapides Symphony, Louisiana Sinfonietta and their musiC direCtors, Mo Riazuelo, Mo Zona and Dinos Constantinides for invite me to conduct their wonderful groups. Many thanks to the people of Louisiana for their warmth and hospitality, and for the many kindnesses they extended to me and my family during our time here. Last but not least, I would like to thank my family: my parents Hélio and Cristina, and my brother Claudio, for supporting me in my career; my daughters Duda, Sofia, and Olivia for their unconditional love and being a daily inspiration in my life and to my loving Carmem who is my motivation, inspiration, the reason to keep on fighting and never give up. This work was conducted thanks to a sCholarship supported by CAPES – Brazilian Federal Agency for Support and Evaluation of Graduate Education within the Ministry of Education of Brazil. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS .......................................................................................................... iv LIST OF FIGURES....................................................................................................................... vii ABSTRACT ................................................................................................................................... X CHAPTER 1. INTRODUCTION ....................................................................................................1 1.1 Literature review ............................................................................................................2 1.2 The variety of annotations styles ….............................................................................. 3 1.3 The nature of Conductor’s annotation ........................................................................... 7 1.4 Conclusion .................................................................................................................. 14 CHAPTER 2. WHY, WHAT AND HOW TO ANNOTATE THE SCORE – SOME REFERENCES FROM ORCHESTRAL CONDUCTING TEXTBOOKS ………….................. 15 2.1 Composers’ and Composers’ advocates annotations ................................................... 33 2.2 A Counterpoint ............................................................................................................ 39 CHAPTER 3. DATA COLLECTION AND METHODOLOGY ................................................. 42 3.1 The research survey and questionnaire ........................................................................ 42 3.2 Data ColleCtion source ................................................................................................. 44 3.3 Data ColleCtion justifiCation .........................................................................................45 3.4 Methodology ………………………........................................................................... 45 3.5 Research trustworthiness and validity ......................................................................... 46 3.6 Findings ...................................................................................................................... 48 3.7 Categorization ............................................................................................................. 48 CHAPTER 4. OUTCOME OF THE QUESTIONNAIRE ............................................................ 49 4.1 ACknowledge references ............................................................................................. 49 4.2 How the partiCipants learned how to annotate in the sCore ......................................... 50 4.3 Where to annotate ........................................................................................................55 4.4 The annotation process ................................................................................................ 57 4.5 Annotations in the orchestra musiCians’ parts ............................................................. 60 4.6 Annotation utility ........................................................................................................ 62 4.7 Re-Use of self-annotation ........................................................................................... 63 4.8 Someone else’s annotation .......................................................................................... 65 4.9 Annotations from world-famous Conductors ............................................................... 66 4.10 The printed musiC and its interpretation .................................................................... 67 4.11 Conclusion ................................................................................................................ 69 CHAPTER 5. ANALYSIS OF THE SCORES ………................................................................. 70 v 5.1 Categories of data analysis .......................................................................................... 70 5.2 Markings of reinforcement .......................................................................................... 71 5.3 MusiCal analysis .......................................................................................................... 80 5.4 TeChniCal annotations ................................................................................................. 88 5.5 Emotive annotation and storyboard ............................................................................. 93 5.6 Rehearsal annotation ................................................................................................... 97 5.7 HistoriCal annotation ................................................................................................... 98 CHAPTER 6. CONCLUSIONS AND RECOMMENDATIONS .............................................. 101 BIBLIOGRAPHY ...................................................................................................................... 104 APPENDIX A. QUESTIONNAIRE ABOUT CONDUCTORS’ ANNOTATED SCORES .......................... 108 B. CONSENT FORM …………………………......................................................................... 113 C. LIST OF PARTICIPANTS .................................................................................................... 115 VITA .......................................................................................................................................... 116 vi LIST OF FIGURES Figure 1. Annotated plaCement for the choir in Mahler’s 8th Symphony ....................................... 6 Figure 2. Rehearsal annotation in Mahler’s 4th ............................................................................... 9 Figure 3. Double-bass passage in Beethoven’s 6th Symphony, movt.4. ....................................... 17 Figure 4. Prausnitz’s sCheme. ....................................................................................................... 20 Figure 5. Markings of measure groups (Prausnitz) ....................................................................... 21 Figure 6. Woodwinds abbreviations (Prausnitz) ........................................................................... 22 Figure 7. Brass abbreviations (Prausnitz) ....................................................................................
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