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A Performance Guide to Three Representative Electroacoustic Piano Works by Mario Davidovsky, Dan Vanhassel and Peter Van Zandt Lane

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A Performance Guide to Three Representative Electroacoustic Piano Works by Mario Davidovsky, Dan Vanhassel and Peter Van Zandt Lane A Performance Guide to Three Representative Electroacoustic Piano Works by Mario Davidovsky, Dan VanHassel and Peter Van Zandt Lane by Jorge Arnulfo Ramos Fernández, B.M, M.M. A Doctoral Document In Piano Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Approved Dr. William Westney Chair of Committee Dr. Carla Davis Cash Dr. Jennifer Jolley Dr. Mark Sheridan Dean of the Graduate School May 2020 Copyright 2020, Jorge Arnulfo Ramos Fernández Texas Tech University, Jorge Arnulfo Ramos Fernández, May 2020 ACKNOWLEDGMENTS I would like to thank my mentor Dr. William Westney, for providing so much insight, knowledge, help, motivation and support throughout my graduate studies at Texas Tech University. I would also like to thank professor Yulia Vichnevetskaia and Dr. Radek Materka for their support throughout my preparatory and undergraduate studies. Without their help, I could not have gone so far in my career. To my aunt Carmen and my grandmother Mercedes, who pushed me and motivated me to pursue a career that has been so delightful and has brought so much joy into my life. To my parents, sister, niece, aunts, friends and all the family members who have believed in me for so many years and have supported me financially and morally. To Meiling, since without her help and constant support, I would not have made it to the end of this degree and would not have grown so much both personally and musically. ii Texas Tech University, Jorge Arnulfo Ramos Fernández, May 2020 TABLE OF CONTENTS ACKNOWLEDGMENTS.......................................................................................... ii LIST OF TABLES...................................................................................................... iv LIST OF FIGURES.................................................................................................... v INTRODUCTION...................................................................................................... 1 A HISTORICAL LOOK AT THE INTEGRATION OF ELECTROACOUSTIC SOUNDS AND THE PIANO............................................ 3 Conception of electroacoustic music: development and instruments.............. 3 The schools of electroacoustic music (Paris, Cologne, Milan & the United States)............................................................................................................... 5 Computer music: its conception and inclusion in music composition.............. 9 ANALYSIS OF REPERTOIRE................................................................................ 11 Synchronisms No. 6.......................................................................................... 11 Lush Intrinsic.................................................................................................... 18 Studies in Momentum....................................................................................... 27 PERFORMANCE CONSIDERATIONS................................................................. 42 Treatment of repertoire as chamber music....................................................... 42 Repertoire challenges....................................................................................... 44 Practicing strategies.......................................................................................... 49 CONCLUSIONS......................................................................................................... 55 BIBLIOGRAPHY....................................................................................................... 56 iii Texas Tech University, Jorge Arnulfo Ramos Fernández, May 2020 LIST OF TABLES 1.1 Possible Formal Structure of Davidovsky’s Synchronisms No.6...............18 1.2 Chart with Types of Electronic Effects...................................................... 21 iv Texas Tech University, Jorge Arnulfo Ramos Fernández, May 2020 LIST OF FIGURES 1.1 M. Davidovsky, Synchronisms No. 6. m. 1....................................................... 12 1.2 M. Davidovsky, Synchronisms No. 6. mm. 108-110........................................ 13 1.3 M. Davidovsky, Synchronisms No. 6. m. 32..................................................... 14 1.4 M. Davidovsky, Synchronisms No. 6. m. 25..................................................... 15 1.5 M. Davidovsky, Synchronisms No. 6. m. 34..................................................... 16 1.6 M. Davidovsky, Synchronisms No. 6. mm. 88-89............................................ 17 1.7 M. Davidovsky, Synchronisms No. 6. mm.1, 89...............................................17 1.8 D. VanHassel, Lush Intrinsic. Fragments......................................................... 19 1.9 Explanation of patch activation....................................................................... 20 1.10 D. VanHassel, Lush Intrinsic. mm. 1-2............................................................ 22 1.11 D. VanHassel, Lush Intrinsic. Fragment, cues 3-4........................................... 23 1.12 D. VanHassel, Lush Intrinsic. Fragment, cue 2................................................ 23 1.13 D. VanHassel, Lush Intrinsic. Fragment........................................................... 24 1.14 D. VanHassel, Lush Intrinsic. Fragment, cues 21-22....................................... 25 1.15 D. VanHassel, Lush Intrinsic. Fragment, cues 42-47....................................... 26 1.16 M. Davidovsky, Synchronisms No. 6. m. 168.................................................. 27 1.17 P.V.Z. Lane, Studies in Momentum, M. Davidovsky, Synchronisms. Fragment......................................................................................................... 29 1.18 P.V.Z. Lane, Studies in Momentum – Etude No.1. Fragments......................... 29 1.19 P.V.Z. Lane, Studies in Momentum – Etude No.2. mm. 1-2 ............................ 31 1.20 D. VanHassel, Lush Intrinsic. m.1-2, P.V.Z. Lane, Studies in Momentum – Etude No.3. mm. 82-85............................................................... 32 1.21 P.V.Z. Lane, Studies in Momentum – Etude No.4. Fragment, cues 41-43........................................................................................................ 33 1.22 P.V.Z. Lane, Studies in Momentum – Etude No.5, M. Davidovsky, Synchronisms No.6. Fragments........................................................................ 34 1.23 P.V.Z. Lane, Studies in Momentum – Etude No.5. mm. 114-115..................... 35 1.24 P.V.Z. Lane, Studies in Momentum – Etude No.5. mm. 121-124..................... 36 1.25 P.V.Z. Lane, Studies in Momentum – Etude No.5. mm. 190-194..................... 37 1.26 P.V.Z. Lane, Studies in Momentum – Etude No.5. mm.139-140...................... 38 v Texas Tech University, Jorge Arnulfo Ramos Fernández, May 2020 1.27 P.V.Z. Lane, Studies in Momentum – Etude No.5. mm. 147-15, Etude No.4. m. 95............................................................................................. 39 1.28 P.V.Z. Lane, Studies in Momentum – Etude No.5. mm.151-155, Etude No.3. m. 82............................................................................................. 40 1.29 P.V.Z. Lane, Studies in Momentum – Etude No. 5. mm.193-194..................... 41 1.30 S. Rachmaninoff, 6 Morceaux, No.3. mm. 1-6, M. Davidovsky, Synchronisms No. 6. mm. 8-11......................................................................... 43 1.31 M. Davidovsky, Synchronisms No. 6. m.38...................................................... 48 1.32 M. Davidovsky, Synchronisms No. 6. m.24...................................................... 50 1.33 P.V.Z. Lane, Studies in Momentum – Etude No. 5. mm.169-172..................... 51 1.34 M. Davidovsky, Synchronisms No. 6, m. 80.....................................................52 1.35 D. VanHassel, Lush Intrinsic, beginning fragment...........................................53 vi Texas Tech University, Jorge Arnulfo Ramos Fernández, May 2020 INTRODUCTION During the preparation of my third doctoral piano performance project, Dr. William Westney and I discussed the possibilities of selecting a repertoire and a topic that could be both innovative and fresh. He then introduced me to the music of the Argentinian-American composer Mario Davidovsky, specifically to his work Synchronisms No. 6 for Tape and Piano. It is a work that contains timbres and colors which perfectly intertwine with the piano, almost as if the instrument would be capable of creating these fascinating sonorities without the aid of electronic systems. The whole structure, sounds, and textures of the piece seemed very appealing to me. This motivated me to explore a new type of repertoire which I had never ventured to explore before that was very challenging but at the same time, very rewarding. I also had to balance the program of my project with the inclusion of pieces that could seem more approachable and easier to listen for the public since Davidovsky’s atonal writing can challenge the aural perception of listeners that are not used to this type of music. Trying to find the appropriate repertoire, I became acquainted with the different recording volumes of American pianist Keith Kirchoff titled The Electro-Acoustic Piano. Here, I found two pieces and two composers that would nicely balance Davidovsky’s Synchronisms: Lush Intrinsic by American composer Dan VanHassel and Studies in Momentum by American composer Peter Van Zandt Lane. VanHassel’s work presents
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