Examining the Unrecorded Works of Mark Schultz: a Performer's
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EXAMINING THE UNRECORDED WORKS OF MARK SCHULTZ: A PERFORMER’S ANALYSIS OF SELECTED PIECES AND A CATEGORIZATION OF THE WORKS FOR HORN A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY ANNA DOMINIKA KUCIA DISSERTATION ADVISORS: DR. BRETT CLEMENT AND PROF. GENE BERGER. BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2019 ACKNOWLEDGEMENTS I am thankful that Ball State University created the degree Doctor of Arts, which fulfilled my desire to become a more well-rounded musician and teacher. I appreciate the conditions the university created to advance my skills and knowledge about music and higher education. I am grateful for my teacher, Prof. Gene Berger who helped me to gain hands-on experience performing orchestral and chamber repertoire, as well as for introducing me to Mark Schultz’s music that this dissertation is intended for. I value his mentorship and help in various aspects of my life. Special thank you to Dr. Brett Clement, who helped me tremendously preparing this document, checking and fixing its content and quality. I would like to thank Dr. Jody Nagel, who generously shared with me sheet music and recordings of Schultz’s compositions needed for this study. Moreover, I would like to thank Dr. Nagel for answering questions about Schultz’s life, compositional style, and for offering his support throughout my studies. I would like to thank Dr. Keith Sweger for sharing his expertise in chamber music and helping me on my path to earning the Doctor of Arts degree. I am thankful to Dr. Paul Ranieri who agreed to serve on my committee, and all the members for their guidance, help, and time. In addition, I would like to thank all the teachers with which I have had a privilege to study, who helped me to become the person that I am today. I am thankful for my friends who encouraged and helped me during my studies in the United States. This dissertation is dedicated to my family, especially to my parents, sister, nephew, and uncle who supported me, and who sacrificed a lot in order for me to achieve my dreams. Table of Contents AKNOWLEDGEMENT .............................................................................................................. i TABLE OF CONTENTS ............................................................................................................ii LIST OF MUSICAL FIGURES ................................................................................................. iv CHAPTER 1 ............................................................................................................................... 1 INTRODUCTION ........................................................................................................... 1 Purpose of the Project ...................................................................................................... 4 Limitations of the Project ................................................................................................ 5 Significance of the Project ............................................................................................... 5 CHAPTER 2 ............................................................................................................................... 8 REVIEW OF THE LITERATURE .................................................................................. 8 Dissertations .................................................................................................................... 9 Articles .......................................................................................................................... 15 Reviews ......................................................................................................................... 17 Websites ........................................................................................................................ 20 Recordings .................................................................................................................... 23 CHAPTER 3 ............................................................................................................................. 26 DESIGN AND METHODOLOGY ................................................................................ 26 CHAPTER 4 ............................................................................................................................. 30 Programmatic Music ..................................................................................................... 33 Character Markings ....................................................................................................... 35 Dedications and Performers ........................................................................................... 36 Extended techniques ...................................................................................................... 38 Other compositional elements ........................................................................................ 40 CHAPTER 5 ............................................................................................................................. 47 i PERFORMER’S ANALYSIS ........................................................................................ 47 Lights! ........................................................................................................................... 47 Alligator Alley ............................................................................................................... 56 Realization of extended techniques .................................................................... 59 Use of the Mouthpiece ....................................................................................... 62 Over your shoulder, don’t smile ..................................................................................... 62 Realization of extended techniques .................................................................... 66 Summary ....................................................................................................................... 68 CHAPTER 6 ............................................................................................................................. 70 CONCLUSION ............................................................................................................. 70 CHAPTER 7 ............................................................................................................................. 72 ANNOTATED BIBLOGRAPHY .................................................................................. 72 Discovered pieces .......................................................................................................... 77 BIBLIOGRAPHY ..................................................................................................................... 80 APPENDICES .......................................................................................................................... 86 Appendix A, A table categorizing Mark Schultz’s works that have horn in their instrumentation based on instrumentation, range, and extended techniques .................... 86 Appendix B, Schultz’s compositions that have been recorded ........................................ 95 Appendix C, Schultz’s compositions that have not been recorded .................................. 96 Appendix D, Schultz’s compositions that have not been recorded, arranged by instrumentation and the number of performers ............................................................... 97 Appendix E, Schultz’s Complete Works (Updated) ....................................................... 98 Appendix F, Interview with Dr. Jody Nagel ................................................................. 100 Appendix G, Interview with Dr. Jody Nagel ................................................................ 103 Appendix H, Interview with Thomas Bacon ................................................................ 105 ii Appendix I, Interview with Deidre Artist- Schultz ....................................................... 117 Appendix J, Dedications, commissions, and family tree ............................................... 118 Appendix K, IRB report .............................................................................................. 121 Appendix N, JOMAR Press permission ....................................................................... 122 LIST OF MUSICAL FIGURES Figure Page 4.1 Singing out of the lips of silence, pg. 1 ................................................................................. 37 4.2 Singing out of the lips of silence, pg. 21 ............................................................................... 37 4.3 Dragons in the Sky, mm. 1–3 ............................................................................................... 40 4.4 Lights!, mm. 9–15, 1st horn part ........................................................................................... 41 4.5 But that’s not important now, m. 142, clarinet part .............................................................. 41 4.6 Lights!, mm. 1–4, 1st horn part ............................................................................................. 42 4.7 Over your shoulder, don’t smile, mm. 106–114, horn part ................................................... 42 4.8 But that is not important now, mm. 159–160 ....................................................................... 43 4.9 Over your