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The Integration of Sound, Resonance, and Color in Lacrimosa for Alto Saxophone and Piano by Marilyn Shrude

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The Integration of Sound, Resonance, and Color in Lacrimosa for Alto Saxophone and Piano by Marilyn Shrude THOMPSON, BOBBI AMANDA, D.M.A. The Integration of Sound, Resonance, and Color in Lacrimosa for Alto Saxophone and Piano by Marilyn Shrude. (2016) Directed by Dr. Steven Stusek. 230 pp. I. Solo Recital: Monday, April 28, 2014, 7:30 p.m., Organ Hall. Partita in A Minor, BWV 1013 (Johann Sebastian Bach); Ars from Neuf Études (Christian Lauba); More Music for Examining and Buying Merchandise (Alejandro Rutty); Légende, Op. 66 (Florent Schmitt); Sonate (Edison Denisov). II. Solo Recital: Tuesday, November 18, 2014, 12:30 p.m., McIntosh Gallery. Aasai Neelaavey (David Claman); Sejdefu majka buđaše (Michael Djupstrom); In Quiet Light (Dorothy Chang); The Snake River Manual of Style (Evan Hause); Frankie (Laurent Estoppey). III. Solo Recital: Sunday, April 19, 2015, 1:30 p.m., Recital Hall. Fantasmi (Marilyn Shrude); Trope (Marilyn Shrude); Lacrimosa (Marilyn Shrude); Walimai (Michael Djupstrom); Brooklyn (Claudio Gabriele). IV. D.M.A. Research Project. The Integration of Sound, Resonance, and Color in Lacrimosa for Alto Saxophone and Piano by Marilyn Shrude. (2016) Directed by Dr. Steven Stusek. 230 pp. American composer Marilyn Shrude has written more than thirty works that feature the saxophone prominently, comprising a substantial contribution to the instrument’s literature. This document argues that in her works for saxophone and piano, Shrude’s most notable and unique compositional trait is her conception of a non- hierarchical relationship between these two instruments. The result of this compositional approach is the combination of these sounds transforming into an integrated “third sound” that generates a unique resonance and color. To illustrate this concept, Shrude’s composition Lacrimosa (2006) is used as an exemplar. This examination considers Shrude’s musical influences from Gregorian chant, Luciano Berio, Witold Lutosławski, and Olivier Messiaen, including the use of heterophony, simultaneous harmonic fields, resonance pitches, harmonic language, controlled aleatory, and Messiaen’s third mode of limited transposition. Shrude’s signature use of compositional devices such as pedaling, dynamics, pitch tendencies, and timbral effects are also discussed. This document includes an appendix of four interviews that detail Shrude’s biography, career, musical influences, and compositional style. The interviews also examine three of Shrude’s compositions for saxophone and piano – Shadows and Dawning (1982), Renewing the Myth (1988), and Lacrimosa (2006). The inclusion of Shadows and Dawning and Renewing the Myth provides a basis for comparing her compositional traits across multiple works for saxophone and piano. THE INTEGRATION OF SOUND, RESONANCE, AND COLOR IN LACRIMOSA FOR ALTO SAXOPHONE AND PIANO BY MARILYN SHRUDE by Bobbi Amanda Thompson A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2016 Approved by ______________________________ Committee Chair DEDICATION This work is dedicated to three outstanding music educators who inspired me through their exemplary models of artistry and humanity to pursue a life in music – Mr. Theodore Hadley, Twin Falls High School; the late Prof. Lawrence Curtis, College of Southern Idaho; and, Dr. Robert Miller, Professor Emeritus, University of Idaho. ii APPROVAL PAGE This dissertation written by BOBBI AMANDA THOMPSON has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. Committee Chair ___________________________ Steven Stusek Committee Member ___________________________ M. Ashley Barret Committee Member ___________________________ Kelly Burke Committee Member ___________________________ Mark Engebretson ____________________________ Date of Acceptance by Committee __________________________ Date of Final Oral Examination iii ACKNOWLEDGMENTS I would like to offer my sincere appreciation to Dr. Steven Stusek and the members of my Doctoral Advisory Committee, Dr. Kelly Burke, Dr. Ashley Barret, and Dr. Mark Engebretson, for their expertise and guidance during my studies. Thank you to Prof. Steve Haines and Prof. Chad Eby for the opportunity to teach as a graduate assistant in the Jazz Studies area and learn through your mentorship. Additionally, I would like to thank all of the exceptional faculty members at the University of North Carolina at Greensboro who contributed to my education, especially Dr. Inara Zandmane for her collaborative work with me in performances. I would like to express my gratitude to Dr. Marilyn Shrude for generously offering her time, guidance, and encouragement through every step of this research project. Thank you for the music that you have created and for the opportunity to learn about your inspiring, artistic life. Thank you also to Dr. John Sampen for introducing me to Dr. Shrude’s music and for sharing your creative vision and pedagogical artistry during my time as a student at Bowling Green State University. Finally, I thank the many family members, friends, teachers, colleagues, and students that I am fortunate to have in my life. I am especially grateful to my husband, Ariel Kasler, and his parents, Tamar Berkowitz and Jonathan Kasler, for their love and encouragement. iv TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................ vii LIST OF FIGURES ......................................................................................................... viii CHAPTER I. INTRODUCTION ..................................................................................................... 1 Review of Literature .................................................................................. 5 Procedures ............................................................................................... 13 II. MARILYN SHRUDE ............................................................................................. 14 Early Life ................................................................................................. 14 Undergraduate Degree ............................................................................. 15 Master’s Degree and Post-Master’s Career ............................................. 16 Doctoral Degree and Bowling Green State University ........................... 18 Bowling Green State University: 1984-2000 .......................................... 19 Bowling Green State University: 2001-present ....................................... 24 III. MUSICAL INFLUENCES AND COMPOSITIONAL STYLE ............................. 28 Introduction ............................................................................................. 28 Musical Influences ................................................................................... 29 Gregorian Chant .......................................................................... 29 Luciano Berio .............................................................................. 32 Witold Lutosławski ..................................................................... 34 Olivier Messiaen .......................................................................... 37 Compositional Style ................................................................................ 39 Non-Hierarchical Music: Integration of Sound and Color .......... 39 Half-Pedaling: Integration of Sound and Resonance .................. 41 Sostenuto Pedal: Integration of Resonance and Color ................ 42 Pitch Tendencies: Integration of Sound and Color ...................... 44 Timbral Effects: Integration of Sound and Color ........................ 46 Summary .................................................................................................. 48 IV. LACRIMOSA ........................................................................................................... 50 Introduction ............................................................................................. 50 Structural Overview ................................................................................. 51 v Musical Influences ................................................................................... 55 Gregorian Chant: Heterophony and Unison ................................ 55 Luciano Berio: Simultaneous Harmonic Fields .......................... 65 Resonance Pitches ....................................................................... 75 Witold Lutosławski: Controlled Aleatory ................................... 82 Olivier Messiaen: Third Mode of Limited Transposition ........... 91 Compositional Devices .......................................................................... 103 Dynamics ................................................................................... 103 Timbral Effects and Transformation of Sound .......................... 111 Pitch Tendencies ........................................................................ 117 Pedaling ..................................................................................... 128 Summary ................................................................................................ 131 V. CONCLUSIONS ................................................................................................... 133 REFERENCES ............................................................................................................... 136 APPENDIX A. INTERVIEW
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