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Malcolm Williamson's Operas for Musically-Untrained Cassations: Malcolm Williamson’s operas for musically-untrained children. James Henry Byrne Humberstone Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of the Arts & Media Faculty of Arts & Social Sciences January 2013 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Humberstone First name: James Other name/s: Henry Byrne Abbreviation for degree as given in the University calendar: Ph.D. School: School of the Arts & Media Faculty: Faculty of Arts & Social Sciences Title: Cassations: Malcolm Williamson’s operas for musically-untrained children. Abstract 350 words maximum: (PLEASE TYPE) Malcolm Williamson’s ten cassations, mini-operas devised to introduce children to the operatic form, remain unique in a number of ways. Most importantly they are the only collection of work in this genre by an established art music composer intended for musically-untrained children. Many composers have written children’s opera, sometimes as entertainment for children, performed by adults, and sometimes as opera to be performed by children. In the latter case, the great majority of composers write for specific ensembles or schools where music is taught by specialist music teachers to every child. Very few established composers write children’s opera for musically-untrained children. Only one has written a series of ten and single-handedly directed them with his own children, in primary schools and church groups, with physically and mentally handicapped children, and even with adult audiences and professional orchestras in the Royal Albert Hall and Sydney Opera House. Williamson’s cassations were performed on nearly every continent of the world, hundreds of times, often under his own baton. Largely ignored in the (itself scant) analysis of Williamson’s body of work, the collection was of great importance to the composer himself. This thesis fills that void in the literature. It also suggests that the compositional concessions made by Williamson provide a model to other composers interested in writing opera for musically-untrained children. This speaks to the broader question of how composers can modify their compositional approach without losing their ‘voice’. A broad range of analytical methods are considered and compared with existing analyses of Williamson’s repertoire for professionals (Gearing 2004; Kendall-Smith 1994; Philpott 2010). Implication-Realization analysis of melodic expectancy (Narmour 1990, 1992; Schellenberg 1996, 1997) is used in combination with analysis of structure, part writing, vocal support, range, and harmonic language to allow quantitative comparison to the writing for professional vocalists in Williamson’s full operas and to summarise his approach to writing for musically-untrained children. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). .. .18.7.2013 .... Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed .......................................... Date .............................18.7.2013 Abstract Malcolm Williamson’s ten cassations, mini-operas devised to introduce children to the operatic form, remain unique in a number of ways. Most importantly they are the only collection of work in this genre by an established art music composer intended for musically-untrained children. Many composers have written children’s opera, sometimes as entertainment for children, performed by adults, and sometimes as opera to be performed by children. In the latter case, the great majority of composers write for specific ensembles or schools where music is taught by specialist music teachers to every child. Very few established composers write children’s opera for musically-untrained children. Only one has written a series of ten and single-handedly directed them with his own children, in primary schools and church groups, with physically and mentally handicapped children, and even with adult audiences and professional orchestras in the Royal Albert Hall and Sydney Opera House. Williamson’s cassations were performed on nearly every continent of the world, hundreds of times, often under his own baton. Largely ignored in the (itself scant) analysis of Williamson’s body of work, the collection was of great importance to the composer himself. This thesis fills that void in the literature. It also suggests that the compositional concessions made by Williamson provide a model to other composers interested in writing opera for musically-untrained children. This speaks to the broader question of how composers can modify their compositional approach without losing their ‘voice’. A broad range of analytical methods are considered and compared with existing analyses of Williamson’s repertoire for professionals (Gearing 2004; Kendall-Smith 1994; Philpott 2010). Implication-Realization analysis of melodic expectancy (Narmour 1990, 1992; Schellenberg 1996, 1997) is used in combination with analysis of structure, part writing, vocal support, range, and harmonic language to allow quantitative comparison to the writing for professional vocalists in Williamson’s full operas and to summarise his approach to writing for musically-untrained children. i The Context of this Thesis This thesis is submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Composition at the University of New South Wales. It is considered together with the Composition Folio, and relates to it as outlined in the Introduction to the Folio, but as an academic dissertation also stands in its own right. ii Dedication This thesis is dedicated to the memory of Dr Steve Dillon, an inspiring academic, musician and friend. iii Acknowledgments I should like to express my heartfelt thanks: To Dr John Peterson for his expert supervision and compositional advice over the 6 years of my candidature, and to Professor Andrew Schultz for his supervision and timely creation of the Ph.D. in composition at the University of New South Wales. I am proud to be the first candidate in this degree. To my father John Humberstone for proofreading this thesis, and to Robertson Fox for proofreading the scores presented in the Composition Folio. To Dr Carolyn Philpott for her advice and help, especially in generously sending me the bibliography to her own Ph.D. thesis before it was submitted. To John Davis and Judith Foster at the Australian Music Centre for their ongoing support of my research. To Alex Dangerfield at Josef Weinberger Limited, London, for his help locating a copy of the BBC’s 1976 documentary on Malcolm Williamson with invaluable footage of Williamson directing his cassations. To Karen Carey and my inspirational colleagues at MLC School in Sydney, who have taught me more about music education than anyone else. To Mary Elizabeth for her brilliance in creating the libretto, lesson plans and visualisation of Kiravanu, and in thanks for her ongoing friendship and professional mentorship. To my wife Anna and children Jeremy, Zoë and Finley for putting up with an absent father from time to time, and for their ongoing support of my career as a composer and academic. iv Table of Contents List of Tables 3 List of Figures 4 Chapter 1. Introduction, Context and Literature Review 7 A definition of the term “musically-untrained children” 9 The historical context of the cassations 11 Malcolm Williamson, composer: the context of the cassations 16 The lack of literature for review 24 Chapter 2. Analysis methodology 28 Methods used to analyse Williamson’s work within the literature 28 Observational analysis 32 Implication-Realization melodic expectancy analysis 33 Automating I-R analysis with a computer program 39 Meaningful interpretation of Implication-Realization melodic expectancy analysis 41 Chapter 3. The Analysis of Williamson’s Cassations 48 The Moonrakers 48 Knights in Shining Armour 55 The Snow Wolf 62 Genesis 69 The Stone Wall 78 The Winter Star 88 The Glitter Gang 99 Chapter 4. Conclusion: On Writing For Musically-Untrained Children 116 Vocal range, pitch proximity and pitch reversal analysis 116 Tonality and harmony 118 Development of musical material 121 Supporting the melody and writing in parts 121 Rhythm and metre 122 Parallel harmony (planing) 122 Conclusion - writing for musically-untrained children and retaining a compositional ‘voice’ 123 References 128 2 List of Tables 3.1 Structural table of The Moonrakers.
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