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An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists

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An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists. Jerome Raymond Markoch Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Markoch, Jerome Raymond Jr, "An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists." (1995). LSU Historical Dissertations and Theses. 6030. https://digitalcommons.lsu.edu/gradschool_disstheses/6030 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality o f the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313.-761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. AN APPROACH TO THE MUSICAL ANALYSIS OF WIND-BAND LITERATURE BASED ON ANALYTICAL MODES USED BY WIND-BAND SPECIALISTS AND MUSIC THEORISTS 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 Philosophy in The School of Music by Jerome R. Markoch, Jr. B.M., University of Akron, 1985 M.ML, Bowling Green State University, 1991 August 1995 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9609104 UMI Microform 9609104 Copyright 1996, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I would like to acknowledge those people who lent their support and efforts to this study. To James Byo, the principal advisor, I extend my warmest gratitude for your time, wisdom, and moral support. Special thanks to David Smyth for your valuable assistance with the analytical aspects of this project; Stephen Beck for your insights in the compositional process; Frank Wickes for your help in the selection of music; and Cornelia Yarbrough for your guidance regarding the project's overall scope. I would also like to extend appreciation to Jane Cassidy for your timely advice. This study would not have been possible without the love and support of my family. I would especially like to thank Susan, Ben, and my mom and dad (on both sides of the family), for all your understanding and encouragement. 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Acknowledgments ......................................................................................... ii List of Examples ............................................................................................... v Abstract .............................................................................................................. vii Introduction ..................................................................................................... 1 Review of Literature ...................................................................................... 6 Analytical Wind-Band Sources ............................................................... 6 Theoretical Sources of Analysis ............................................................... 13 Style Analysis ................................................................................... 16 Formal Analysis ............................. 17 Reduction Analysis .......................................................................... 19 Motivic Analysis ............................................................................. 22 Twentieth-Century Compositional Analysis ........................... 23 Other Analytic Methodologies ...................................................... 25 Conclusions .................................................................................................. 33 Method .............................................................................................................. 34 Phase 1: Familiarization ........................................................................ 35 Phase 2: Exploration ................................................................................ 39 Phase 3: Conclusion ................................................................................ 43 Results 1: Overture on a Southern Hymn ................................................ 45 Familiarization ...................................................................................... 45 Exploration ............................................................................................... 45 Formal Analysis ............................................................................. 45 Element Analysis .......................................................................... 47 Motivic Analysis ............................................................................. 55 Reduction Analysis ........................................................................ 58 Conclusion ............................................................................................... 59 Results 2: Postcard ............................................................................................ 63 Familiarization ...................................................................................... 63 Exploration ............................................................................................... 64 Formal Analysis ............................................................................. 64 Element Analysis ........................................................................... 65 Motivic Analysis ............................................................................. 75 Reduction Analysis ........................................................................ 78 Conclusion ............................................................................................... 82 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Discussion ........................................................................................................ 85 References ........................................................................................................ 91 Appendix A: Program Notes for "Overture on a Southern Hymn" . 97 Appendix B: Form Chart of "Overture on a Southern H ym n" ............... 98 Appendix C: Precis of "Overture on a Southern H ym n" ........................... 99 Appendix D: Program Notes for "Postcard" ................................................... 101 Appendix E: Form Chart of "Postcard" ............................................................102 Appendix F: Precis of "Postcard" .....................................................................104 Vita .......................................................................................................................... 107 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF EXAMPLES Example 1: Initial hymn statement, mm. 16-26 .......................................... 48 Example 2: The hymn "Wondrous Love" as it appears in the hymnal The Southern Harmony and Musical Com panion (Wilcox, 1987) 49 Example 3: The pentatonic collection and its subsets in pitch class notation .............................................................................. 51 Example 4: (0257) in the Introduction, mm. 1-5 .........................................
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