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Incorporating Contemporary American Solo Works in the Undergraduate Violin Curriculum Alexandra Matloff

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Incorporating Contemporary American Solo Works in the Undergraduate Violin Curriculum Alexandra Matloff Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 Focusing on the Present: Incorporating Contemporary American Solo Works in the Undergraduate Violin Curriculum Alexandra Matloff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FOCUSING ON THE PRESENT: INCORPORATING CONTEMPORARY AMERICAN SOLO WORKS IN THE UNDERGRADUATE VIOLIN CURRICULUM By ALEXANDRA MATLOFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2015 Alexandra Matloff defended this treatise on April 3, 2015. The members of the supervisory committee were: Corinne Stillwell Professor Directing Treatise Evan A. Jones University Representative Alexander Jiménez Committee Member Benjamin Sung Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my parents, for not only believing in me and encouraging me to pursue my dreams, but for the many hours they spent teaching me how to write when I was a child. iii ACKNOWLEDGMENTS This treatise represents the end of an incredible experience I have had at Florida State University, and I am grateful for the many faculty and colleagues that have made it so memorable. A tremendous thank you to my major professor, Corinne Stillwell, for all of her relentless guidance and support throughout my five years at FSU. The many violin lessons and advice are truly unforgettable. A huge thank you to my committee members: to Dr. Alex Jiménez, not only for the absolutely memorable experiences in the University Symphony Orchestra, but for agreeing to be on my committees for both my Masters and Doctoral degrees; to Dr. Evan Jones, for always enlightening me with his wisdom and advice and for answering all of my questions not only related to my treatise and lecture recital but regarding music theory as well; and to Dr. Ben Sung, for being such an inspiration in contemporary music performance and for agreeing to serve on my committee. Thank you to the staff at the Warren D. Allen Music Library for not only allowing me to make the library my second home in addition to the practice room, but for all of their help, kindness, and generosity. Additionally, I cannot express enough gratitude to my family and friends. Thank you to my mother and father for believing in me every step of the way and for always being there for me, despite the geographical distance. I am also grateful for my brothers who always encourage me to be better and keep me laughing. Thank you to my grandma, who has always been behind me since the first time I picked up the violin. A sincere thank you to the wonderful friends I have made during my time at FSU, especially those who sat in the library working on their treatises while I did mine. Finally, thank you to the composers included in this treatise who not only inspired me to write this document but who greeted my emails with friendliness, promptness, and iv encouragement. Thank you also to the many violin professors throughout the country who completed my initial survey. v TABLE OF CONTENTS List of Musical Examples ............................................................................................................ viii Abstract .......................................................................................................................................... ix INTRODUCTION .......................................................................................................................... 1 1. AN ENRICHED CURRICULUM PLAN .................................................................................. 6 2. LEAVING THE NEST: PIECES THAT EXPLORE UNUSUAL TONALITIES AND RHYTHMS ..................................................................................................................................... 9 Morton Feldman: For Aaron Copland (1981) ........................................................................... 9 Samuel Adler: Meadowmountetudes: Four Studies of 20th-Century Techniques (1988) ......... 12 Elliott Carter: Mnemosyné (2011) ............................................................................................ 15 Bruce Adolphe: The Bitter, Sour, Salt Suite: Music and Poems about Food (1995) ............... 19 John Harbison: Four Songs of Solitude (1985) ........................................................................ 22 Summary .................................................................................................................................. 25 3. FOR THE COURAGEOUS SOUL: EXTENDED TECHNIQUES ........................................ 27 Keeril Makan: mu (2007) ......................................................................................................... 27 Lera Auerbach: Lonely Suite (Ballet for a Lonely Violinist) (2002) ........................................ 30 Kenji Bunch: Until Next Time (2010) ...................................................................................... 34 Tina Davidson: Blue Curve of the Earth (2011) ...................................................................... 38 Anne LeBaron: four (2009) ...................................................................................................... 41 Summary .................................................................................................................................. 45 4. LETTING LOOSE: FEELING THE GROOVE OF THE AMERICAN VERNACULAR AND OTHER STYLES ................................................................................................................ 46 Michael Daugherty: Viva (2012) .............................................................................................. 46 Mark O’Connor: “Caprice No.1” from Six Caprices for Solo Violin (1986-1994) .................. 49 David Zimmerli: The Light Guitar (2006) ............................................................................... 53 Bright Sheng: The Stream Flows (1990) .................................................................................. 56 John Corigliano: STOMP (2010) .............................................................................................. 58 Summary .................................................................................................................................. 62 5. DON’T STOP THE MUSIC: MINIMALISM, POSTMINIMALISM, AND ELECTRONICS .................................................................................................................. 63 Philip Glass: “Knee Play 2” from Einstein on the Beach (1976) ............................................. 63 vi John Luther Adams: Three High Places (2007) ....................................................................... 66 Annie Gosfield: Lost Signals and Drifting Satellites (2003) ................................................... 68 Julia Wolfe: With a blue dress on (2010) ................................................................................. 71 Cornelius Dufallo: Violin Loop I (2010) .................................................................................. 73 Summary .................................................................................................................................. 76 6. CONCLUDING REMARKS: CONTEMPORARY MUSIC OUTSIDE OF THE APPLIED LESSON SETTING ...................................................................................................................... 77 Collaboration Opportunities ..................................................................................................... 77 Performance Opportunities ....................................................................................................... 79 Commissioning Opportunities .................................................................................................. 80 Conclusion ................................................................................................................................ 82 APPENDICES .............................................................................................................................. 84 A. ADDITIONAL SELECTED REPERTOIRE ........................................................................... 84 B. COPYRIGHT PERMISSION LETTERS ................................................................................ 88 C. IRB APPROVAL MATERIALS ............................................................................................. 94 References ..................................................................................................................................... 97 Biographical Sketch .................................................................................................................... 108 vii LIST OF MUSICAL EXAMPLES 1 Morton Feldman, For Aaron Copland, mm. 7-12 ................................................................ 11 2 Bruce Adolphe, The Bitter, Sour, Salt Suite, “Chili Pepper,” m. 3 ...................................... 21 3 Tina Davidson, Blue Curve of the Earth, mm. 16-19 ........................................................... 40 4 Tina Davidson, Blue Curve of the Earth, mm. 34-36 ........................................................... 41 5 Anne LeBaron, four, m. 30 ..................................................................................................
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