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A Folk Song Cycle Syracuse University SURFACE Syracuse University Honors Program Capstone Syracuse University Honors Program Capstone Projects Projects Spring 5-1-2011 New Horizons: A Folk Song Cycle Chris Cresswell Follow this and additional works at: https://surface.syr.edu/honors_capstone Part of the Composition Commons, and the Other Music Commons Recommended Citation Cresswell, Chris, "New Horizons: A Folk Song Cycle" (2011). Syracuse University Honors Program Capstone Projects. 201. https://surface.syr.edu/honors_capstone/201 This Honors Capstone Project is brought to you for free and open access by the Syracuse University Honors Program Capstone Projects at SURFACE. It has been accepted for inclusion in Syracuse University Honors Program Capstone Projects by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract The purpose of the project was to create a piece of music that transcended musical genres and told the story of my coming of age in the first decade of the 21st century. The work featured both original text and original music and culminates in a live performance of the work. I wanted to tell a story. More specifically, I wanted to tell my story. The story of coming of age in the 21st century. I was 11 in the year 2000, I was 21 in 2010. My formative years correlate directly with the formative years of the 21st century. In this time, we’ve seen world first teeming with hope and optimism at the turn of the century. This optimism was quickly overcome by fear in September 2001. Since then we’ve seen a world marred by terrorism, wars, Hurricane Katrina, and other disasters, man-made and otherwise. Along with this, is my journey in understanding my own personal development, learning to deal with these issues and grappling with personal issues, including religion and personal relationships. The central theme of the project became “How do we find beauty in a broken world?” This question became the focal point for the entire work. Throughout the twelve movements of the work, I explored my own experiences with the previous decade using a loose narrative structure. I reflected on very specific events, 9/11, my trip to New Orleans after Hurricane Katrina, and watching war on television and counter them with abstract reflections. As the text progresses we move from questioning the world around me “I need to find a place of quiet contemplation/to stop the darker parts of my imagination” to an understanding, “we are the beauty we’ve been looking for”. To create the text, I worked closely with poet Linda Loomis, who helped me focus my thoughts and create a working framework for the project. The music also represents a coming together of two sides of my musical personality. While at Syracuse University, I’ve studied the art of classical composition, writing music for string quartet, art songs, and various other chamber ensembles. This work has been strictly in the classical domain. Additionally, I’ve lived a secret double life as a singer/songwriter, a hobby of mine since my teenage years. This work allowed me to unify these split sides of my musical life, creating a work that challenges definition and moves beyond the limitations of genre. By moving beyond these predefined genres, I’ve pushed myself as a composer, forcing myself to think outside the predefined boxes of “classical” and “folk” and instead create a music that is true to myself and my influences. My advisor, James Welsch, was instrumental in helping me move beyond preconceived notions of what I thought the music “should” sound like and find a more unique style. The final aspect of this project that really pushed my boundaries was the act of performing it myself. Since I began studying classical music, I’ve stopped performing. This project forced me to become a performer again, approaching music from a completely different angle than I had become used to. As part of this, I studied with voice professor, Jon English, who provided me with lessons to help build my vocal technique. Writing New Horizons has pushed my limits as a composer, performer, and all around musician. It has forced me to think outside of the box musically and helped me redefine what I think I can and can’t do as an artist. Between collaboration with poets, professors, and fellow musicians, New Horizons has broadened my sensibilities as an artist, has introduced me to phenomenal artists in the Central New York area and has been an incredible learning experience. Table of Contents I. Abstract 4. Reflective Essay 19. New Horizon: A Folk Song Cycle: Lyrics 25. Summary of Capstone Project New Horizons: A Folk Song Cycle Creative Reflection Essay I wrote my first song when I was 13. I still remember it, though I will never share it with anyone, three chords and lyrics about my previous night’s insomnia. That was the beginning of my musical life and I thought I would grow up to be a songwriter. Then when I was 18 I discovered Classical music and became obsessed. Instead of folk songs on the acoustic guitar, I began writing works for clarinets, bassoons, string quartets, and opera singers. Instead of performing my own works, I had friends perform them while I sat in the audience. The goal of New Horizons was to try and reconcile these two worlds, could I apply classical composition principals to a set of folk songs? Could I find common ground between my songwriting process and my compositional process? And finally, could I write music in a folk idiom, that respected the genre, while still attempting to move beyond it’s limitations? The process of creating New Horizons: A Folk Song Cycle pushed me to explore these questions, the answers to which have dramatically altered my musical thinking. After deciding that I wanted to write a folk song cycle, I knew I wanted to structure it around my own life story. I was 11 on January 1st, 2000 and 21 on January 1st, 2010. The formative years of my adolescent correlate directly with the formative years of the 21st 4 century. In this time, we’ve seen world first teeming with hope and optimism at the turn of the century. This optimism was quickly overcome by fear in September 2001. Since then we’ve seen a world marred by terrorism, wars, Hurricane Katrina, and other disasters, man-made and otherwise. Some of these events I have experienced first hand, others I have watched on television, but all of them have had an impact on me. Along with this, is my journey in understanding my own personal development, learning to deal with these issues and grappling with personal issues, including religion and personal relationships. I decided to create a work that had a loose narrative, beginning in 2000 and ending in present day. It was at this point I approached my honors advisor, James O. Welsch with my idea for the project. After I proposed my project, Professor Welsch introduced me to local poet Linda Loomis. Ms. Loomis, who also teaches writing at SUNY Oswego, and I began meeting throughout the summer of 2010 to begin creating drafts for New Horizons . While I had experience writing song lyrics before, I’d never constructed a long form narrative. Also, my previous song lyric process was directly connected to the musical process itself. I would work out the music directly on the guitar while simultaneously working out the lyrics. The music and words would gradually develop together overtime. While this process 5 works when creating individual songs, it would be ineffective when trying to create a continuous narrative. In my first meetings with Linda Loomis, we just started talking to each other. I was eager to begin the process of creation, but she slowed it down. Instead of starting immediately on creating a text, she had me free write on larger topics. These topics included religion, my experience living in New Orleans, and my feelings about September 11th and the subsequent wars in Afghanistan and Iraq. I had never sat down and written in this way before. These free writes weren’t goal oriented in the way that most of my writings had been up to that point. Instead I was encouraged simply explore my emotions. This process led me to revelations that I otherwise wouldn’t have had. Some of these free writes I ended up using, some I didn’t. After I had spent several weeks meeting with Ms. Loomis and working on the free writes, I began to construct poetic sections out of this text. Ms. Loomis then helped me to edit these sections and as she and I worked through this process, themes began to emerge. The first theme that became central to the work was the idea of “horizons.” I used the word horizon both in the physical sense, the opening image of the first song is “The smokestacks on the horizon look like a cigarette habit/the world can’t bring itself to quit”, but also in the philosophical sense of the word, “range or perception of experience.” This idea of expanding one’s experience is one of the 6 focal points of the work. In “Horizons (Part I)”, after beginning with the opening image of a the singer staring off towards the horizon, the singer is “left struggling with the questions/that would define our new horizons.” This imagery is revisited again in “Horizons (Part II)”: An Indian summer breeze rustles the trees, Underneath the richest kind of deep blue sky, the kind where horizons extend into eternity. Except now the images morph into that of September 11th.
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