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Stylistic Features of the Compositions of the Modern American Composer Peter Williams, Particularly As Found in His Missa Brevis

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Stylistic Features of the Compositions of the Modern American Composer Peter Williams, Particularly As Found in His Missa Brevis Stylistic Features of the Compositions of the Modern American Composer Peter Williams, Particularly as Found in His Missa Brevis Item Type text; Electronic Dissertation Authors Wachsman, Todd Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 01:57:30 Link to Item http://hdl.handle.net/10150/645789 STYLISTIC FEATURES OF THE COMPOSITIONS OF THE MODERN AMERICAN COMPOSER PETER WILLIAMS, PARTICULARLY AS FOUND IN HIS MISSA BREVIS by Todd Wachsman ________________________________________ Copyright © Todd Wachsman 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Todd Wachsman titled: Stylistic Features of the Compositions of the Modern American Composer Peter Williams, Particularly as Found in His Missa Brevis, and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 19, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Jul 29, 2020 John T. Brobeck _________________________________________________________________ Date: ____________Aug 19, 2020 Matthew Mugmon Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. We hereby certify that we have read this document prepared under our direction and recommend that it be accepted as fulfilling the document requirement. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 19, 2020 Bruce Chamberlain Document Committee Co-Chair School of Music _________________________________________________________________ Date: ____________Jul 29, 2020 John T. Brobeck Document Committee Co-Chair Fred Fox School of Music, UA 3 Acknowledgements First and foremost, I must thank Peter Williams for being a constant inspiration. Your humor, acerbic wit, and above all your peerless musicianship set a high bar against which I have gauged all musical progress since my early childhood. You were one-in-a-million and I feel honored and blessed to have called you a friend. Thank you to my professors at the University of Arizona, especially the members of my doctoral committee. Dr. Mugmon, Dr. Brobeck, and Dr. Chamberlain. Your support and scholarship have proven invaluable in getting this degree over the finish line. Boundless thanks to Mr. Williams’ family and musical colleagues for sharing their experiences and memories to help paint a more complete picture of the man behind the music. Most particularly, thank you to his brother Bruce and his daughter Katelyn for stories of his childhood and his home life. Tina Halvorson, Ken Neufeld, and Rhonda Pooler, your recollections about his schooling and professional musical life were invaluable. Sincere thanks to my classmates in the DMA program at the Fred Fox School of Music. Your comfort, commiseration, and acumen have made the process worthwhile. Thank you to my past music professors, Dr. James John, Dr. Edith Copley, and Dr. Jo- Michael Scheibe. I carry lessons from each of you and they have always pushed me to be better and learn better in order to serve the music and my students. Your guidance is as relevant today as ever, and I am grateful for your wisdom. Profound thanks to Frances Wachsman and Christopher Bradshaw for proofreading this project in all phases. It takes a special person to give their time so generously. Thanks also to Chris for brainstorming the topic in the first place as well as so patiently standing by me as it worked its way into reality. Thank you to my mother, Frances, for unfailingly offering support throughout the entire doctoral degree program. It never could have happened without your steadfast love. Finally, thank you to my father, Chuck Wachsman. You are not only the reason that I ever knew Pete in the first place, but your love of music set the path for my life. Thank you for your talent, your passion, and your integrity and for instilling in me that we teach people first and music second. 4 For my father 5 Table of Contents Tables and Musical Examples ........................................................................................................ 9 Abstract ....................................................................................................................................... 11 Chapter 1: Peter Williams ............................................................................................................. 12 a. Family, Childhood, and Aptitude .................................................................................. 12 b. Pima Community College ............................................................................................. 16 c. California State University, Long Beach ...................................................................... 18 d. Post-California State University, Long Beach .............................................................. 20 e. Return to Arizona, Return to California, and Death ..................................................... 21 f. Compositions ................................................................................................................. 22 Chapter 2: Missa Brevis History ................................................................................................... 25 a. Renaissance Period ........................................................................................................ 25 b. Baroque Period .............................................................................................................. 28 c. Classical Period …......................................................................................................... 29 d. Romantic Period ............................................................................................................ 33 e. Cecilian Movement ....................................................................................................... 33 Chapter 3: The Modern Missa Brevis ........................................................................................... 39 a. Movements .................................................................................................................... 39 6 b. Chant ............................................................................................................................. 42 c. Soloists .......................................................................................................................... 44 d. Tonality and Texture ..................................................................................................... 47 Chapter 4: Polystylism .................................................................................................................. 50 a. Musical Borrowing ........................................................................................................ 50 b. Alfred Schnittke ............................................................................................................ 51 c. Terminology .................................................................................................................. 53 Chapter 5: Analysis ....................................................................................................................... 55 a. Kyrie .............................................................................................................................. 55 (1) Organum .......................................................................................................... 55 (2) Duets and Points of Imitation .......................................................................... 58 (3) Text and Extended Chords .............................................................................. 58 (4) Cadences and Extended Chords ...................................................................... 60 b. Gloria ............................................................................................................................ 62 (1) Text Setting ..................................................................................................... 62 (2) Harmonic Language ........................................................................................ 63 (3) Duets and More Harmonic Language …......................................................... 64 (4) Chant, Extended Chords, and Modulatory Techniques ................................... 66 7 (5) Alternatim, Modal Borrowing, and Extended Chords ..................................... 69 (6) Duets and “Speed Chant” ................................................................................ 73 c. Sanctus .......................................................................................................................... 74 (1) Extended Chords ............................................................................................
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