University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 Meter, Phrase, and Form in the Compositions of Maria Schneider Benjamin M. Geyer University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.126 Right click to open a feedback form in a new tab to let us know how this document benefits oy u. Recommended Citation Geyer, Benjamin M., "Meter, Phrase, and Form in the Compositions of Maria Schneider" (2016). Theses and Dissertations--Music. 56. https://uknowledge.uky.edu/music_etds/56 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. 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REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Benjamin M. Geyer, Student Dr. Richard C. Domek, Major Professor Dr. David W. Sogin, Director of Graduate Studies METER, PHRASE, AND FORM IN THE COMPOSITIONS OF MARIA SCHNEIDER DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Fine Arts at the University of Kentucky By Benjamin M. Geyer Oberlin, Ohio Director: Dr. Richard C. Domek, Professor Emeritus of Music Theory and Composition Lexington, Kentucky 2016 Copyright © Benjamin M. Geyer 2016 ABSTRACT OF DISSERTATION METER, PHRASE, AND FORM IN THE COMPOSITIONS OF MARIA SCHNEIDER The central claims of this study are that Maria Schneider relies on normative rhythmic structures from the jazz tradition, and that her expressive deviations from those norms are comprehensible to experienced listeners in real time. The study proposes a non-recursive model of hypermeter wherein the measure is formed through entrainment, the four-bar sub-unit is formed through recognizable qualia at the measure level, and the eight-bar level is formed through the expectation for sub-units to group into pairs. I introduce the “structural phrase” as a unit that, while normatively hypermetrical, is distinct from the issue of hypermeter in its formal aspects and its ability to diverge from hypermetrical organization. Structural phrases mediate our sense of place in the music, and they most often begin with an audibly clear attentional peak that I call the “structural phrase onset.” I posit that experienced listeners understand how structural phrases operate in Schneider’s compositional style through awareness of the relative frequency of each structural phrase type. Based on data gathered from a corpus of twenty-four pieces, comprised of 1,105 structural phrases, I find that 61% of Schneider’s structural phrases are normative. Further, the influence of the normative structural phrase supersedes its literal appearance on the surface of an acoustic signal, serving as the conceptual background for nine dialogic deviations: 31% of structural phrases are deviational yet operate in direct dialogue with the norm. Only three deviation types, accounting for 8% of structural phrases, are entirely independent of the normative organization. Structural phrases function as shallow-level formal units that group into deeper levels. This study categorizes Schneider’s formal approach as a hybrid between two practices: (1) traditional big band arranging, in its emphasis on improvised solos and idiosyncratic features such as the “ensemble feature” section; and (2) sonata form, in its motivic-thematic emphasis, freely unfolding sectional organization, and broadly three- part design. I refer to the three parts at the deepest structural level as “three-Spaces,” including Exposition, Solo, and Recapitulation Spaces. These Spaces are comprised of seven types of sections at a lower structural level: introduction, expositional, transition, soloistic, ensemble feature, recapitulative, and coda sections. Three “formal division criteria” specify how these sections audibly signal divisions between the deeper-level Spaces. An in-depth analysis of Hang Gliding explores how rhythm at multiple structural levels interacts with other parameters such as pitch, orchestration, and dynamics, to shape a composition’s dramatic arc. KEYWORDS: Meter, Phrase, Form, Jazz, Maria Schneider Benjamin M. Geyer April 18, 2016 Date METER, PHRASE, AND FORM IN THE COMPOSITIONS OF MARIA SCHNEIDER By Benjamin M. Geyer Richard C. Domek Director of Dissertation David W. Sogin Director of Graduate Studies April 18, 2016 ACKNOWLEDGEMENTS This project would not have been possible without support from many people. First, I would like to thank my dissertation advisor, Richard Domek. Dick offered to be my advisor even in his retirement, and I am grateful for his uncountable hours of dedication. He has been a thoughtful and incisive reader, seeing through my ideas to their weaknesses and teaching me to rectify those weaknesses through careful development. His expectations made my project far better than I knew was possible. I can only hope to live up to Dick’s example in my professional and personal life. The Department of Music Theory at Kentucky provided an ideal balance of rigor and supportiveness. Karen Bottge frequently introduced me to perspectives that challenged my intellectual sensibilities, and it was only later that I began to realize how deeply those perspectives had infiltrated my thinking. Her careful attention to each chapter of this study contributed significantly to its development; her knowledge of the literature and the precision (and humor) of her editorial comments have been impressive. Michael Baker’s research advice as a committee member and as a generous reader of my work has been invaluable. I am grateful for the patience he granted me in his two years as my course coordinator, which gave me the space I needed to develop as a classroom teacher. The opportunity to study twentieth century music independently with Kevin Holm-Hudson was a highlight of my time at Kentucky. Raleigh Dailey took me on as a student, created performance opportunities for me, and lent his expertise to my committee. Committee members Ron Pen and Doug Kalika, as well as outside reader Andrew Maske, played important roles in this process. Hal Galper’s unique insight into jazz performance practice echoes through these pages. I have worked with too many exceptional teachers to name, but I am grateful to every one of you. Many of my peers at Kentucky, my colleagues at Oberlin Conservatory, and my friends from theory conferences have helped shape my work through innumerable interactions. The small community of music theorists who study jazz, many of whom are associated with the Society for Music Theory Jazz Interest Group, has provided a passionate intellectual home. I especially appreciate the time that Keith Waters, Patricia Julien, Stefan Love, Michael Schachter, and Nolan Stolz have taken to comment on previous research. I would like to thank the University of Kentucky Friends of Music for providing me with a grant to purchase the scores necessary for the completion of this project. Maria Schneider generously permitted me to print notation of her scores in this document and to interview her. I want to thank her for her unfailing commitment to the creation of exceptionally artful music. It has been a privilege to spend the last two years listening to every nuance of her pieces; no amount of repetitive listening could tire my enthusiasm for her work. As this process concludes, I believe that this project has allowed me to accomplish one of my initial goals: to learn composition from one of the most important voices in contemporary music. iii I would like to thank my family and friends. My parents have always believed in me. They supported my career choice, were patient when I balked at their advice, and were graceful when I realized that they were right. I am grateful for my brother, Josh, and my friends, old and new: they have made me who I am. Jingles the cat has generously provided company, entertainment, and distraction. I am lucky to have met Samantha. She always knows