A Formal Analysis and Performance Guide
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University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 TYLER KLINE’S RENDER: A FORMAL ANALYSIS AND PERFORMANCE GUIDE John Douglas Handshoe University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.499 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Handshoe, John Douglas, "TYLER KLINE’S RENDER: A FORMAL ANALYSIS AND PERFORMANCE GUIDE" (2018). Theses and Dissertations--Music. 130. https://uknowledge.uky.edu/music_etds/130 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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John Douglas Handshoe, Student Dr. Michael Baker, Major Professor Dr. Michael Baker, Director of Graduate Studies TYLER KLINE’S RENDER: A FORMAL ANALYSIS AND PERFORMANCE GUIDE DMA PROJECT A DMA Project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By John Douglas Handshoe Lexington, Kentucky Co-Directors: Dr. Michael Baker, Associate Professor of Music Theory and Mr. Bradley Kerns, Associate Professor of Trombone Lexington, Kentucky 2018 Copyright © John Douglas Handshoe 2018 ABSTRACT OF DMA PROJECT TYLER KLINE’S RENDER: A FORMAL ANALYSIS AND PERFORMANCE GUIDE Since the 1950s, composers worldwide have explored the use of the trombone in new and exciting ways, from expanding the functional range of the instrument to creating unique timbres through the use of mutes and extended techniques. Since then, many standard works in the literature have been born from this pushing of the envelope from composers like John Cage, Luciano Berio, Iannis Xenakis, and Daniel Schnyder. On the forefront of the newest crop of composers expanding the voice of the trombone is Tyler Kline (b. 1991). This project will function as a formal analysis and performer’s guide to his 2015 work render for bass or tenor trombone and fixed electronics. Through examination of this music, as well as a discussion with the composer and performances of this work, the performer will gain insight into the inspirations behind this work, Kline’s compositions on the whole, as well as performance considerations for this work. In addition to the performance guide, a recording of render, as well as several other works of Kline’s, will be produced and released as an album through New Branch Records in Lexington, KY. KEYWORDS: Tyler Kline, Render, Trombone, Contemporary, Music, Performance John Douglas Handshoe (Name of Student) 8/10/2018 Date TYLER KLINE’S RENDER: A FORMAL ANALYSIS AND PERFORMANCE GUIDE By John Douglas Handshoe Professor Bradley Kerns Co-Director of DMA Project Dr. Michael Baker Director of Graduate Studies Co-Director of DMA Project 8/10/2018 Date DEDICATION Susannah, for everything. Seriously, you rock. Tyler, for writing for me all these years. Brad, for your friendship and mentorship. Mom and Dad for your support and guidance. Dr. Baker, Professor Campbell, Professor Stamps, and Dr. Peters for all your fantastic input and advice. TABLE OF CONTENTS List of Tables ............................................................................................................ iv List of Figures ........................................................................................................... v Part One Chapter I: Background and Formal Analysis ........................................................ 1 Part I: Composer Biography ........................................................................ 1 Part II: The Birth of render ........................................................................... 4 Chapter II: Formal Analysis .................................................................................... 11 Chapter III: Performance Considerations .............................................................. 20 Part I: Range .................................................................................................. 20 Part II: Issues with Recorded Audio ........................................................... 25 Part III: Cadenza ........................................................................................... 27 Part IV: Stylistic Considerations ................................................................. 29 Part V: Errata ................................................................................................ 31 Chapter IV: Conclusion ........................................................................................... 33 Part Two Program Notes .......................................................................................................... 35 Bibliography ............................................................................................................ 77 Curriculum Vita ....................................................................................................... 82 iii LIST OF TABLES Table 1: render, Formal Analysis ........................................................................... 18 Table 2: render, Errata ............................................................................................. 32 iv LIST OF FIGURES Fig. 1: render, Harmonic Structures ..................................................................... 11 Fig. 2: render (Bass Trombone Version), P.1, Sys. 1-2 ........................................... 13 Fig. 3: render (Tenor Trombone Version), P.2, Sys. 1-3 ......................................... 15 Fig. 4: render (Bass Trombone Version), P.3, Sys. 5-6 ........................................... 16 Fig. 5: render (Tenor Trombone Version), Range ................................................... 20 Fig. 6: Adler Study of Orchestration, Tenor Trombone Range ............................... 20 Fig. 7: render (Bass Trombone Version), Range ...................................................... 22 Fig. 8: Adler Study of Orchestration, Bass Trombone Range ................................. 22 Fig. 9: render (Bass Trombone Version), P.3, Sys. 1-2 ........................................... 23 Fig. 10: render (Tenor Trombone Version), P.3, Sys. 1-2 ....................................... 23 Fig. 11: ranter, mm. 65-67 ....................................................................................... 24 v Chapter I BACKGROUND AND FORMAL ANALYSIS Part I COMPOSER BIOGRAPHY Gregory Tyler Kline (b. 1991) is a composer, arranger, audio engineer, and classical music radio announcer currently residing in Tampa, Florida. Born to Greg Kline and Shanell Martin (née Simpson) in Mt. Sterling, Kentucky, Tyler began his musical career as a middle school trumpet player. Shortly after, his band directors encouraged him to pursue the euphonium, a pursuit he continued through high school and into college at Morehead State University. At Morehead State University, Tyler studied euphonium with Dr. Stacy Baker, and began composing works for himself, as well as for others. During this time, he also met many of his future collaborators including Justin Croushore, Jake East, Jonathan Payne, Dr. William Mann, and myself. In 2013 Tyler Graduated from Morehead State with a Bachelor of Arts degree in Music with a minor in business. Tyler continued his studies in music composition with Dr. Baljinder Sekhon at the University of South Florida in Tampa, Florida. During his Master’s studies Tyler pushed his compositional work into many different genres and mediums, as well as collaborating with dance, visual, and literary artists. Tyler completed his Master of Music in Composition degree in 2015. Tyler continued to use his unique compositional voice to create works for a wide variety of instruments and ensembles. His body of work includes music for chamber and large ensembles, solo works for a wide array of instruments, fixed electronics,