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Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968 COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Electric Guitar in Contemporary Art Music Zane Mackie Banks A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music Sydney University 2013 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: …………………………………………………………………………… Date: ………………………………………………………………………………. Abstract Since 1950 the electric guitar has occupied an ever-increasing presence in contemporary art music both as a solo and chamber instrument. Although the electric guitar is still on the fringe of mainstream classical music, the instrument is more popular now amongst contemporary art music composers and contemporary art music ensembles than in previous times. This dissertation is divided into three sections. The first, Section A, is an introduction to the electric guitar, with a focus on its history and role in both western popular music and western art music. Chapters 2 and 3 address the development of the electric guitar, the electric guitar in American popular music and the development of art music repertoire featuring the electric guitar. Section B (Chapter 4) includes the analysis of forty-eight interviews given by musicians involved in composition, performance and musicology for the electric guitar. The focus of this section is on the interviewees’ experiences with and common views, perceptions and attitudes towards the electric guitar’s role in art music. It also contains common recommendations made by the interviewees regarding writing successfully for the instrument, and addresses the nature of previous collaborative partnerships between composers and electric guitarists. The final section, Section C (Chapter 5 and 6), is partly an auto-ethnography. It includes the proposition of useful collaborative models. This section also features an in- depth discussion regarding how technological mediation can affect the collaborative process as well as proposing performance and recording logistics that composers should keep in mind when composing for the electric guitar. This dissertation culminates in a detailed, first-hand account of a successful composer-electric guitarist collaboration so iii that future composers1, considering writing for the instrument, have a model to assist them in their artistic endeavours. Included in the ‘Creative Work’ portfolio of this dissertation is an mp4 recording (on a USB) of my performance of Georges Lentz’s unaccompanied electric guitar composition Ingwe at the 2012 Amsterdam Guitar Heaven Festival and my Naxos CD recording of Ingwe.2 1 The term ‘composer’ in this context refers to composers who have never written for the electric guitar but are interested in writing a work for the instrument. 2 Georges Lentz, "Ingwe from ‘Mysterium’ (“Caeli Enarrant...” Vii) for Solo Electric Guitar (2003–2009) Performed by Zane Banks," ([Hong Kong] Naxos, 2011). iv Preface and Acknowledgments As part of the research process for this thesis, forty-eight interviews were conducted with composers, performers and a musicologist. Ethical approval was granted for the study presented in this thesis from the University of Sydney Human Ethics Committee. Participants were required to read an information document and give informed consent prior to the collection of data. I am very grateful for the interviewees’ insights, knowledge and time generously shared during the research for this thesis. I would like to thank my supervisor Professor Matthew Hindson and my associate supervisor Dr Helen Mitchell as well as Richard Toop, Phillip Houghton, Gregory Pikler, Dr James Wierzbicki and Dr Kathleen Nelson for their assistance and guidance throughout the research process. I would like to take this opportunity to express my gratitude to Georges Lentz for choosing me to collaborate with for his unaccompanied electric guitar composition, Ingwe. Finally, I wish to thank my family for their support throughout my doctoral studies. v Table of Contents Statement of Originality ................................................................................................... ii Abstract ............................................................................................................................ iii Acknowledgments ............................................................................................................ v Table of Contents ............................................................................................................ vi Figures ........................................................................................................................... xiii Tables ........................................................................................................................... xvii Appendices .................................................................................................................. xviii 1 Chapter 1: Introduction ......................................................................................... 1 1.1 Guitars in Western Music ............................................................................... 3 2 Section A - Chapter 2: The Evolution of the Electric Guitar ............................. 15 2.1 The Development of Electric Guitar Technique: Popular Music Styles and Traditions ................................................................................................................ 15 2.2 The Development of Amplification. ............................................................ 17 2.3 Early Electric Guitar Prototypes .................................................................. 18 2.4 Solid Body ‘Spanish’ Electric Guitars ......................................................... 21 3 Chapter 3: The Emergence of the Electric Guitar in Art Music ......................... 30 3.1 The Influence of American Culture in Europe: 1920–1960 ......................... 32 3.2 Interchangeable Terminology: Amplified Acoustic Guitar versus Electric Guitar ……………………………………………………………………………42 3.3 The Gruppen Myth ....................................................................................... 43 3.4 The Electric Guitar in Art Music from 1960 ................................................ 52 3.5 Unaccompanied ‘Classical’ Electric Guitar Repertoire ............................... 57 3.6 Reflections .................................................................................................... 61 vi 4 Chapter 4: Interviews with Composers and electric Guitarists .......................... 63 4.1 Introduction .................................................................................................. 63 4.2 Interviewees ................................................................................................. 64 4.3 Interview structure........................................................................................ 64 4.4 Analysis ........................................................................................................ 65 4.5 Analysis of Composer and Performer Categories ........................................ 66 4.5.1 Non-European Performers .................................................................... 66 4.5.1.1 Youth: Exposure to Popular Music and First Interaction with the Electric Guitar................................................................................................. 66 4.5.1.2 Tertiary Education and Classical Music Education ......................... 69 4.5.1.3 Composing for Electric Guitar in an Art Music setting ................... 71 4.5.1.4 Professional work as a Classical Electric Guitarist.......................... 73 4.5.1.5 Summaries ....................................................................................... 74 4.5.2 European Performers ............................................................................ 75 4.5.2.1 Youth: Classical Music Education and Exposure to Popular Music 75 4.5.2.2 Tertiary Music Education and First Encounter with the Electric Guitar in an Art Music Setting ....................................................................... 77 4.5.2.3 Professional Work as a Classical Electric Guitarist ......................... 79 4.5.2.4 Summaries ......................................................................................
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