Unending Stream of Life”
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A STUDY OF DAVID MASLANKA’S “UNENDING STREAM OF LIFE” A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY SCOTT A. HIPPENSTEEL DISSERTATION ADVISOR: DR. THOMAS E. CANEVA BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2011 ii © 2011 Scott A. Hippensteel iii TABLE OF CONTENTS ABSTRACT.............................................................................................................. v ACKNOWLEDGEMENTS...................................................................................... vi LIST OF TABLES ..................................................................................................vii LIST OF FIGURES.................................................................................................vii CHAPTER 1 – Introduction to the Study................................................................... 1 Purpose of the Study............................................................................................ 2 Definition of Terms ............................................................................................. 2 Wind Band Literature based on Hymn Tunes....................................................... 6 The Significance of David Maslanka and Wind Band Literature ........................ 11 CHAPTER 2 – Review of Related Literature........................................................... 14 Dissertations...................................................................................................... 14 Books ................................................................................................................ 20 Interviews and Articles...................................................................................... 22 Website ............................................................................................................. 23 Recordings ........................................................................................................ 24 CHAPTER 3 – Compositional Style of David Maslanka.......................................... 25 David Maslanka Biography ............................................................................... 25 Important Influences.......................................................................................... 26 Compositional Style Characteristics................................................................... 34 Melodic Material ......................................................................................... 34 Harmony and Tonality ................................................................................. 44 Form, Rhythm and Tempo Relations ............................................................ 48 Orchestration............................................................................................... 50 Composition Periods.......................................................................................... 51 CHAPTER 4 – History and Analysis of the Hymn Tune “Lasst uns Erfreuen”......... 54 Hymn History.................................................................................................... 54 Hymn Analysis.................................................................................................. 61 iv CHAPTER 5 – Background and Analysis of Unending Stream of Life..................... 66 Background Information.................................................................................... 66 Instrumentation.................................................................................................. 67 Analysis Methodology....................................................................................... 69 I. Overture......................................................................................................... 72 II. Seeking......................................................................................................... 78 III. Brooding march........................................................................................... 84 IV. As you proceed to your certain end, what is the point of being alive?........... 93 V. A hard thought that turns out alright.............................................................. 97 VI. A sweet tune.............................................................................................. 103 VII. All Creatures of Our God and King .......................................................... 109 CHAPTER 6 – Summary and Conclusions ........................................................... 115 Compositional Style and Unifying Elements.................................................... 115 Suggestions for Further Research..................................................................... 117 Performance Considerations for the Conductor................................................ 117 REFERENCES...................................................................................................... 121 APPENDIX A – Chronological list of David Maslanka’s Works for Wind Band... 128 APPENDIX B – Transcript of Phone Interview with David Maslanka................... 132 APPENDIX C - Number of Movements in Maslanka’s compositions for band...... 143 v ABSTRACT DISSERTATION: A Study of David Maslanka’s “Unending Stream of Life” STUDENT: Scott A. Hippensteel DEGREE: Doctor of Arts COLLEGE: Fine Arts DATE: May 2011 PAGES: 143 This study presents an overview of the compositional style of David Maslanka and an analysis of his piece for wind band Unending Stream of Life. The seven- movement work is based in part on the melody of the hymn tune “Lasst uns Erfreuen”, which is commonly known as “All Creatures of Our God and King.” David Maslanka has developed a unique compositional style that has been strongly influenced by the chorales of J.S. Bach and the writings of Swiss psychologist Carl Jung. Through the process of “active imagining” (Jung, 1964) Maslanka creates original works for wind band. The use of a hymn tune melody and short motives, both conventional and contemporary harmonic progressions, baroque and classical forms, tonal centricity, strong rhythmic drive, expanded instrumentation, and the theme of transformation are all essential to Maslanka’s compositional style. The study is intended to inform scholars and conductors about the: (1) melodic material, (2) harmony and tonality, (3) form, rhythm and tempo relations, (4) orchestration, and (5) unifying elements and musical nuances of David Maslanka’s Unending Stream of Life. vi ACKNOWLEDGEMENTS I would like to thank several people who have made important contributions to this project and have made the completion of this degree a reality. I heartily express thanks to Dr. David Maslanka for his support and insight during the writing of this paper. His encouragement led me on new journeys as I explored the wonder of his music in an attempt to understand the creative processes behind it. Thanks for your willingness to share insights throughout this project. Special thanks goes to Dr. Tom Caneva for his unfailing honesty and guidance. He inspires me to study scores deeper, listen with radical discernment, discover intonation, go after the music with all my heart, and to always look like the music. I would like to thank the members of my committee – Dr. Duane Karna, Dr. Ryan Hourigan, Dr. Michael Oravitz, and Dr. Thomas Holtgraves for their time and efforts. I am also grateful to faculty and staff who provided opportunities and support: Mr. Thaine Campbell, Dr. Andrew Crow, Ms. Linda Elliott, Dr. Don Ester, Dr. Kimberly Inks, Mr. Dan Kalantarian, Dr. Kirby Koriath, Ms. Debbie Marshall, Dr. Jody Nagel, Dr. Linda Pohly, Dr. Anna Priebe, Dr. Joseph Scagnoli, Dr. John Seidel, Dr. Eleanor Trawick, and Dr. Shawn Vondran. Special acknowledgement is extended to Carl Fischer, Inc. for granting permission to use the copyrighted musical examples included in this treatise. Finally, my deepest appreciation for the love and support of my parents, sisters, brothers in law, daughter Alexandra, son Logan, and good friends Melissa Huempfner, Charles Reader, and Bryan Roberts. I dedicate this document with gratitude to you. vii LIST OF TABLES Table 1 Significant composers and works for wind band based on hymn tunes ..................... 10 Table 2 Chorales used in David Maslanka’s works for wind band........................................ 36 Table 3 Comparison of phrases and structure in “Lasst uns Erfreun” .................................. 63 Table 4 Instrumentation listed in the full score..................................................................... 68 Table 5 Form of Movement II – “Seeking”........................................................................... 82 Table 6 Form of Movement III – “Brooding March”............................................................ 91 Table 7 Movement IV – Section B chord progression ........................................................... 95 Table 8 Form of Movement IV.............................................................................................. 96 Table 9 Form of “A Hard Thought That Turns Out Alright” .............................................. 101 Table 10 Form of “A Sweet Tune”....................................................................................... 109 Table 11 Form of Movement VII – “All Creatures of Our God and King”............................ 113 LIST OF FIGURES Figure 3.1. Bach “O Sacred Head” in Montana Music: Chorale Variations (mm. 1-5).......... 37 Figure 3.2. Bach “Jesu, Jesu,