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The Contribution of Twentieth-Century Canadian Composers to The THE CONTRIBUTION OF TWENTIETH-CENTURY CANADIAN COMPOSERS TO THE SOLO PEDAL HARP REPERTOIRE, WITH ANALYSIS OF SELECTED WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY GRACE BAUSON APPROVED BY: ____________________________________________ _____________ Ms. Elizabeth Richter, Committee Co-Chairperson Date ___________________________________________ _____________ Dr. Keith Kothman, Committee Co-Chairperson Date ______________________________________________ _____________ Dr. James Helton, Committee Member Date ______________________________________________ _____________ Dr. Michael Oravitz, Committee Member Date ______________________________________________ _____________ Dr. Debra Siela, Committee Member Date ______________________________________________ _____________ Robert Morris, Dean of Graduate School Date BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2012 Copyright © 2012 by Grace Bauson All rights reserved THE CONTRIBUTION OF TWENTIETH-CENTURY CANADIAN COMPOSERS TO THE SOLO PEDAL HARP REPERTOIRE, WITH ANALYSIS OF SELECTED WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY GRACE BAUSON ADVISOR – MS. ELIZABETH RICHTER BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2012 ii ABSTRACT DISSERTATION: The Contribution of Twentieth-Century Canadian Composers to the Solo Pedal Harp Repertoire, with Analysis of Selected Works STUDENT: Grace Bauson DEGREE: Doctor of Arts COLLEGE: Fine Arts DATE: May 2012 PAGES: 158 The purpose of this dissertation was to research harp solos written by Canadian composers in the twentieth century and to determine factors that could have contributed to the rise in output of harp literature in Canada during that period. In addition to research of existing writings, interviews with two performers, Erica Goodman and Judy Loman, and two composers, Marjan Mozetich and R. Murray Schafer, were conducted. Analysis of six selected works from 1957 to 2002, Little Suite by Robert Turner, The Crown of Ariadne by R. Murray Schafer, Fifteen Pieces for Harp by John Weinzweig, From the Eastern Gate by Alexina Louie, Songs of Nymphs by Marjan Mozetich, and the King David Sonata by Srul Irving Glick, showed the diversity of output and provided opportunity to look for common elements. The factors that coincided with the increase in solo harp literature by Canadian composers included an increase in the number of professional harpists and composers, government support through commissioning grants, trends in solo literature at large, and avenues for performance. Specific motivations for the cases studied included commissions, respect for virtuosic harpists, interest in composers’ works, opportunities for performance and audience exposure to new works. iii ACKNOWLEDGEMENTS I would like to thank all of my committee members, Dr. Debra Siela, Dr. Michael Oravitz, Dr. James Helton, Mr. Timothy Clinch, and especially Dr. Keith Kothman and Ms. Elizabeth Richter for their invaluable guidance throughout the writing of my dissertation. Ms. Richter has been an incredibly supportive and encouraging mentor. I would also like to thank the composers and performers who contributed to this dissertation. Robert and Sarah Turner provided helpful information about Mr. Turner’s work. Erica Goodman, Judy Loman, Marjan Mozetich, and Murray Schafer all graciously gave of their time and knowledge, allowing me to interview them for insights into their impressive musical activities. I could not have finished writing the dissertation without the support of family and friends. Thank you to my immediate and extended family, and members of my church family who have kept me in their thoughts and prayers. Thank you to my coworkers and friends, particularly my director Lynnelle Ediger, who was flexible with my working hours as I finished the writing process. The completion of this document is a tribute to your support. iv CONTENTS List of Tables and Examples vi Chapter 1 - Introduction 1 Chapter 2 - Review of Literature 4 Chapter 3 - Interviews 15 Chapter 4 - Little Suite by Robert Turner (1957) 23 I. ‘Prelude,’ Movement 1 II. ‘Melody,’ Movement 2 III. ‘Waltz,’ Movement 3 IV. ‘Fantasy,’ Movement 4 Chapter 5 - The Crown of Ariadne by R. Murray Schafer (1979) 41 I. ‘Ariadne Awakens,’ Movement 1 II. ‘Ariadne’s Dance,’ Movement 2 III. ‘Dance of the Bull,’ Movement 3 IV. ‘Dance of the Night Insects,’ Movement 4 V. ‘Ariadne’s Dream,’ Movement 4A VI. ‘Sun Dance,’ Movement 5 VII. ‘Labyrinth Dance (Theseus & Ariadne),’ Movement 6 Chapter 6 - Fifteen Pieces for Harp by John Weinzweig (1983) 65 I. ‘Reverie,’ Movement 3 v II. ‘Quarks,’ Movement 4 III. ‘Fine Time,’ Movement 6 Chapter 7 - From the Eastern Gate by Alexina Louie (1985) 83 I. ‘Ceremonial Music,’ Movement 1 II. ‘Haiku I’ III. ‘On Impermanence,’ Movement 2 IV. ‘Haiku II’ V. ‘Birds at the Mountain Temple,’ Movement 3 VI. ‘Haiku III’ VII. ‘The Mandarins,’ Movement 4 Chapter 8 - Songs of Nymphs by Marjan Mozetich (1988) 106 I. ‘Prelude,’ Movement 1 II. ‘Reflection,’ Movement 2 III. ‘Ritual,’ Movement 3 IV. ‘Freedom,’ Movement 4 Chapter 9 - King David Sonata by Srul Irving Glick (1998) 128 I. ‘In the Fields,’ Movement 1 II. ‘David and Saul,’ Movement 2 III. ‘David the King,’ Movement 3 Chapter 10 – Conclusion 148 Bibliography 155 vi TABLES AND EXAMPLES Chapter 4 Example 4.1 ‘Prelude,’ from Little Suite , m. 1 Example 4.2 ‘Melody,’ from Little Suite , m. 1 Example 4.3 ‘Fantasy,’ from Little Suite , mm. 2-3 Example 4.4 ‘Prelude,’ from Little Suite , mm. 4-5 Example 4.5 ‘Prelude,’ from Little Suite , m. 7 Example 4.6 ‘Prelude,’ from Little Suite , mm. 10-14 Example 4.7 ‘Melody,’ from Little Suite , mm. 16-18 Example 4.8 ‘Waltz,’ from Little Suite , mm. 1-3 Example 4.9 ‘Waltz,’ from Little Suite , mm. 29-34 Example 4.10 ‘Fantasy,’ from Little Suite , m. 23 Example 4.11 ‘Fantasy,’ from Little Suite , mm. 29-30 Table 4.1 Form of ‘Waltz’ from Little Suite Table 4.2 Form of ‘Fantasy’ from Little Suite Chapter 5 Example 5.1 ‘Ariadne Awakens’ from The Crown of Ariadne , gestures 1 and 2 Example 5.2 ‘Ariadne Awakens’ from The Crown of Ariadne , gesture 9 Example 5.3 ‘Ariadne Awakens’ from The Crown of Ariadne , gesture 14 Example 5.4 ‘Ariadne’s Dance’ from The Crown of Ariadne , mm. 3-5 Example 5.5 ‘Ariadne’s Dance’ from The Crown of Ariadne , m. 12 Example 5.6 ‘Dance of the Bull’ from The Crown of Ariadne , mm. 1-2 Example 5.7 ‘Dance of the Bull’ from The Crown of Ariadne , m. 22 Example 5.8 ‘Dance of the Night Insects’ from The Crown of Ariadne , m. 8 Example 5.9 ‘Ariadne’s Dream’ from The Crown of Ariadne, mm. 20-21 and reduction Example 5.10 ‘Ariadne’s Dream’ from The Crown of Ariadne , mm. 25-27 and reduction Example 5.11 ‘Sun Dance’ from The Crown of Ariadne , m. 3 Example 5.12 ‘Sun Dance’ from The Crown of Ariadne , mm. 13-first half of m. 15 Example 5.13 ‘Labyrinth Dance’ from The Crown of Ariadne , mm. 5-10 Example 5.14 ‘Labyrinth Dance’ from The Crown of Ariadne , mm. 47-48 Chapter 6 Example 6.1 ‘Reverie,’ from 15 Pieces for Harp , mm. 1, 5, 9, 28: Varying forms of pitch-classes from m. 1 Example 6.2 ‘Quarks,’ from 15 Pieces for Harp , mm. 1-8 Example 6.3 ‘Quarks,’ from 15 Pieces for Harp , mm. 52-53 Example 6.4 ‘Quarks,’ from 15 Pieces for Harp , m. 67 Example 6.5 ‘Quarks,’ from 15 Pieces for Harp , mm. 5, 14 Example 6.6 ‘Fine Time,’ from 15 Pieces for Harp , mm. 1-3 Example 6.7 ‘Fine Time,’ from 15 Pieces for Harp , m. 10 Example 6.8 ‘Fine Time,’ from 15 Pieces for Harp , m. 22 Example 6.9 ‘Fine Time,’ from 15 Pieces for Harp , m. 152 Table 6.1 Form of ‘Quarks’ from 15 Pieces for Harp vii Chapter 7 Example 7.1 ‘Ceremonial Music,’ from From the Eastern Gate , mm. 1-3 Example 7.2 ‘Ceremonial Music,’ from From the Eastern Gate , mm. 11-13 Example 7.3 ‘Ceremonial Music,’ from From the Eastern Gate , mm. 43-46 Example 7.4 ‘Haiku I,’ from From the Eastern Gate , excerpt from line 1 Example 7.5 ‘On Impermanence,’ from From the Eastern Gate , excerpt from line 1 Example 7.6 ‘On Impermanence,’ from From the Eastern Gate , excerpt from lines 2-3 Example 7.7 ‘Birds at the Mountain Temple,’ from From the Eastern Gate , mm. 2-9 Example 7.8 ‘Birds at the Mountain Temple,’ from From the Eastern Gate , m. 10 Example 7.9 ‘Haiku III,’ from From the Eastern Gate , mm. 3-4, 6, 10-11 Example 7.10 ‘The Mandarins,’ from From the Eastern Gate , mm. 3-5 Example 7.11 ‘The Mandarins,’ from From the Eastern Gate , end of m. 43 Chapter 8 Example 8.1 ‘Prelude’ from Songs of Nymphs , mm. 1-2 Example 8.2 ‘Prelude’ from Songs of Nymphs , mm. 11-13 Example 8.3 ‘Prelude’ from Songs of Nymphs , mm. 47-48 Example 8.4 ‘Prelude’ from Songs of Nymphs , mm. 84-88 Example 8.5 ‘Reflection’ from Songs of Nymphs , mm. 3-5 Example 8.6 ‘Reflection’ from Songs of Nymphs , mm. 14-15 Example 8.7 ‘Ritual’ from Songs of Nymphs , mm. 1, 21 Example 8.8 ‘Ritual’ from Songs of Nymphs , mm. 5, 28 Example 8.9 ‘Freedom’ from Songs of Nymphs , reduction of mm. 45-59 Example 8.10 ‘Freedom’ from Songs of Nymphs , reduction of mm. 70-79 Table 8.1 Form of ‘Prelude’ from Songs of Nymphs Table 8.2 Form of ‘Reflection’ from Songs of Nymphs Table 8.3 Form of ‘Ritual’ from Songs of Nymphs Table 8.4 Form of ‘Freedom’ from Songs of Nymphs Chapter 9 Example 9.1 ‘In the Fields’ from the King David Sonata , mm. 1-4 Example 9.2 ‘In the Fields’ from the King David Sonata , mm.
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