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Portfolio of Original Compositions with Written Commentary

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Portfolio of Original Compositions with Written Commentary Portfolio of Original Compositions with Written Commentary by Arne Sanders Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of Music September 2018 I The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Arne Sanders to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. II Acknowledgements It is my privilege to thank the musicians who performed the pieces of this portfolio: Susanne Fröhlich, Claudia van Hasselt, Nathan Plante, Zhechao Xie, students of the Hochschule für Musik ‘Hanns Eisler’ (Berlin), Ensemble Apparat, Ensemble Ascolta, Ensemble LuxNM and Ensemble AuditivVokal; I would also like to thank my super- visory team of Dr. Mic Spencer and Dr. Scott McLaughlin, whose input, encourage- ment and advice helped keep things moving; Nathan Plante for the production of the printed versions of the scores; Rena Gely Widmer for her help in creating the figures and examples used in this thesis; Professor Violeta Dinescu for generously providing access to the Archiv für osteuropäische Musik at the University of Olden- burg; and last but by no means least Dr. Frank Weigelt for his editorial suggestions, particularly towards the end of the writing process. I acknowledge the financial assistance of a University of Leeds 110 Anniversary Research Scholarship (2014‒2017). III IV Abstract Heterophony, one of the fundamental forms of multilinear music, has hardly played a role in Western art music. Even after heterophonic music practices became known and were given their own term in the early twentieth century, the potential of heterophony as a way of multipart composing was seldom recognised, with some prominent exceptions including, Pierre Boulez, George Enescu, Ştefan Niculescu and William Sweeney. The present thesis is an examination of heterophony with the intention of making the phenomenon fruitful for my own composing. For this purpose, it was initially necessary to sharpen the term, which is often used vaguely and inconsistently in musicological literature. Through the evaluation of the various concepts of heterophony —from the introduction of the term into the musicological discourse (in 1901, by Carl Stumpf) up to the current state of research (Pärtlas 2016)—as well as through my own transcriptions and analyses of non-European and traditional heterophonic music, I arrived at a preliminary definition of heterophony which currently serves as the basis for my compositional work. The study identifies two types of heterophony: variant heterophony and ornamen- tal heterophony. Both categories are based on ‘labelled’ or ‘skeletal’ melodies; orna- mental heterophony, however, is sometimes also based on ‘melodic patterns’. The main difference between the two types is that in variant heterophony some pitches of the basic melody are replaced by others in some of the parts involved, while in ornamental heterophony various forms of simultaneous ornamentation ‘actualise’ the otherwise unchanged skeletal melody. Paradoxically, the great difficulty in defining the boundaries between heterophony and related forms of multilinear music turns out to be a source of inspiration for my work as a composer. For this reason and because my concept of heterophony only gra- dually emerged in the course of my studies, not all of the compositions submitted are based on the definition mentioned above. Rather, as discussed more in depth in the second section of this thesis, the composition portfolio shows my path to a better understanding of heterophony. V VI Table of Contents Acknowledgements III Abstract V Table of Contents VII List of Figures IX List of Compositions XIII Glossary of Performance Directions XIII List of Recordings XVII Introduction ...................................................................................................... 1 1. Towards a Definition of Heterophony ........................................................... 5 1.1. Conceptual History ..................................................................................... 5 1.2. Aspects of Heterophony ............................................................................ 10 1.2.1. Melody, Melodic Pattern and Melos ............................................... 10 1.2.1.1. Melody ............................................................................... 10 1.2.1.2. Melodic Pattern ................................................................. 12 1.2.1.3. Melos ................................................................................. 13 1.2.2. Variants, Variant Heterophony and Variation ................................. 15 1.2.2.1. Variants .............................................................................. 16 1.2.2.2. Variant Heterophony .......................................................... 21 1.2.2.3. Variation ............................................................................. 29 1.2.3. Ornamentation and Ornamental Heterophony .............................. 31 1.2.3.1. Ornamentation .................................................................. 31 1.2.3.1.1. ‘Simple’ and ‘Compound’ Ornaments ............... 31 1.2.3.1.2. Spielfiguren ....................................................... 37 1.2.3.1.3. Culture-Specific Conventions ............................ 39 1.2.3.1.4. Function ............................................................ 41 1.2.3.2. Ornamental Heterophony .................................................. 42 1.2.3.2.1. Definition ........................................................... 42 1.2.3.2.2. Social and Communicative Aspects of Ornamental Heterophony ................................. 43 1.2.4. Summary ......................................................................................... 46 1.3. Further Aspects of Heterophony ................................................................ 48 1.3.1. Rhythm ............................................................................................ 48 1.3.2. Improvisation .................................................................................. 54 VII 1.3.3. Performance Situation .................................................................... 60 1.3.4. ‘Heterophony’ in pre-1900 Western Art Music ............................... 63 1.3.5. Heterophony in Combination with other Textures .......................... 67 1.3.6. Is the Individual Part of a Heterophonic Texture a Valid Melody in itself? .................................................................. 68 2. Compositions ............................................................................................... 69 2.1. Approaches I: Studies for Two Performers I‒III .......................................... 70 2.2. Melody: šēru for One Performer ................................................................ 72 Preliminary Note: The ‘Meander Sequence’ .............................................. 72 2.2.1. šēru (1) ............................................................................................ 73 2.2.2. šēru (2) ............................................................................................ 76 2.2.3. šēru (3) ............................................................................................ 80 2.3. Variant Heterophony .................................................................................. 81 2.3.1. Study IV for two Performers ............................................................ 81 2.3.2. Study V for two Performers ............................................................. 82 2.4. Approaches II .............................................................................................. 84 2.4.1. Invocatio for soprano and viola ....................................................... 84 2.4.2. anfár (3rd movement) for brass trio ................................................. 87 2.4.3. šēru IIa for trumpet, trombone, cello, piano and percussion ......... 90 Reflections on Form and Heterophony ........................................... 94 2.4.4. ETYM III for soprano saxophone and accordion .............................. 96 2.5. Social Implications: Due Canti di Ungaretti for soprano and bass flute ..... 101 2.5.1. Emblema ......................................................................................... 101 2.5.2. Fase ................................................................................................. 104 2.6. Ornamental Heterohony ............................................................................ 108 2.6.1. Ghasel for voice and piano .............................................................. 108 2.6.2. Study VI for two performers ............................................................ 112 2.6.3. Lied der Minne for five singers ....................................................... 113 2.7. Rhythm: Study VII for one performer ......................................................... 117 2.8. Melody/Ornamental Heterophony/Improvisation: Das ander Lied for soprano and bass recorder ................................................................... 119 Summary and Outlook ......................................................................................
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