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UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Compositional Trends in Solo Horn Works by Horn Performers (1970–2005): A Survey and Catalog A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements of the degree of DOCTOR OF MUSICAL ARTS in the Division of Performance Studies of the College-Conservatory of Music 2008 by Kimberly D. Rooney B.M., University of Missouri-Columbia, 2002 M.M., University of Cincinnati, 2004 Committee Chair: Dr. bruce d. mcclung ABSTRACT A survey of solo horn works composed in the late twentieth century exhibits the strong influence of horn performers on the instrument’s expanding solo repertoire. Hornists such as Jeffrey Agrell, David Amram, Paul Basler, Randall Faust, Lowell Greer, Douglas Hill, Lowell Shaw, Jeffrey Snedeker, and many others have contributed worthwhile new works to the horn repertoire. These works take advantage of recent compositional trends in order to showcase the full spectrum of musical possibilities available to the modern hornist. The goal of this study is to draw attention to the large body of horn solo repertoire that has been composed by hornists from 1970 to 2005, to explore the technical challenges it poses, to consider common trends among the works of several hornist-composers, and to encourage performance of this repertoire. Chapter One provides an overview of the project and examines the relevant existing research. Chapter Two provides a brief historical context by summarizing the contribution of several representative players, including Jan Vaclav Stich (a.k.a. Giovanni Punto), Louis-Francois Dauprat, Jacques-Francois Gallay, and Franz Strauss, to the solo horn repertoire during the eighteenth and nineteenth centuries. Chapter Three surveys the more recent repertoire with discussion of selected characteristic works from the last thirty-five years that demonstrate current trends in horn solo composition. These trends include the introduction of jazz elements to the solo horn repertoire, the revival of the natural horn, and the use of nontraditional accompaniments including various types of electronic media. Chapter Four provides the conclusions of the study. This project concludes with a catalog of works composed by horn performers between 1970 and 2005. ii © Copyright by Kimberly Dianne Rooney 2008 iii COPYRIGHT PERMISSIONS Jeffrey Agrell, September Elegy. Copyright © 2001 by Jomar Press. Used by permission of Jomar Press and Jeffrey Agrell. David Amram, Blues and Variations for Monk. Copyright © 1991 by C. F. Peters Corporation. Used by permission. Paul Basler, Dance, Fool, Dance! Copyright © 1998 by RM Williams Publishing. Used by permission. Louis-François Dauprat, Hornkonzert Nr. 5, op. 21. Copyright © 2005 by Robert Ostermeyer Musikedition. Used by permission. Randall Faust, Horn Call for Horn and Electronic Media. Copyright © 1978 by Faust Music. Used by permission. Lowell Greer, Het Valkhof. Copyright © 1991 by Lowell Greer. Used by permission. Jazz Set for Solo Horn Words and Music by Douglas Hill Copyright © 1987 Associated Music Publishers, Inc. (BMI) International Copyright Secured. All Rights Reserved. Used by Permission. Douglas Hill, Thoughtful Wanderings. Copyright © 1990 by IHS Manuscript Press. Used by permission. Giovanni Punto, Concerto No. 11 in E Major. Copyright © 1983 by Medici Music Press. Used by permission Lowell Shaw, Just Desserts. Copyright © 1999 by The Hornists’ Nest. Used by permission. Jeffrey Snedeker, Goodbye to a Friend, Copyright © 1997 by Birdalone Music. Used by permission. iv ACKNOWLEDGEMENTS This project could not have been completed without the assistance of many mentors, colleagues, and friends. Special thanks go to my advisor, bruce mcclung. Randy Gardner has served as a helpful guide and advisor throughout this project and during the five years preceding it. Marcia Spence provided assistance with engraving musical examples. The University of Cincinnati provided a summer research fellowship grant that enabled me to travel and interview many of the composers discussed in this volume. Jeffrey Agrell and Douglas Hill contributed the initial research that inspired this study and have been valuable resources and sources of encouragement throughout the project. Hornist-composers David Amram, Paul Basler, Randall Faust, Lowell Greer, Lowell Shaw, and Jeffrey Snedeker also gave generously of their time and provided valuable insights for which I am very grateful. Finally, I would like to thank my parents for their ongoing support. v TABLE OF CONTENTS Acknowledgements. .v List of Figures . vii Chapter One: Introduction . .1 Chapter Two: Historical Precedents . 7 Jan Vaclav Stich (a.k.a. Giovanni Punto) . 8 Louis-François Dauprat . .12 Jaques-François Gallay . 14 Franz Straus . .17 Chapter Three: Trends in Works by Hornist-Composers (1970–2005) . .20 First Trend: Jazz Elements . 21 Lowell Shaw, Just Desserts . .26 David Amram, Blues and Variations for Monk . .31 Douglas Hill, Jazz Set . 36 Second Trend: Contemporary Use of the Natural Horn . 43 Lowell Greer, Het Valkhof . .48 Jeffrey Snedeker, Goodbye to a Friend . .52 Jeffrey Agrell, September Elegy . 56 Third Trend: Electronic Accompaniments . .61 Randall Faust, Horn Call for Horn and Electronic Media . 63 Paul Basler, Dance, Fool, Dance! . .69 Douglas Hill, Thoughtful Wanderings . .76 Chapter Four: Conclusions . ..84 Preface to the Catalog. .85 Catalog of Solo Works Composed by Horn Performers . 87 Bibliography . 94 vi LIST OF FIGURES 1. Jan Vaclav Stich (a.k.a. Giovanni Punto), Concerto No. 11, III. Menuetto, 11 mm. 50–78. 2. Jan Vaclav Stich (a.k.a. Giovanni Punto), Concerto No. 11, III. Menuetto, 11 mm. 109–20. 3. Louis-Francois Dauprat, Concerto No. 5, III. Rondo–Bolero: Allegro 14 moderato, mm. 140–58. 4. Jacques-Francois Gallay, 11th Solo, mm. 22–42. 16 5. Jacques-Francois Gallay, 40 Preludes, Op. 27, No. 26, unmeasured. 16 6. Franz Strauss, Concerto for French Horn and Orchestra, mm. 1–56. 19 7. Lowell Shaw, Just Desserts #9, mm. 1–5. 28 8. Twelve-bar blues harmonic progression 28 9. Lowell Shaw, Just Desserts #11 (bass part), mm. 37–54. 29 10. Blues scale 30 11. Lowell E. Shaw, Just Desserts #11, mm. 1–10. 30 12. Lowell E. Shaw, Just Desserts #11, mm. 63–6. 31 13. David Amram, Blues and Variations for Monk, mm. 9–20. 33 14. David Amram, Blues and Variations for Monk, mm. 37–44. 34 15. David Amram, Blues and Variations for Monk, mm. 81–3. 35 16. Douglas Hill, Jazz Set, “Lost and Found,” mm. 16–8. 39 17. Douglas Hill, Jazz Set, “Cute ‘n Sassy,” mm. 1–8. 40 18. Douglas Hill, Jazz Set, “Fussin’ for Emily,” mm. 1–10. 41 19. Douglas Hill, Jazz Set, “Fussin’ for Emily,” mm. 65–73. 42 20. Harmonic Series 44 vii 21. Hand Stopping Chart 45 22. Lowell Greer, Het Valkhof, “Frederick Barbarosa,” mm. 7–10. 50 23. Lowell Greer, Het Valkhof, “Prelude,” page 1, systems 3–4. 51 24. Lowell Greer, Het Valkhof, “Frederick Barbarosa,” mm. 1–3. 51 25. Lowell Greer, Het Valkhof, “Frederick Barbarosa,” mm. 18–27. 52 26. Lowell Greer, Het Valkhof, “Frederick Barbarosa,” mm. 61–6. 52 27. Jeffrey Snedeker, Goodbye to a Friend, mm. 22–39. 55 28. Jeffrey Snedeker, Goodbye to a Friend, m. 45. 56 29. Jeffrey Agrell, September Elegy, mm. 32–4. 59 30. Randall Faust, Horn Call for Horn and Electronic Media, mm. 1–6. 66 31. Randall Faust, Horn Call for Horn and Electronic Media, mm. 40–5. 66 32. Randall Faust, Horn Call for Horn and Electronic Media, mm. 63–80. 67 33. Paul Basler, Dance, Fool, Dance!, Bump, mm. 79–80. 71 34. Paul Basler, Dance, Fool, Dance!, Bump, mm. 1–4. 72 35. Paul Basler, Dance, Fool, Dance!, Bump, mm. 40–3. 73 36. Paul Basler, Dance, Fool, Dance!, Bump, mm. 36–9. 73 37. Paul Basler, Dance, Fool, Dance!, Spin, mm. 1–7. 74 38. Paul Basler, Dance, Fool, Dance!, Spin, mm. 80–91. 74 39. Paul Basler, Dance, Fool, Dance!, Spin, mm. 61–7. 75 40. Paul Basler, Dance, Fool, Dance!, Spin, mm. 92–8. 75 41. Paul Basler, Dance, Fool, Dance!, Grind, mm. 13–7. 76 42. Douglas Hill, Thoughtful Wanderings, “Eagle at Ease in the Sky,” mm. 4–5. 78 43. Douglas Hill, Thoughtful Wanderings, “Eagle at Ease in the Sky,” m. 17. 79 viii 44. Douglas Hill, Thoughtful Wanderings, “Six-legged Dance,” mm. 3–7. 79 45. Douglas Hill, Thoughtful Wanderings, “Six-legged Dance,” mm. 22–8. 80 46. Douglas Hill, Thoughtful Wanderings, “Woodland Trail,” m. 33. 81 47. Douglas Hill, Thoughtful Wanderings, “Woodland Trail,” mm. 19–27. 82 48. Douglas Hill, Thoughtful Wanderings, “Spring Dance,” m. 31–3. 82 ix CHAPTER ONE INTRODUCTION Purpose of Study A survey of solo horn works composed in recent years exhibits the strong influence of horn performers on the instrument’s expanding solo repertoire. While collaborations with great performers including Dennis Brain, Barry Tuckwell, and Froydis Ree Wekre have inspired several adventurous works by mainstream composers, many composers approach the horn with some trepidation.1 As Gunther Schuller writes in the preface to his Horn Technique, the horn has a reputation of being “devilishly difficult,” which intimidates many composers.2 In many instances the burden has fallen on horn players themselves to compose rewarding and idiomatic music that satisfies today’s virtuoso performers. Hornists such as Jeffrey Agrell, David Amram, Paul Basler, Randall Faust, Lowell Greer, Douglas Hill, Lowell Shaw, and Jeffrey Snedeker have all contributed worthwhile new works to the horn repertoire. These works take advantage of recent compositional trends in order to showcase the full spectrum of musical possibilities available to the modern hornist. The goal of this study is to draw attention to the large body of horn solo repertoire that has been composed by hornists from 1970 to 2005, to explore the technical challenges it poses, to consider common trends among the works of several hornist-composers, and to encourage performance of this repertoire.
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    A history of music and politics in Mozambique from the 1890s to the present A DISSERTATION SUBMITTED TO THE COLLEGE OF LIBERAL ARTS OF THE UNIVERSITY OF MINNESOTA BY DENISE MARIA MALAUENE IN PARTIAL FULFILLMENT OF THE REQUEREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ALLEN F. ISAACMAN JANUARY 2021 Ó DENISE MARIA MALAUENE, 2021 Acknowledgements Nhi bongide ku womi ni vikelo Thank you for life and protection Nhi bongide gurula ni guhodza Thank you for peace and provision Nhi bongide gu nengela omo gu Thank you for happiness in times of tsanisegani suffering Nhi bongide Pfumu Thank you, God! Denise Malauene song titled “Nhi bongide Pfumu”1 Pfumu Nungungulu, nhi bongide ngudzu! (Thank you, God!) My children Eric Silvino Tale and Malik TSakane Malauene Waete: I thank you for your unconditional love, Support, and understanding aS many timeS I could not be with you nor could meet your needs because I waS studying or writing. Mom and dad Helena ZacariaS Pedro Garrine and João Malauene, nhi bongide ku SatSavbo. My Siblings Eduardo Malauene, GiSela Malauene, Guidjima Donaldo, CriStina AgneSS Raúl, DioníSio, Edson Malauene, ChelSea Malauene, Kevin Malauene, obrigada por tudo. I am grateful to my adviSor Allen IsSacman for the advice, guidance, and encouragement, particularly during the difficult timeS in my Ph.D. trajectory Somewhat affected by Several challengeS including CycloneS Idai, the armed instability in central and northern Mozambique, and Covid 19. Barbara’s and hiS support are greatly appreciated. I am grateful to ProfeSSor Helena Pohlandt-McCormick for her encouragement, guidance, and Support. Her contribution to the completion of my degree in claSSeS, reading groups, paper preSentations, grant applications, the completion of my prelimS, and Michael’s and her support are greatly appreciated.
  • Interpreting Race and Difference in the Operas of Richard Strauss By

    Interpreting Race and Difference in the Operas of Richard Strauss By

    Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler.