A Conductor's Guide to Selected Works by Female Composers for Chamber Wind Ensemblemichael Scott Douty
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 A Conductor's Guide to Selected Works by Female Composers for Chamber Wind EnsembleMichael Scott Douty Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A CONDUCTOR’S GUIDE TO SELECTED WORKS BY FEMALE COMPOSERS FOR CHAMBER WIND ENSEMBLE By MICHAEL SCOTT DOUTY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2019 © 2019 Michael Scott Douty Michael Scott Douty defended this dissertation on June 24, 2019. The members of the supervisory committee were: Richard Clary Professor Directing Dissertation Jane Piper Clendinning University Representative David Patrick Dunnigan Committee Member Steven Kelly Committee Member Clifford Madsen Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements. ii To Bethany, for teaching me about the importance of supporting Women in their careers and—as alWays—for your support. iii ACKNOWLEDGMENTS I would like to thank several people who contributed to the completion of this dissertation, starting with my committee members, Prof. Richard Clary, Prof. Jane Piper Clendinning, Dr. Patrick Dunnigan, Dr. Steven Kelly, and Dr. Clifford Madsen. Invaluable guidance and assistance Were provided by Laura Gayle Green, Françoise Masset, Dr. Suzanne Rita Byrnes, Dr. Rick Fleming, Prof. Nancy Galbraith, Dr. Julia Wolfe, Dr. Evan Jones, Dr. Jill Halstead, Dr. Victoria Rowe, and Lance Baker. Also, a special thank-you goes to all my friends and colleagues at FSU. Thank you to the players who rehearsed and/or performed the selections included in this project. Without your musicianship and critical feedback, this document would not have been possible: Brennen Blotner, Nick Childs, Harrison Cody, Bryce Coots, Jamal Davidson, Elyse Davis, Tyler Duncan, Alvaro Fernandez, Connor Fuhrmann, Jacob Goforth, Ian Evans Guthrie, Nathan Ingrim, Kenneth Johnson, Jonathan Lacey, Hank Landrum, Mark Lauer, Tristan Magruder, Kyle Mallari, Vincent Moore, Gloria Ramirez, Nina Scheibe, Justin Smith, Mason Smith, Jessica Speak, Alexander Vaquerizo, Rebecca Walenz, Kate Warren, Justin Way, Sam Williams, Kaitlin Wong, and Chris Wray. I must acknowledge the teachers and mentors who provided me with instruction and direction throughout many decades in music. There are too many to list, but I have not forgotten your insight and inspiration. And most importantly, thank you to my wife, Bethany, and our tWo children for your support during the Writing process and throughout five years of graduate school. There simply are not proper words to express my gratitude. iv TABLE OF CONTENTS List of Tables ................................................................................................................................. vi List of Figures ............................................................................................................................... vii Abstract .......................................................................................................................................... ix 1. INTRODUCTION ......................................................................................................................1 2. DIXTUOR BY CLAUDE ARRIEU ..........................................................................................10 3. DOS DANZAS LATINAS BY NANCY GALBRAITH .............................................................50 4. ARSENAL OF DEMOCRACY BY JULIA WOLFE .................................................................72 5. WIND SINFONIETTA BY RUTH GIPPS ................................................................................99 6. SUMMARY CONCLUSION .................................................................................................130 APPENDICES .............................................................................................................................132 A. COMPLETE LIST OF WORKS CONSIDERED FOR SELECTION ...................................132 B. RECOMMENDED REFERENCE RECORDINGS ...............................................................133 C. AVAILABLE WORKS LISTS FOR SELECTED COMPOSERS ........................................134 D. PERMISSION FOR MUSICAL EXCERPTS ........................................................................135 References ....................................................................................................................................143 Biographical Sketch .....................................................................................................................146 V LIST OF TABLES Table 1.1: Short list of considered selections. .................................................................................7 Table 2.1: Form of Dixtuor, mvt. I. ...............................................................................................27 Table 2.2: Form of Dixtuor, mvt. II. ..............................................................................................34 Table 2.3: Form of Dixtuor, mvt. III. .............................................................................................39 Table 2.4: Form of Dixtuor, mvt. IV. ............................................................................................42 Table 2.5: Form of Dixtuor, mvt. V. ..............................................................................................47 Table 3.1: Form of Dos Danzas Latinas, mvt. I, Habanera. .........................................................63 Table 3.2: Form of Dos Danzas Latinas, mvt. II, Samba. .............................................................69 Table 4.1: Form of Arsenal of Democracy. ...................................................................................95 Table 5.1: Form of Sinfonietta, mvt. I. ........................................................................................118 Table 5.2: Form of Sinfonietta, mvt. II. .......................................................................................121 Table 5.3: Form of Sinfonietta, mvt. III. ......................................................................................124 Table 5.4: Form of Sinfonietta, mvt. IV. ......................................................................................128 vi LIST OF FIGURES Figure 2.1: Dixtuor, mvt. I, theme I, 1st clarinet mm. 5-7. .............................................................25 Figure 2.2: Dixtuor, mvt. I, theme II, oboe mm. 13-16. ................................................................25 Figure 2.3: Dixtuor, mvt. II, theme I, 1st clarinet mm. 86-88. .......................................................29 Figure 2.4: Dixtuor, mvt. II, repeated pitch motive, flutes mm. 90-91. .........................................29 Figure 2.5: Dixtuor, mvt. II, sixteenth note triplets, flutes m. 92. .................................................30 Figure 2.6: Dixtuor, mvt. II, triplets alternating with eighth notes, flutes mm. 95-96. .................30 Figure 2.7: Dixtuor, mvt. II, beginning of theme II, oboe mm. 98-99. ..........................................32 Figure 2.8: Dixtuor, mvt. II, beginning of theme III, oboe mm. 127-129. ....................................32 Figure 2.9: Dixtuor, mvt. III, incipit of theme I, oboe mm. 176-183. ...........................................36 Figure 2.10: Dixtuor, mvt. III, theme II, clarinets mm. 191-194. ..................................................37 Figure 2.11: Dixtuor, mvt. III, contrasting motive, flutes mm. 292-295. ......................................38 Figure 2.12: Dixtuor, mvt. IV, incipit of opening melody, oboe mm. 333-336. ...........................41 Figure 2.13: Dixtuor, mvt. V, incipit of main theme, 2nd flute mm. 385-386. ...............................44 Figure 3.1: Habanera ostinato. .......................................................................................................58 Figure 3.2: Dos Danzas Latinas, mvt. I, theme I, 1st clarinet mm. 3-4. .........................................59 Figure 3.3: Dos Danzas Latinas, mvt. I, theme II, oboe mm. 13-16. ............................................59 Figure 3.4: Dos Danzas Latinas, mvt. I, theme III, oboe mm. 32-35. ...........................................60 Figure 3.5: Dos Danzas Latinas, mvt. I, theme IV, 1st clarinet mm. 52-54. ..................................61 Figure 3.6: Dos Danzas Latinas, mvt. II, theme I, 1st oboe mm. 9-12. .........................................67 Figure 3.7: Dos Danzas Latinas, mvt. II, theme II, 1st clarinet mm. 34-37. ..................................67 Figure 3.8: Dos Danzas Latinas, mvt. II, theme III, 1st clarinet mm. 80-84. .................................68 Figure 4.1: Arsenal of Democracy, mm. 1-2, full score. ...............................................................85 vii Figure 4.2: Arsenal of Democracy, mm. 102-104, full score. .......................................................89 Figure 4.3: Arsenal of Democracy, mm. 129-131, full score. .......................................................91 Figure 4.4: Arsenal of Democracy, mm. 153-155, full score. .......................................................93 Figure 5.1: Wind Sinfonietta, mvt. I, theme I,