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Orchestra with Electroacoustic Music: Literature

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Orchestra with Electroacoustic Music: Literature I. THE ORCHESTRA WITH ELECTROACOUSTIC MUSIC: LITERATURE, INTERVIEWS, AND ANALYSIS. II. ROOTS, A COMPOSITION FOR ORCHESTRA AND TWO-CHANNEL RECORDED SOUND By SAMUEL JEFFERSON HAMM, JR. A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Samuel Jefferson Hamm, Jr. This document is dedicated to the memory of my mother. ACKNOWLEDGMENTS First and foremost, I want to thank my wife Kimberly Solvang Hamm: the importance of her love is indescribable, and her support is irreplaceable. My deepest gratitude goes to my father, Sam Hamm, and my sister, Victoria Hamm. This document, and this degree, is not my accomplishment, it is our accomplishment. I want to offer my deepest respect and appreciation to Dr. James Paul Sain, who has been and always will be my mentor, advisor, and friend. I would not have taken the first or the last steps down this path without his inspiration. The guidance and influence of Dr. Paul Koonce have been vital in the construction of this document, and I respectfully acknowledge his contributions. His unique combination of brilliance and sensitivity has been invaluable to me. I want to offer my gratitude to Dr. Paul Richards for his insight and inspiration over the past five years. He has shown me how to maintain my musical conscience, and challenged me to realize my potential. Dr. David Kushner has inspired me with his scholarship and wisdom for more than twelve years, and I thank him for his guidance and scrutiny. Ric Rose has been an artistic collaborator and friend for more than a decade, and I thank him for helping me to mature in the practice of my art. Ron Parks has earned my gratitude for his openness, kindness, and professional honesty from the day we met, and for his steadfast friendship during iv for things that have been my "dark years." I cannot thank him enough, too many too important to me throughout the years. Terry Sanford was the first person to suggest that I pursue a career in is that are music, and I thought he was crazy at the time. This document proof we both a few pitches short of a row! I thank him for the vote of confidence before I life. even knew what I wanted to do with my The following individuals are my former composition teachers, and I am grateful to each of them for their guidance and influence: Dr. Marvin Johnson, Dr. Frederic Goossen, Dr. Budd Udell, Dr. John D. White, Cort Lippe, and the late Harry Phillips. Robena Cornwell and Michele Wilbanks-Fox have provided crucial support as librarians, but more importantly, I cherish their friendship. I will miss them tremendously as my career leads me to new places. I want to thank Don and Ragnhild Solvang for their patience and understanding while I have been focused upon building my career and a means of support for their daughter, my wife. My gratitude is not limited to the individuals cited above, and I will make sure to share my appreciation directly and individually with all other deserving parties. It will take a while. V 1 TABLE OF CONTENTS V. .1 page ACKNOWLEDGMENTS iv LIST OF TABLES x LIST OF FIGURES xii ABSTRACT xiii I THE ORCHESTRA WITH ELECTROACOUSTIC MUSIC: LITERATURE, INTERVIEWS, AND ANALYSIS 2 1 INTRODUCTION 2 Fundamental Concepts 2 Old Versus New 2 Stage Versus Studio 3 Motivation and Background 6 Prior Scholarship 8 NewMusicBox, Frank Oteri, and Elliott Schwartz 9 Joel Chadabe: Electric Sound 9 Ricardo dal Farra: "Music, New Medias and Latin America" 10 Four Useful Web Sites: Gaudeamus, IRCAM, Living Composers Project, Thomas Moore's New Music Links 10 Terminology 1 Boundaries of Research 13 Ensembles 13 Technology 15 Pre-recorded and studio-generated materials 16 Interactivity and audio processing 17 Electronic instruments 18 Amplified acoustic instruments 19 Intent and Anticipated Usefulness of Research 20 Overview of Chapters 21 2 LITERATURE 24 Organization of Chapter 26 Overview of Survey Results 27 Nationalism 28 vi Survey of Literature 30 Africa 30 Asia 31 Armenia 31 Azerbaijan 32 Cliina 32 Georgia 32 India 33 Iran 33 Israel 33 Japan 34 South Korea 34 Tajikistan 35 Uzbekistan 35 Europe 35 Austria 36 Belgium 36 Czech Republic 37 Denmark 37 Finland 38 France 39 Germany 41 Greece 44 Iceland 45 Ireland 45 Italy 46 Luxembourg 48 The Netherlands 48 Norway 49 Poland 49 Portugal 50 Romania 51 Russia 51 Spain 52 Sweden 53 Switzerland 54 Ukraine 55 United Kingdom 55 Oceania 58 Australia 58 New Zealand 58 North America 59 Canada 59 Cuba 62 Mexico 62 Puerto Rico 62 vii United States of America 63 South America 73 Argentina 73 Brazil 74 Ecuador 75 Uruguay 75 Conclusion 76 3 INTERVIEWS 77 Methodology 77 Selection Process for Interview Subjects 77 Interview Subjects 79 Larry Austin, Composer and Scholar 79 Roger Reynolds, Composer and Scholar 80 Elliott Schwartz, Composer and Scholar 82 Steven Sloane, Music Director, American Composers Orchestra 83 Creation of Interview Questions 84 Summary of Process 86 Summary of Responses to Questions 87 Question 1: Experience Shapes Perception 87 Question 2: Managing the Logistics 90 Question 3: Distinctive Works 91 Question 4: A Look to the Future 92 Question 5: Anything Else? 94 Conversations and Communications with Individuals Who Were Not Interview Subjects 94 4 ANALYSIS 96 Pre-compositional Concerns 96 Relationship Between Musicians and Technology 97 The Role of Space in Music 98 The Role of Commissions 100 Compositional Process 101 Individual Work Habits 102 Notation 103 Collaboration 108 Rehearsal Preparation and Process 109 Cost 109 Performance Venue 110 Necessary Materials for Electroacoustic Performance 111 Click and Coordination 112 Performance from the Perspective of the Stage 113 Performance from the Perspective of the Audience 114 Post-performance 115 viii 7 5 DISCUSSION AND CONCLUSIONS 1 1 Overview 1 1 What Is the Purpose of the Orchestra? 117 Are These Compositions Musically Viable? 119 Interplay Between Concert and Popular Music 120 Beyond the Concert Hall 121 Gaining an Audience for the Genre 122 Final Thoughts and Observations 122 II ROOTS, A COMPOSITION FOR ORCHESTRA AND TWO-CHANNEL RECORDED SOUND 125 6 SUPPORTING INFORMATION ON THE COMPOSITION 125 Concept 1 25 Why "Roots?" 126 Pitch Structures 127 Other Musical Structures 128 Program Notes 1 30 7 ROOTS, FOR ORCHESTRA AND TWO-CHANNEL RECORDED SOUND 131 Roots 132 Instrumentation 133 Performance Notes 134 APPENDIX A LIST OF WORKS FOR ORCHESTRA AND ELECTROACOUSTICS, PRESENTED ALPHABETIALLY BY LAST NAME OF COMPOSER 180 B TRANSCRIPTIONS OF INTERVIEWS 208 Larry Austin, Composer and Scholar 208 Roger Reynolds, Composer and Scholar 210 Elliott Schwartz, Composer and Scholar 218 Steven Sloane, Music Director, American Composers Orchestra 220 LIST OF REFERENCES 222 BIOGRAPHICAL SKETCH 227 ix LIST OF TABLES Table /. page 2-1: Compositions from Armenia 31 2-2: Compositions from Azerbaijan 32 2-3: Compositions from China 32 2-4: Compositions from Georgia 33 2-5: Compositions from India 33 2-6: Compositions from Iran 33 2-7: Compositions from Israel 34 2-8: Compositions from Japan 34 2-9: Compositions from South Korea 35 2-10: Compositions from Tajikistan 35 2-1 1 : Compositions from Uzbekistan 35 2-12: Compositions from Austria 36 2-13: Compositions from Belgium 37 2-14: Compositions from the Czech Republic 37 2-15: Compositions from Denmark 38 2-16: Compositions from Finland 39 2-17: Compositions from France 40 2-18: Compositions from Germany 42 2-19: Compositions from Greece 45 2-20: Compositions from Iceland 45 X 2-21: Compositions from Ireland 46 2-22: Compositions from Italy 47 2-23: Compositions from Luxembourg 48 2-24: Compositions from the Netherlands 48 2-25: Compositions from Norway 49 2-26: Compositions from Poland 50 2-27: Compositions from Portugal 51 2-28: Compositions from Romania 51 2-29: Compositions from Russia 52 2-30: Compositions from Spain 53 2-31: Compositions from Sweden 54 2-32: Compositions from Switzerland 54 2-33: Compositions from the Ukraine 55 2-35: Compositions from Australia 58 2-36: Compositions from New Zealand 59 2-37: Compositions from Canada 60 2-38: Compositions from Cuba 62 2-39: Compositions from Mexico 62 2-40: Compositions from Puerto Rico 63 2-42: Compositions from Argentina 73 2-43: Compositions from Brazil 74 2-44: Compositions from Ecuador 75 2-45: Compositions from Uruguay 76 xi LIST OF FIGURES Figure page 2-1. Frequency of compositions by year 28 4-1. Excerpt 1 from Angel of Death, by Roger Reynolds 104 4-2. Excerpt 2 from Angel of Death, by Roger Reynolds 105 4-3. Excerpt 1 from Judgement by Budd Udell 106 4-4. Excerpt 2 from Judgement by Budd Udell 107 4-5. Excerpt 3 from Judgement, by Budd Udell 107 xii Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy I. THE ORCHESTRA WITH ELECTROACOUSTIC MUSIC: LITERATURE, INTERVIEWS, AND ANALYSIS. II. ROOTS, A COMPOSITION FOR ORCHESTRA AND TWO-CHANNEL RECORDED SOUND By Samuel Jefferson Hamm, Jr. August 2005 Chair: Dr. James Paul Sain Major Department: Music Since its origins in the aristocratic European courts of the sixteenth and seventeenth centuries, the orchestra has held an eminent position in Western art music. Due to its sheer magnitude and its unparalleled sonic flexibility, skill in writing original and ambitious music for the orchestra is a common, if myopic, measure of the quality and relevance of a composer's output. The orchestra has maintained its esteem as the twenty-first century opens.
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