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Proquest Dissertations The third art: The embodiment of meaning through texture in the choral works of Robert Kyr Item Type text; Dissertation-Reproduction (electronic) Authors Wyers, Giselle Eleanor Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 10:47:33 Link to Item http://hdl.handle.net/10150/289945 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. Photographs included in the original manuscript have been reproduced xerographically In this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQusst Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS Page(s) not included in the original manuscript and are unavailable from the author or university. The manuscript was microfilmed as received. 115 This reproduction is the best copy available. UMI' The Third Art: The Embodiment of Meaning Through Texture in the Choral Works of Robert Kyr by Giselle Eleanor Wyers A Dociunent Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2000 UMI Number: 3010251 0 UMI UMI Microform 3010251 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Infomnation and Leaming Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor. Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA « GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Giselle Eleanor Wyers entitled The Third Art; The Embodiment of Meaning Through Texture in the Choral Works of Robert Kyr and reconmiend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts IT/CUL^UJL Maurice^. Stones Date / / / ^ " / ^0 Dw^^ne p. Dunn Date RoTjert Cutietta Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Direaor Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this docimient are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED; 4 E)edication This document is dedicated to Robert Kyr in thanks for his willingness to share so fully and candidly the details of his creative process and philosophies. He is trtdy one of the master composers of our time, and it has been a genuine joy cmd honor to study and analyze his works. Kyr's willingness to spend a week at the University of Arizona during April 2000 as a visiting fellow is especially appreciated. He worked closely with the Symphonic Choir and myself as we prepared the second ever performance of "Let There Be Music," as well as performances of "Out of the Depths" and "Canticle of the Brother Sun." His comments and encouragement were deeply helpful and inspiring, and allowed us to achieve a transcendent performance. This document is also dedicated to the 1999-2000 Symphonic Choir. The choir's ability to embrace new challenges, while remaining open to Kyr's performance suggestions, is worthy of great commendation. Teamwork, joy, and inspiration became a part of the daily rehearsal process in a way that exceeded all expectations. A final thanks goes out to my advisor. Dr. Maurice Skones, for his constant encouragement and guidance. His rare ability to bring out the best in all of his students, while allowing them the hreedom to fully explore their creative pursuits, is greatly treasured. 5 Table of Contents List of Illustrations: Tables 6 Figures 7 Abstract 10 Chapter I. Introduction 11 Robert Kyr: Current Biography 13 Scope of Study 15 Working Definition of Texture 16 Kyr's Treatment of Text and Creative Process 18 II. Examples of Text Reflected Through Music 21 "Out of the Depths" 21 "Canticle of the Brother Sun" 29 Magnificat 35 "Early Light/A Hair of Sound" 50 Contrapuntal Text: A Tapestry of Meaning 50 Music 55 On the Nature of Creation 62 "In the Beginning" 62 "The Celestial Healer" 73 "The Ballad of Good Mind" 84 Text 84 Music 89 "Let There Be Music" 103 III. Conclusion 118 Appendix: Endnotes 122 References 123 List of Illustrations: Tables Table Page 1. Traditional translation vs. Kyr's version of Psalm 130 24 2. Saint Francis of Assisi's poem, source material for Kyr's "Canticle of the Brother Sun" 30 3. Section 8 of Saint Francis text contrasted with Robert Kyr's "emblematic"text 31 4. Traditional translation vs. Kyr's version of Magnificat 36 5. Early Light, text by Niu Hsi Chi 51 6. A Hair of Sound, text by Kalidasa 52 7. Early Light, Lines 1-5 and A Hair of Sound, Lines 1-3 53 8. Early Light, Lines 6-8 and A Hair of Sound, Lines 4-5 54 9. Early Light, Lines 9-11 and A Hair of Sound, Lines 6-7 54 10. Early Light, Lines 12-14 and A Hair of Sound, Lines 8-10 55 11. In the Beginning, text rendered by Robert Kyr from Genesis and Rig Veda 63 12. The Celestial Healer, text rendered by Robert Kyr from Galileo letter 74 13. The Ballad of Good Mind, texts from Mayan Popul Vuh and Seneca Indian creation story, rendered by Robert Kyr 84 14. Let There Be Music, text by Robert Kyr 103 List of Illustrations: Figures Figure Page 1. "Out of the Depths," p. 1, mm. 1-4 25 2. "Out of the Depths/' p. 4, mm. 24-26 26 3. "Out of the Depths/' p. 7, mm. 48-end 27 4. "Canticle of the Brother Sun/' pp. 12-13, mm. 122-end 33 5. Magnificat, pp. 18-20, mm. 78-89 38 6. Magnificat, p. 4, mm. 7-9 42 7. Magnificat, p. 7, mm. 27-32 43 8. Magnificat, pp. 9-11, mm. 46-51 44 9. Magnificat, p. 14, mm. 64-66 46 10. Magnificat, pp. 25-26, mm. 121-127 47 11. Magnificat, p. 27, mm. 132-134 49 12. "Early Light/A Hair of Sound/' p. 31, m. 1 (excerpt only) 56 13. "Early Light/ A Hair of Sound," p. 32, mm. 2-11 57 14. "Early Light/A Hair of Soimd/' p. 34, mm. 47-56 58 15. "Early Light/A Hair of Sound/' p. 35, m. 72 59 16. "Early Light/A Hair of Sound/' p. 36, mm. 73-87 60 17. "In the Beginning/' pp. 1-2, mm. 1-17 64 18. "In the Beginning," pp. 8-10, mm. 39-end 68 8 List of Illustrations—Figures (Continued) Figure Page 19. "The Celestial Healer," p. 1, mm. 1-4 75 20. "The Celestial Healer," p. 2, mm. 13-16 76 21. "The Celestial Healer," pp. 8-9, mm. 45-49 77 22. "The Celestial Healer," p. 18, mn;. 84-87 79 23. "The Celestial Healer," p. 22, mm. 98-99 81 24. "The Ballad of Good Mind," p. 1, mm. 1-5 89 25. "The BaUad of Good Mind," p. 2, mm. 14-16 90 26. "The Ballad of Good Mind," pp. 3-4, mm. 28-35 92 27. "The Ballad of Good Mind," pp. 15-16, mm. 95-103 94 28. "The Ballad of Good Mind," pp. 17-19, mm. 104-114 96 29. "The Ballad of Good Mind," p. 20-22, mm. 119-129 98 30. "The Ballad of Good Mind," p. 22-23, mm. 129-137 100 31. "Let There Be Music," pp. 1-2, mm. 1-6 105 32. "Let There Be Music," p.
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