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0Kign $Wvvgtng[ U 5Vtkpi 3Wctvgvu %Qorqukvkqpcn # ! " #$ % &''( Nigel (Henry) Butterley (b. 1935) is recognised as one of Australia’s foremost contemporary composers. His works span most compositional genres. By making a case for the value of sketch study in the process of musical analysis, the principal purpose of this thesis is to augment understanding of Butterley’s music and in particular, his compositional processes and procedures through the various stages of the genesis of a composition, from the sketch to final score. Butterley’s string quartets, composed between the years 1965 to 2001 provide the basis for this study; these works are contextualised and examined to illustrate his approach to composition in microcosm and also his individual style within the genre of string quartet writing. This study focuses on the examination of preliminary sketches, drafts and holographs, as well as the scores of the completed works. Initially, analysis is based on preliminary sketches; this will be augmented by a formal analysis of the completed works. Traditionally, formal analysis deals with the final product, something that has been created, and in a sense, views a work retrospectively. Sketch study, in contrast, examines the work as it is being created and is concerned with the attendant compositional issues and choices available to the composer and the processes followed as he or she creates the composition. The current work will identify significant common features in all the string quartets, and will trace Butterley’s compositional trajectory through these works demonstrating that individual characteristics of Butterley’s style, emergent as early as 1965, continued to be utilised in 1995 and remain present in the Bagatelle of 2001. That these characteristics remain present in a minutæ is significant, in that the Bagatelle may be seen as a microcosm of the writing style evident in his larger works. This thesis will demonstrate that sketch study and formal analysis may interact in order to provide a more comprehensive interpretation of a composer’s work and enrich the understanding and appreciation of the compositional process and the final product, ultimately impacting on the realisation of a composer’s work through performance. i I would like to express my deep appreciation to the following people: Dr Nigel Butterley for his generous sharing of his pre-compositional records, his availability for interview, telephone discussion and e-mail correspondence, and his patient assistance which made this project possible. Also, thanks to him for his permission to reproduce interview, e-mail, score and sketched materials. Many thanks to my supervisor, Dr Christine Logan for her insights, patience, guidance and encouragement; the late Patricia Williams for her suggestions and encouragement; Vivien Kennedy for assistance in French translations; Richard Cowan and Sue Pollock for their care of the children during my work; Dr Emily Walkom for her assistance in the preparation of the final draft. I would like to thank the following Australian composers for their discussions of pre- compositional planning methods: Dr Helen Gifford, Professor Peter Sculthorpe, George Dreyfus and Gordon Hamilton (also for his recollections of Butterley’s teaching methods). Thanks to the following musicologists: Robert Smallwood for forwarding sketches of the first and third string quartets; Professor Hubert H. van der Spuy for his insights on Priaulx Rainier and Kevin La Vine, Senior Music Specialist, Library of Congress, Music Division. And finally, thank you to Ch_rie, Asher, Tallis, Eliana and Charisse. ii $ _ " *$^$, iii ! I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. Signature:____________________________ iv " Abstract .................................................................................................................................... i Acknowledgements.................................................................................................................. ii Originality Statement .............................................................................................................. iv CHAPTER 1 INTRODUCTION .............................................................................................. 1 Scope and Purpose .............................................................................................................. 1 Literature Review................................................................................................................ 5 Advantages of Analysing a Single, Entire Genre.................................................................. 7 The Compositional Sketches ............................................................................................... 8 Analytical Perspectives ......................................................................................................10 CHAPTER 2 APPROACHES TO SKETCH STUDY AND SCORE ANALYSIS ...................13 Analytic Approaches..........................................................................................................27 CHAPTER 3 DEVELOPMENT OF BUTTERLEY’S INDIVIDUAL MUSICAL STYLE.......30 CHAPTER 4 MATERIALS FOR STUDYING BUTTERLEY’S STRING QUARTETS.........49 String Quartet (1965).........................................................................................................50 String Quartet No. II ..........................................................................................................55 String Quartet No. 3...........................................................................................................65 String Quartet No. IV .........................................................................................................67 Bagatelle for String Quartet................................................................................................70 CHAPTER 5 BUTTERLEY’S COMPOSITIONAL PROCESS: SKETCHES FOR THE QUARTETS ...........................................................................................................................73 Comparison and Exposition: Butterley’s Planning Methods................................................73 Formative Ideas: Sketches in Words for String Quartet (1965) ...........................................87 Compositional Hierarchy in the Sketches for String Quartet No. 3......................................92 Sketches Ascribed with Dates: String Quartet No. IV .........................................................99 Summary .........................................................................................................................104 CHAPTER 6 DETAILED COMPOSITIONAL PLANNING: SKETCHES WITH WORDS..105 Plans with Words: String Quartet (1965)..........................................................................105 Movement Planning: String Quartet No. 3........................................................................107 Structural Planning: String Quartet No. IV........................................................................111 Descriptions of Unity and Contrast: String Quartet (1965)................................................119 Repetition and Variety: String Quartet No. IV ..................................................................123 Summary .........................................................................................................................125 CHAPTER 7 SKETCHES IN MUSIC NOTATION.............................................................127 Musical Notation: Sketches for String Quartet (1965) ......................................................127 Planning Aspects: String Quartet (1965) ..........................................................................132 Notational Problems: Implications for Editing..................................................................146 Numbered Sketches and Their Function: String Quartet No. 3..........................................151 Summary .........................................................................................................................155 CHAPTER 8 FROM SKETCHES TO DRAFTS ...................................................................157 Interaction Between Sketches and Draft Copies of the Quartets ........................................157 String Quartet (1965): The Draft......................................................................................160 String Quartet No. II: The Draft .......................................................................................165 String Quartet No. 3: The Draft........................................................................................170 v Bagatelle for String Quartet..............................................................................................179 Summary
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