Improvisational Doctor of Philosphy

ýý- 4.....__4 .. _.,.. ý, BIRD SONG AS A BASIS FOR NEW TECHNIQUES AND `'''" IMPROVISATIONAL ..ý,. ý ....ý..,... __. _,. J PRACTICE WITH THE BAROQUE FLUTE by STEPHEN PRESTON A thesis submittedto the University of Plymouth In partial fulfilment for the degreeof DOCTOR OF PHILOSPHY DartingtonCollege of Arts April, 2004 THESIS CONTAINS CD This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's consent. 2 Word count: 51,714 Abstract Subsequentto a period of training as a flautist, I ultimately specialisedprofessionally on the baroqueflute. Consequently,a significant part of my researchfor a PhD was practice- led. My later career;concerned with danceand choreography,represented a widening and diversification of my interest in music in particular, and the allied arts in general.This was (and continuesto be) paralleled,however, with a substantialresearch-interest in aspectsof the performanceof music and its potential interconnection(s)with modalities of speech. However, my own researchcommenced with a strong desire to discover new performance techniqueson the baroqueflute. Earlier performer/composerson the instrument explored, documented and analysed new ways of performing on the instrument. This research continues that form of practice-led investigation. This investigation has been centred on performance-experimentsof an often improvisatory kind, but by the time of its completion, I too becamea performer/composeron the instrument. The researchbecame focussed on a critical and analytical study of birdsong. Birdsong offers a degree of pitch and timbral variation of phenomenal power. My research questionedand interrogated the structure; modes of delivery and sonorities in birdsong becauseI wanted to devise a new method of playing that might approachthese avian sonic possibilities and by absorbance,produce a new musical languageon the baroque flute. Previous ornithological writings (Thorpe; Armstrong, Hartshorne, et at) have frequently considered birdsong as a form of music. Thus, my research examined documentary outcomesfrom researchinto birdsong in the form of analysis of recordings, and critical scrutiny of sonographs.Birds `perform' in varying degreesof tonal, atonal and microtonal systems.The researchparalleled these treatmentsof pitch and harmony. It also addressed issues of structure,dynamics, timbre, rhythm and the physical aspectsof delivery with the intention of devising a new `method' for the generationof a new music for the instrument. The research has of course been polymodal and interdisciplinary. It consisted of the following methodological,practical and theoretical domains,namely: " critical and analytical readings in the scienceof ornithology; especiallybirdsong " critical and analytical readings in historical models for performance on the baroqueflute; 3 " field-studies in theform of recordings and notational transcriptions (via Messiaen and Cowie, et al) of birdsong; " practical experiments as a soloist (improviser) together with collaborative, experimental and practical research with an ensemble and/or another baroque flautist. The purpose of this researchwas to find new techniques for contemporarymusicians, accompaniedby a body of writing that embodiesa kind of treatiseon the instrument with potential for use by other contemporarymusicians. Thus, the written thesis,together with recordingsof experiments,improvisations and concert-performancesshould be considered as a collective body of new knowledge in relation to performanceon the baroqueflute in particular, but with potential for use by other (or all) musical instruments. My findings are that: "a new performance technique is required as a result of a study of birdsong and with the effectject of producing a vastly extended repertoire of effects and pitch frequencies on the instrument; " this new technique generates a new musical languageparticularly in respect of treatmentsof microtonality; new breathing andfingering techniques; " the technique is transferable by teaching and demonstration to other performers and of potential usefor contemporary composers writing for the instrument; " thesenew techniqueswere enhanced(if not made entirely possible) byfield-studies and cross-disciplinary (arts/sciences) and illustrate the potency of cross-field researchin the generation of new music. The principal outcomeof my researchwas the developmentof a systemof playing that has now been named by me as ecosonic performance. It is so-named, because the performance-techniquesdeveloped are basedon a phenomenologicalstudy of the ecology of soundin birds; themselvesalready ecosonic performers. This written thesis is a documentationof my modalities of research,experimentation and practice. It is designedin the form of a commentary/treatise,and should be consideredas a form of `primer', not only for the baroqueflute, but also for the further investigation of the performance-capabilitiesof any musical instrument. 4 Acknowledgements Many peoplehave helpedme in my researchboth knowingly and unknowingly and I thank them all herewhether namedor not. Thosewho I thank here are the peoplewho had in one way and another,a material effect on the outcomemy work. First of all, my wife, Sarah Cremer, who has patiently enduredmy obsessionsfor many years, unfailingly encouragedme, and taken the strain by providing essentialemotional and financial support for a processthat seemedmight never end. This researchwould never have been possible if it had not been for Edward Cowie - hugely inspired and inspiring both professionally,as composerand musical colleague,and as a friend - at all times unstintingly generouswith his time, immenselystimulating in the rangeof his conversationand interests,and completely practical in his support. Thanks also to my brother Robert Preston and to Heather Cowie, whose practical and insightful conversationshelped me through some dark moments; and to my brother Ilric, with whom I have sharedmy love of natural history. To the biologists: Brian Goodwin, who gave me the seedthought for the ecosonicsystem; Peter J.B. Slater for generouslygiving me his time and knowledge on birdsong in general duetting and in particular, and Michelle Hall for sharing her paper on duetting with me before it was published; and Philip S. Corbett for discussing his thoughts on song and pointing out someinteresting papers I had missed. To American two composers:John Thow for his love of the baroqueflute, and John Luther Adams for his love of birdsong and the natural world, and who both generouslyshared their thoughtsand time with me via email. I debt owe a of gratitude to two musicians.First, the violinist Pavlo Beznosiuk,who spent hours many and much enthusiasmallowing me to experiment with ways of adapting the ecosonic system to the violin and with trying out different forms of improvisation. And special thanks to the baroque flute player Amara Guitry, a unique student and colleague, learnt who and masteredthe ecosonicsystem, enabled me to explore the model of duetting birds, to perform my work in public, and to begin extending ecosonic improvisation to 5 electroacousticareas of exploration; and secondlyas a computer slave, who spent far too many hours on the computer, editing and organizing the recordings of my work, and solving my computerrelated problems. Finally, I thank my parents.My father, who filled me with a great love for the soundsand sights of the natural world - in particular of birds and birdsong; and for his interest and financial assistancein support of my research.And my mother, to whom I dedicate this research,who instilled in me the love of music and who supportedthe developmentof my musical career.I was very fortunate in being able to play her the results of my work two daysbefore she died. 6 Author's Declaration At no time during the registration for the degreeof Doctor of Philosophy has the author been registeredfor any other University Award. This research was supported with a part-time fee bursary and other financial assistance provided by Dartington College of Arts. Signed Date 'ý " O4 7 CONTENTS Page Abstract 3 Acknowledgments 5 Author's Declaration 7 1 INTRODUCTION: Backgrounds and Overview 12 1.1 Backgrounds 12 1.1.1 Music 12 1.1.2 Dance 13 1.1.3 Birdsong 15 1.2 Overview of the thesis 15 1.2.1 Chapter 2 First phase:Four stagesof 16 investigationand exploration 1.2.2 Chapter 3 Secondphase: The ecosonicsystem 18 1.2.3 Chapter 4 The ecosonicsystem in practice 20 1.2.4 Chapter 5 Summaryand reflections 20 1.3 The baroque flute: a brief description and terminology 20 1.3.1 History 20 1.3.2 Construction 21 1.3.3 Pitch 22 1.3.4 Fingering and Scales 22 1.3.5 Tessitura 23 1.3.6 Fingering chart notation 23 1.3.7 Instruments used in this research 25 1.3.8 Notes on terminology 25 2 FIRST PHASE: Exploration and investigation 27 2.1 Extendedtechniques 28 2.1.1 Introduction 28 2.1.2 Aims 29 2.1.3 Method of approach 29 2.1.4 Assemblingtechniques 30 2.1.5 Description of techniques:with commentson sources 37 of technique 2.1.6 Application of technique: some possibilities 46 2.1.7 Summary 47 S 2.1.8 Conclusions 47 2.2 Atonal explorationsin Slonimsky's Thesaurus 49 2.2.1 Introduction 49 2.2.2 Choice of source and materials 50 2.2.3 Method of practise/approach 50 2.2.4 Exercises and improvisation studies 51 2.2.5 Summary 52 2.2.6 Conclusions 53 2.3 Microtonal explorations 54 2.3.1 Introduction

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