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Dialogue and Collaboration in the Creation of New Works for Clarinet

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Dialogue and Collaboration in the Creation of New Works for Clarinet University of Huddersfield Repository Roche, Heather Dialogue and Collaboration in the Creation of New Works for Clarinet Original Citation Roche, Heather (2011) Dialogue and Collaboration in the Creation of New Works for Clarinet. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/17512/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. 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For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 1 Dialogue and Collaboration in the Creation of New Works for Clarinet Heather Roche A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy September 2011 2 ACKNOWLEDGEMENTS.................................................................................4 STATEMENT OF COPYRIGHT........................................................................ 4 LIST OF FIGURES............................................................................................5 1. TOWARDS A PERSONAL DEFINITION OF COLLABORATION THROUGH PRACTICE: AN INTRODUCTION, LITERATURE REVIEW AND METHODOLOGY..............................................................................................6 1.1 Introduction:......................................................................................................................................6 1. 2. Rationale: ......................................................................................................................................17 1.3 Further Influences:......................................................................................................................... 23 1. 4. Motivation......................................................................................................................................27 1. 5. Methodology.................................................................................................................................. 28 1. 6. Conclusion......................................................................................................................................36 2. EXPLORATION OF COLLABORATIVE PROCESSES: A SELECT HISTORY OF CLARINETTIST-COMPOSER PARTNERSHIPS....................38 2.1 Introduction..................................................................................................................................... 38 2.2 1757-1846......................................................................................................................................... 41 2.3 1811-1891.........................................................................................................................................47 2.4 1928 - 1941....................................................................................................................................... 51 2.5 Conclusion........................................................................................................................................54 3. COLLABORATION AS CASE-STUDY: ALEC HALL’S HENDRIK LORENTZ STARES INTO THE BHAVACAKRA FOR CLARINET AND PIANO............................................................................................................. 56 4. CLARINETTIST, COMPOSER AND THE COLLABORATIVE PROCESS: THEMES EMERGENT THROUGH DIALOGUE AND NARRATIVE..............83 4.1 Introduction .................................................................................................................................... 83 4.2 Benefits of Collaboration................................................................................................................88 4.2.3 Individual personal growth........................................................................................................89 4.2.1 Network expansion....................................................................................................................92 4.2.2. Development of Personal Relationships...................................................................................93 4.2.4 Creating something neither could have discovered alone.........................................................94 4.3 Exploration of the Collaborative and Creative Process and the Development of Emergent Themes................................................................................................................................................... 95 3 4.3.1 Importance of Dialogue............................................................................................................... 96 4.3.2 Focus on Creative and Collaborative Process........................................................................ 123 4.3.3 Mutual respect and trust........................................................................................................... 129 4.3.4 Value of Conflict......................................................................................................................... 134 4.4 Conclusion......................................................................................................................................143 BIBLIOGRAPHY...........................................................................................148 APPENDIX A – RECORDED WORKS CREATED IN COLLABORATION DURING PHD................................................................................................155 APPENDIX B – RECORDINGS OF DIALOGUE REFERENCED IN PHD..156 APPENDIX C – PERFORMER AND COMPOSER BIOGRAPHIES............157 Heather Roche, clarinet...................................................................................................................... 157 Kate Ledger, piano.............................................................................................................................. 157 Sarah Watts, bass clarinet.................................................................................................................. 159 Elspeth Brooke.....................................................................................................................................160 John Hails............................................................................................................................................ 160 Alec Hall...............................................................................................................................................160 Ben Isaacs.............................................................................................................................................161 Timothy McCormack .........................................................................................................................161 Scott McLaughlin................................................................................................................................162 Pierre-Alexandre Tremblay................................................................................................................162 Daniel Vezza.........................................................................................................................................163 4 Acknowledgements I am grateful for the support of my supervisors, Dr. Philip Thomas, Dr. David Milsom and Elizabeth Dobson. Additionally, I am indebted to the support of the entire music department at the University of Huddersfield. I would also like to thank the composers involved in this project and the performers, Kate Ledger and Sarah Watts, for their fantastic playing and collaborative spirit. This thesis would not have been possible without the support of my family and friends. Especially my mother, who supported every move I made and passed away shortly before I finished writing. I further acknowledge the support of the Canada Council for the Arts, who generously contributed to the commissioning of Pierre-Alexandre Tremblay and to Alec Hall's travel to the premiere of his work. Finally, many thanks to those who assisted with proof-reading: Scott McLaughlin, Lisa Colton, Helen Clavering, Chris Swithinbank, Ingrid Pearson and Freya de Mink. Abstract This PhD thesis explores dialogue-based, “intimate” collaboration through the creation of new works for clarinet. It borrows from Grounded Theory in order to facilitate an analysis through which emergent themes within a dialogue-based collaboration are discovered. The aim has not been to insist on one model of collaboration, but to discover methods for improving one’s collaborative skills and to identify ways in which one benefits from a focus on dialogue in collaboration. Furthermore, it aims to suggest that through collaboration one can make discoveries about the instrument: original contributions to clarinet technique are made within this thesis. The literature from which the
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