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Survey of Works for Horn and Fixed Media 1968-2016

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Survey of Works for Horn and Fixed Media 1968-2016 ABSTRACT Title of Dissertation: A SURVEY OF WORKS FOR HORN AND FIXED MEDIA FROM 1968 TO 2016 Erika Binsley Loke, Doctor of Musical Arts in Horn Performance, 2017 Dissertation directed by: Professor of Horn Gregory Miller, School of Music, Wind & Percussion Division The purpose of this study is to investigate works written for horn and fixed media “tape” accompaniment. Since the late 1960s many pieces have been written for this instrumentation, but none of these are widely considered standard solo repertoire for the horn. The author’s intention is that this document will raise awareness about this unique medium. Works were obtained through the WorldCat Library, publishers, and directly from their composers. The pieces that the author obtained are analyzed and summarized in individual entries. A SURVEY OF WORKS FOR HORN AND FIXED MEDIA FROM 1968 TO 2016 by Erika Binsley Loke Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Horn Performance 2017 Advisory Committee: Professor Gregory Miller, Chair Professor Karen Carleton Professor Chris Gekker Professor Michael Hewitt Philip Munds © Copyright by Erika Binsley Loke 2017 Acknowledgements I would like to thank all of the composers whom I contacted for sharing information about their works and in many cases, generously sending scores and supporting media without charge. To all of the composers whose works are included in this document, thank you for your contributions to the horn’s solo repertoire! Although we have never met, I would like to thank Matthew James for his Googledoc of modern solo horn literature. This document led me to a number of pieces that are unpublished and therefore could not have been found through WorldCat or in many cases, even a web search. Thank you to my committee for all of your efforts in making this project a success. To my committee chair, Professor Gregory Miller, I would like to give a special thanks. Your effective pedagogical methods helped me accomplish my performance goals and your support of my non-traditional scholarly interests allowed me to be academically productive with topics I am passionate about. I could not have asked for a better mentor during the last three years! ii Table of Contents Acknowledgements ........................................................................................... ii Table of Contents ............................................................................................. iii Chapter 1: Overview of the Survey .................................................................. 1 Background ............................................................................................... 1 Issue .......................................................................................................... 2 Methodology ............................................................................................. 3 Chapter 2: Survey ............................................................................................. 6 Basler - Dance Fool, Dance! .................................................................... 6 Berlin - Intermix ........................................................................................ 9 Bimstein - Half Moon at Checkerboard Mesa–Fantasy for Horn, Frogs, Crickets, and Coyotes ............................................................................. 12 Burdick - Baroque Shapes and Space Music .......................................... 15 Burdick - Moments When We See ........................................................... 19 Buss - Alien Loop de Loops .................................................................... 22 Chan - The Everlasting Voices ................................................................ 26 Djambazov - Dialog ................................................................................ 29 Ferro - HOR-IZO-N................................................................................. 33 Fjellström - Deanimator ......................................................................... 35 iii Hainsworth - Conjureman....................................................................... 38 Harris - Horn Call on Makara Beach ..................................................... 41 Hill - Thoughtful Wanderings ................................................................. 44 Kallstrom - Around the Clock ................................................................. 48 Kallstrom - Brothers in Arms .................................................................. 53 Kallstrom - Eastern Brilliance ................................................................ 57 Ledroit - Metropolis ................................................................................ 61 Mitchell - Thermal Bloom ....................................................................... 65 Musgrave - The Golden Echo I ............................................................... 67 Nagel - Obsession ................................................................................... 70 Naigus - Soundings ................................................................................. 73 Neuman - Turnabouts ............................................................................. 76 Nicholl - Coming Home .......................................................................... 80 Nicholl - Impromptu ............................................................................... 82 Norton - Gone to the Other Shore........................................................... 86 Oyens - Concerto for Horn and Tape ..................................................... 89 Plush - Bakery Hill Rising....................................................................... 92 Rimmer - Composition I ......................................................................... 95 Rimmer - Tides ....................................................................................... 98 Ryan - Chugach .................................................................................... 101 Samuelsson - I am - are You? ............................................................... 104 Shannon - Tonus ................................................................................... 107 iv Shapiro - Deep ...................................................................................... 110 Stallmann - Fantasy for Horn and Tape ............................................... 112 Stockhausen - Nebadon......................................................................... 115 Tian - Om .............................................................................................. 119 Trębacz - Minotaur ............................................................................... 122 Westerkamp - Fantasie for Horns II ..................................................... 126 Zupko - Fluxus X .................................................................................. 129 Chapter 3: Conclusions ................................................................................. 131 Appendix: Unobtainable Works ................................................................... 135 Bibliography ................................................................................................. 136 v Chapter 1: Overview of the Survey Background The earliest experiments in electronic music occurred at about the time that the horn reached its modern form–around the beginning of the twentieth century. This statement speaks to both the historic nature of the horn and the newness of electronic music. The overall medium of electronic music is divided into two categories: acousmatic and live electronic.1 Both rely on speakers to produce sounds, but acousmatic music does not change with each performance because its data is stored in an analog or digital format (e.g., tape or mp3 file). Live electronics alter the acoustic sounds of a live performer or create synthesized sounds in response to a command (e.g., pressing a key). Acousmatic sounds can originate through either acoustic or synthesized means, and frequently include a combination of both categories. For instance, Howard Buss’ Alien Loop de Loops includes both synthesized “laser” sounds and recordings of airplanes. For the purpose of this study, only pieces with acousmatic accompaniment are investigated. In the early 1950s, composers began writing works for monophonic acoustic instruments and tape accompaniment. The first known piece for acoustic instrument and 1Simon Emmerson and Dennis Smalley, “Electro-acoustic music,” Grove Music Online, ed. Deane Root, accessed August 28, 2017, http://www.oxfordmusiconline.com. 1 electronic media is Henk Badings’s Capriccio for Violin and Two Sound Tracks, which was written in 1952.2 Thus, pieces for horn and acousmatic accompaniment are unlikely to have existed prior to this time. As far as can be ascertained, John Rimmer’s 1968 Composition 1 was the first work written for horn and fixed media. Pieces written for horn and acousmatic accompaniment are frequently referred to as pieces for “horn and tape” by their composers regardless of the actual format of the accompaniment. Other terms used to describe accompaniment of this kind include: electronics, synthesizer, pre-recorded soundscape, and fixed media. The author believes that the best term is “fixed media” because it includes multiple formats and has less ambiguity than “electronics.” Issue
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