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Hâfez and Betinis: a Conductor’S Approach to Ancient Persian Poetry As Voiced by a Twenty-First Century, Western Composer

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Hâfez and Betinis: a Conductor’S Approach to Ancient Persian Poetry As Voiced by a Twenty-First Century, Western Composer HÂFEZ AND BETINIS: A CONDUCTOR’S APPROACH TO ANCIENT PERSIAN POETRY AS VOICED BY A TWENTY-FIRST CENTURY, WESTERN COMPOSER Peter C. Steenblik, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: Dr. Jerry McCoy, Major Professor and Director of Choral Studies Dr. Stephen Austin, Committee Member and Director of Vocal Studies Dr. Richard Sparks, Committee Member and Chair of the Division of Conducting and Ensembles Dr. Benjamin Brand, Director of Graduate Studies, College of Music Dr. John C. Scott, Dean of the College of Music Dr. Costas Tsatsoulis, Dean of the Toulouse Graduate School Steenblik, Peter C. Hâfez and Betinis: A Conductor’s Approach to Ancient Persian Poetry as Voiced by a Twenty-First Century, Western Composer. Doctor of Musical Arts (Performance), December 2015, 91 pp., 1 table, 20 illustrations, bibliography, 67 titles. The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work. This study addresses the body of practical knowledge gained after a year of examining, researching, teaching, and performing this work. Copyright 2015 by Peter C. Steenblik ii ACKNOWLEDGEMENTS Dr. Jerry McCoy: Thank you for your tireless help in the preparation of this document and for your investment in my educational process. My career path is forever changed because of your influence. Thank you for encouraging me to take risks, to follow my passion, and to spread my wings and fly. Dr. Richard Sparks and Dr. Stephen Austin: Thank you for your serving on my committee and for your advice, support, and encouragement along the way. My UNT Colleagues: Thank you for sustaining me through a very demanding year. You stepped in when it was needed. This process would have been impossible without you. Abbie Betinis: Thank you for your music. Thank you for your contribution to a world that sorely needs it. It has been a joy getting to know you. Behrooz Alavi, Hengemah Fallah, Dr. Elroy Friesen, Ryan Hardcastle, Dr. Susan McMane, Daniel Sabzghabaei, Dr. Philip Swan, and Raychel Taylor: Thank you for your willingness to participate and offer your respective areas of expertise to this very complex web of information. I am appreciative of your time and the incredible collective body of knowledge you represent. Singers of the 2014-2015 UNT Women’s Chorus: Thank you for your communal power of spirit. You brought From Behind the Caravan to life. A conductor without a choir is nothing. It was an honor to perform this work with you. My family: Thank you for loving and encouraging me. God: Thank you for the wealth of blessings that shape my life. iii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES ............................................................................................. vi INTRODUCTION ........................................................................................................................1 CHAPTER 1 – ABBIE BETINIS .................................................................................................2 Biographical Sketch ..........................................................................................................2 Compositional Style: A Brief Overview ...........................................................................5 CHAPTER 2 – HÂFEZ OF SHIRAZ ...........................................................................................9 Biographical Sketch ........................................................................................................10 The Ghazals of Hâfez .....................................................................................................11 CHAPTER 3 – FROM BEHIND THE CARAVAN: PERFORMANCE PRACTICE .................18 Performance Options ......................................................................................................18 Vocal Production and Timbre .........................................................................................20 Persian Musical Influences: Metric Stress Patterns .........................................................................................21 Melody and Mode ...............................................................................................29 Text: Specific Words of Symbolism ............................................................................37 Alteration of Original Poetry ..............................................................................40 IPA and Pronunciation Guide .............................................................................43 Harmonic Language: Voice-crossing ....................................................................................................43 Divisi ...................................................................................................................45 v i Canon ..................................................................................................................47 Preparing the Choir .............................................................................................49 Instrumentation Options: Viola or Cello ......................................................................................................50 Inclusion of Oud .................................................................................................52 Advice for the Violist ..........................................................................................53 Advice for the Percussionist ...............................................................................54 Ornaments and Heterophony ..........................................................................................55 CONCLUSION ...........................................................................................................................60 APPENDIX A – IPA Guide ........................................................................................................61 APPENDIX B – Canon: A Source of Comfort and Healing ......................................................64 APPENDIX C – Transcripts of Interviews .................................................................................65 Betinis, Abbie with Behrooz Alavi .................................................................................66 Friesen, Elroy ..................................................................................................................71 McMane, Susan ...............................................................................................................73 Swan, Phillip ...................................................................................................................75 Sabzghabaei, Daniel ........................................................................................................78 Hardcastle, Ryan .............................................................................................................81 Taylor, Raychel ...............................................................................................................83 BIBLIOGRAPHY .......................................................................................................................86 v LIST OF MUSICAL EXAMPLES EXAMPLE 1 – From Behind the Caravan, mvt. 2, measures 1-4 ............................................23 EXAMPLE 2 – Caravan, mvt. 4, measures 21-31 .............................................................. 24-25 EXAMPLE 3 – Caravan, mvt. 3, measures 1-2 ........................................................................27 EXAMPLE 4 – Caravan, mvt. 4, measure 59 ...........................................................................27 EXAMPLE 5 – Caravan, mvt 1, measures 16-19 .....................................................................28 EXAMPLE 6 – Caravan, mvt. 3, measures 1-22 ......................................................................31 EXAMPLE 7 – Caravan, mvt. 2, measures 1-8 ........................................................................32 EXAMPLE 8 – Caravan, mvt. 1, measures 60-64 ....................................................................33 EXAMPLE 9 – Caravan, front matter for the second movement .............................................36 EXAMPLE 10 – Caravan, mvt. 2, measures 30-46 ..................................................................39 EXAMPLE 11 – Caravan, mvt. 3, compositional notes ...........................................................42 EXAMPLE 12 – Caravan, mvt. 2, measures 50-53 ..................................................................44 EXAMPLE 13 – Caravan, mvt. 1, measures 53-59 ..................................................................46 EXAMPLE 14 – Caravan, mvt. 2, measures 37-49 ...........................................................
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