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Solook Dissertation Draft 2 (Working Copy) ! ! UNIVERSITY OF CALIFORNIA, SAN DIEGO Dyslexia, Dysgraphia, and My Learning Process in Relation to Musical Notation A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Stephen James Solook Committee in charge: Steven Schick, Chair Diana Deutsch Greg Mitchell Susan Narucki Chinary Ung 2015 ! ! Copyright Stephen James Solook, 2015 All rights reserved. ii iii! The Dissertation of Stephen James Solook is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2015 iii! iv! TABLE OF CONTENTS Signature Page…………………………………………………………………….................................................... iii Table of Contents……………………………………………………………………………....................................... iv List of Figures…………………….……………………………………………………………........................................ v List of Tables.…………………….…………………………………………………………........................................ viii Vita…………………………………………………………………………………………….................................................. ix Abstract of the Dissertation………………………………………………………......................................... x Dyslexia, Dysgraphia, and My Learning Process in Relation to Musical Notation……………………………………………………....................................... 1 Introduction 1 Issues of Instrumentation 8 Preparations 10 Phase One Strategies 15 John Cage – Three2 27 Phase Two Strategies 30 Impression of the recital 42 Reflections on my process 43 Tools that may help others with dyslexia and dysgraphia 50 Appendix…………………………………………………………………………………………........................................ 56 References………………………………………………………………………………………....................................... 57 iv! LIST OF FIGURES Figure 1: Excerpt from King of Denmark …………………………………………………….. 1 Figure 2: Excerpt from Janissary Music …………………………………………………….. 1 Figure 3: Excerpt from Lullaby ………………………………………………………………….. 3 Figure 4: Excerpt from Toucher ………………………………………………………………….. 3 Figure 5: Excerpt from Psappha ………………………………………………………………….. 4 Figure 6: Excerpt from Plot ………………………………………………………………….. 4 Figure 7: Psappha instrument legend …………………………………………………….. 8 Figure 8: Toucher opening measures excerpt ……………………………………….. 9 Figure 9: The thirteen symbols used in Plot’s score ………………………….. 9 Figure 10: Lullaby’s Instrumentation and Mallets/Beaters ................ 10 Figure 11: Plot re-notation process ……………………………………………………… 14 Figure 12: Psappha page 2 excerpt ……………………………………………………… 16 Figure 13: Psappha page 3 excerpt ……………………………………………………… 17 Figure 14: Psappha page 4 excerpt ………………………………………………...…… 17 Figure 15: Psappha page 5 excerpt ……………………………………………………… 17 Figure 16: Psappha page 7 excerpt ……………………………………………………… 18 Figure 17: Psappha page 8 excerpt ……………………………………………………… 18 Figure 18: Psappha page 9 excerpt ………………………………………………..…… 18 Figure 19: Lullaby polyrhythm technical issue ……………………………………….. 20 Figure 20: Lullaby sticking issue …………………………………………………………………… 20 Figure 21: Lullaby polyrhythm reading issue ………………………………………… 20 Figure 22: Lullaby font size issue ………………………………..…………………………………. 20 Figure 23: Lullaby font clarity reading issue ………….…………………………….. 21 v Figure 24: Excerpt of original Plot score ……………………………………..………………. 25 Figure 25: Plot score re-notated day 1 ……..………………………………………………. 25 Figure 26: Plot re-notated day 2 ……………………………………………………………..……. 26 Figure 27: Plot re-notated third version …………………………………………….……….. 26 Figure 28: Plot re-notated performance version …………………………..……………. 26 Figure 29: Excerpt from originalThree2 score …………………………….………….. 28 Figure 30: Re-notated excerpt of Three2 ……………………………………….…………….. 29 Figure 31: My initial Three2 setup ……………………………………………………….………….. 29 Figure 32: My performance Psappha setup ………………………………………… 31 Figure 33: Psappha page 2, system 2 excerpt ………………………………………… 32 Figure 34: Psappha page 2, system 5 excerpt …………………………….………….. 33 Figure 35: Psappha page 3 excerpt ………………………………………..……………. 33 Figure 36: Psappha page 4 excerpt …………………………………………..………….. 33 Figure 37: Psappha page 5 excerpt …………………………………………..………….. 33 Figure 38: Psappha two-note theme …………………………………………..………….. 33 Figure 39: Psappha page 7 excerpt ………………………………………………………. 34 Figure 40: Psappha page 8 excerpt ………………………………………..…………….. 34 Figure 41: Psappha page 9 excerpt ……………………………………………………… 34 Figure 42: Lullaby examples of still-time …………………………………………….……….. 37 Figure 43: Lullaby examples of steady-time …………………….………………….. 37 Figure 44: Lullaby examples of poly-time …………………………….………….. 37 Figure 45: Lullaby Time Graph ………………………………………………….………………… 38 Figure 46: My second Three2 setup ………………………………………….…………… 40 Figure 47: Plot technique approach (page-by-page) ……………….………….. 41 vi Figure 48: Plot alternative staff notation …………………….………………….. 48 Figure 49: Reading difficulty situation 1 ………………………………………….………….. 52 Figure 50: Reading difficulty situation 2 ………………………………………….………….. 52 Figure 51: Figure 49 with three note slurs ………………………..………………. 52 Figure 52: Figure 50 with three and five note labeling ……………….………….. 52 Figure 53: Dyslexic music font, rhythmic possibilities ……………….………….. 53 Figure 54: Simple rhythm notated using a music notation program ………. 54 Figure 55: Figure 54 with alternative note heads …………………..……….. 54 Figure 56: Combined notational techniques notated on graph paper .... 54 Figure 57: Variation on Figure 56 …………………………………………………………………….. 54 vii LIST OF TABLES Table 1: A list of notations used in the selected works ………………………… 4 Table 2: Variables in instrumentation between pieces …………………………… 10 Table 3: Psappha Phase 1 summary. ………………………………………………………. 19 Table 4: Lullaby Issues and Solutions …………………………………………………………… 21 Table 5: Lullaby Phase 1 summary. ………………………………………………………… 22 Table 6: Plot Issues and Solutions …………………………………………………………… 24 Table 7: Psappha interpretation by page …………………………………………………………… 32 Table 8: Timeline information visualized …………………………………………………………… 44 Table 9: Difficulty results from this experiment ……………………………………………… 45 Table 10: Complete list of issues and solutions learned in this process …… 49 viii VITA 1997-1999 Raritan Valley Community College 1999-2003 Bachelor of Music in Performance and Education, Ithaca College 2003-2005 Master of Music in Performance, Mannes College of Music, New School University 2005-2007 Profession Studies Diploma, Mannes College of Music, New School University 2009-2015 Doctor of Musical Arts in Contemporary Music Performance, University of California San Diego Fields of Study Major Field: Performance ! ! ix ABSTRACT OF THE DISSERTATION Dyslexia, Dysgraphia, and My Learning Process in Relation to Musical Notation by Stephen James Solook Doctor of Musical Arts in Contemporary Music Performance University of California, San Diego, 2015 Steven Schick, Chair This dissertation is an analysis of my relationship with dyslexia, dysgraphia, and musical notation. The period of this experiment was over seven months, and culminated in my final degree recital on May 31, 2014. The works selected ranged from standard to graphic notation. Throughout this process, I noted, analyzed, and critiqued my work method to learn how to expedite my ! x learning process. My experience with this project has encouraged me to explore learning techniques, which may be beneficial for any musician. ! ! xi ! DYSLEXIA, DYSGRAPHIA, AND MY LEARNING PROCESS IN RELATION TO MUSICAL NOTATION Introduction During my first quarter at the University of California at San Diego, I learned two very different solo percussion works. Morton Feldman’s King of Denmark, a graphic score requiring low technical ability that lasts six minutes (Figure 1), was the first work. The second was Charles Wuorinen’s Janissary Music, which uses traditional notation, is very technically challenging, and is twelve minutes long. (Figure 2) Regardless of these differences, it still took me around the same amount of time to prepare each work. At that point, I realized that a score’s notation could be an issue, and an aspect I would have to consider when selecting and/or preparing music. I knew I had a learning disability, but had not Motor on considered the correlation -tl'dbetween learning music and that disability. i....-J Figure 1: Excerpt'3t from King of Denmark P ,'jn r (sec) -J- I+7 -3<I- 'tr f.-3---r 13- -3-t r3r -3-r )> :> f Figure 2: Excerpt from Janissary Music ff 1 I 2 In my fourth year at UCSD, I was diagnosed with dysgraphia and dyslexia, which affect the way I read and write music. Dysgraphia is the inability to write clearly.1 In contemporary art music, non-standardized music notations are frequently used. A performer may need to re-notate a non-standard musical notation to help him or her understand how to play the music. When writing music or a language, the notation needs to be clear and precise. Because of my dyslexia, if I do not notate music clearly, there is high probability that I will not read it correctly. Dyslexia is a general term for disorders that involve difficulty in learning to read or interpret words, letters, and other symbols, but it does not affect general intelligence.2 Dyslexia affects the way I read the notes and rhythms on a regular basis, and takes constant attention. I sought to understand how my disabilities affect my learning process by focusing on them for my dissertation, and possibly determining ways to help others with these learning disabilities. I selected four works based on their notational differences, some compositional relationship to voice, and my
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