An Annotated Bibliography of Duets for Soprano Voice and and/or Vibraphone

By Jeremy David Isley, BME, MM

A Document In Percussion Performance

Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of

DOCTOR OF MUSICAL ARTS

Approved

Lisa Rogers Chairperson of the Committee

Alan Shinn

Kevin Wass

Mark Sheridan Dean of the Graduate School

August 2019

Copyright 2019, Jeremy David Isley

Texas Tech University, Jeremy David Isley, August 2019

ACKNOWLEDGMENTS

I would like to take a moment to thank everyone who have supported me along my doctoral journey. First and foremost, I would like to thank God for giving me the opportunity, abilities, knowledge, skill, and perseverance to successfully complete this project. I would like to thank my professors, Dr. Lisa

Rogers and Professor Alan Shinn for their guidance and support. Without them, my acceptance into and completion of two advanced graduate degrees would not have been possible.

Thanks to Dr. Kevin Wass for agreeing to be on my committee, attending my recitals, and being willing to review this document. Thanks goes to Dr. Peter

Martens, Emily Gifford, and Linda Gregston for their knowledge and assistance in my completion of many academic deadlines.

Thank you to the loving congregations at Forrest Heights United Method

Church and Calvary Baptist Church for their support, especially Kristi Edwards and Dr. Richard Rush. A special thanks goes to our family friend, Arla Jo, for allowing me to borrow her marimba and vibraphone.

Finally, I wish to thank Jackson, Noah, and Elijah, my children, and most importantly my wife Rachel Isley, for their understanding, support, and sacrifice throughout my schooling. A special thanks goes to Rachel for her preparation and performance on two of my recitals, and ultimately serving as the inspiration for this document topic.

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TABLE OF CONTENTS

Acknowledgments...... ii List of Tables ...... v Abstract ...... vii I. Introduction ...... 1 Justification for the Study...... 2 Limitations of the Study...... 3 Review of Relevant Resources...... 4 Methodology...... 4 II. Duets for Soprano Voice and Marimba and/or Vibraphone...... 6 Duets Categorized by Secular Poetry Texts...... 7 Three Subtropical Vistas...... 7 Composer Information...... 7 Musical and Performance Considerations...... 8 A Waltzer in the House...... 9 Composer Information...... 9 Musical and Performance Considerations...... 10 The Firefly Hunt...... 11 Composer Information...... 11 Musical and Performance Considerations...... 12 Morning Star ...... 12 Composer Information...... 13 Musical and Performance Considerations...... 13 Without a Trail to Lace...... 14 Composer Information...... 14 Musical and Performance Considerations...... 15 Lanterns and Candlelight...... 16 Composer Information...... 16 Musical and Performance Considerations...... 17 iii

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Five for Voice and Marimba...... 18 Composer Information...... 18 Musical and Performance Considerations...... 19 Journey Past the Unicorn...... 20 Composer Information...... 20 Musical and Performance Considerations...... 20 Four Bashō Haiku...... 21 Composer Information...... 21 Musical and Performance Considerations...... 22 Duets Categorized by Sacred Texts...... 23 El Shaddai ...... 23 Composer Information...... 23 Musical and Performance Considerations...... 23 of ‘Almah ...... 24 Composer Information...... 24 Musical and Performance Considerations...... 25 Two Songs for Voice and Marimba...... 26 Composer Information...... 26 Musical and Performance Considerations...... 26 Come Away...... 27 Composer Information...... 28 Musical and Performance Considerations...... 28 Missa Brevis...... 29 Composer Information...... 29 Musical and Performance Considerations...... 29 Dona Eis ...... 30 Composer Information...... 30 Musical and Performance Considerations...... 31 Visions of the Glory of God...... 32 Composer Information...... 32

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Musical and Performance Considerations...... 32 Three Songs for Voice and Marimba ...... 34 Composer Information...... 34 Musical and Performance Considerations...... 34 Duets Categorized by Theoretical Qualities...... 35 Six Italian Arias Arranged for Marimba and Soprano...... 35 Composer Information...... 36 Musical and Performance Considerations...... 36 Twin Compasses...... 37 Composer Information...... 37 Musical and Performance Considerations...... 37 III. Conclusion...... 38 Implications for Further Research...... 40 Bibliography...... 41 Appendices...... 44 A. List of Published Duets...... 44 B. List of Unpublished and Self-Published Duets...... 46

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LIST OF TABLES 2.1 Adams, Daniel: Three Subtropical Vistas ...... 7 2.2 Babbitt, Milton: A Waltzer in the House...... 9 2.3 Becker, Bob: The Firefly Hunt...... 11 2.4 Carlsen, Philip: Morning Star...... 12 2.5 Chan, Alan: Without a Trail to Lace ...... 14 2.6 Childs, Barney: Lanterns and Candlelight...... 16 2.7 Glassock, Lynn: Five Songs for Voice and Marimba ...... 18 2.8 Stamp, Jack: Journey Past the Unicorn...... 20 2.9 Vidales, Jorge: Four Bashō Haiku ...... 21 2.10 Beall, Andrew: El Shaddai...... 23 2.11 Beall, Andrew: Song of ‘Almah ...... 24 2.12 Bolton, Calvin: Two Songs for Voice and Marimba...... 26 2.13 Goodenberger, Mark: Come Away...... 27 2.14 Jones, Brett: Missa Brevis...... 29 2.15 Roberts, Bruce: Dona Eis Requiem ...... 30 2.16 Saul, Walter: Visions of the Glory of God...... 32 2.17 Thomas, Tracy: Three Songs for Voice and Marimba...... 34 2.18 Andreatta, Drew: Six Italian Arias Arranged for Marimba and Soprano ...... 35 2.19 Joest, Kevin: Twin Compasses ...... 37

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Texas Tech University, Jeremy David Isley, August 2019

ABSTRACT

Choosing literature for voice and percussion duets can be challenging due to difficulties in finding readily available works that fit the needs and demands of the performing duo. Quality literature exists, although, finding these pieces takes a great deal of research. This document will review and catalog duets for soprano voice and marimba and/or vibraphone that are published by major publishing companies within the United States. The author will provide particular information on each duet in a rubric format, as well as present viable information about each work including the composer, title, publisher, publishing date, number of movements, instrumentation, vocal range, marimba and/or vibraphone instrument ranges, duration, recording links if available, premiere information, and any other unique or particular information. The goal of this document is to provide a centralized resource of catalogued duets for soprano voice and marimba and/or vibraphone and to ultimately assist in the search for pieces within this genre. The document will conclude with lists of published duets, as well as unpublished and self-published duets for soprano voice and marimba and/or vibraphone.

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CHAPTER I

INTRODUCTION

Published duets date back as early as the days of Wolfgang Amadeus

Mozart and Maria Anna Mozart,1 when the two siblings performed together on one harpsichord in London in 1765.2 Since then, the duet as a genre has grown to include many combinations of instruments. A duet is defined as “a for two voices or instruments”3 and over the current span of more than two-hundred years, most recently within the last fifty of those years, the genre has expanded to include duets for voice and percussion.4

During the twentieth century, percussion instruments were used with greater variety within the classical ,5 which inspired the smaller ensembles to do the same as well. For example, in 1961, Warren Benson experimented with expanded instrumentation as well as the use of the human voice as a soundscape in his composition Streams.6 This expansion of instruments includes the use of marimba and vibraphone.

1Classic Fm, “Was Mozart’s sister actually the most talented musician in the family?” (March 6, 2018), http://www.classicfm.com/composers/mozart. 2Howard Ferguson, Mozart’s Duets for One Pianoforte, Proceedings of the Royal Musical Association 73 (1946), accessed June 12, 2019, http://www.jstor.org/stable/766084. 3Dictionary.com, “duet,” accessed June 13, 2019, https://www.dictionary.com/browse/duet. 4Bob Becker, The Firefly Hunt, Bob Becker Publications, 1967. 5John H. Beck, James A. Strain, “Percussion Music” (July 10, 2012), accessed June 13, 2019, https://doiorg.libe2.lib.ttu.edu/10.1093/gmo. 6Warren Benson, Streams, Hal Leonard Corporation, 1961.

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The marimba is a pitched keyboard with rosewood or synthetic bars that are arranged similarly to a keyboard. The instrument is an , where the vibration of its own body creates the sound. Over the years, the range of a marimba has grown from four octaves to four and one-third octaves, then four and a half octaves, and finally a five-octave marimba. The range from a low C2 up to a C7 allows for versatile four- compositional writing. The wooden or synthetic bars are typically struck with yarn , and the sound is enhanced through hung directly below the bars. A vibraphone is similar to the marimba in that it is a keyboard percussion instrument, however, there are a few differences. The bars are made out of an aluminum alloy, which allows for a lengthy when struck by cord mallets and the utilization of a pedal to control the length of the pitch. The vibraphone also has resonators below the bars to enhance the resonance of the sound. Additionally, there are paddles that are controlled by a motor that rotate them to create an idiomatic during the sustained pitches. The range of the vibraphone is traditionally a three-octave range from F3-F6. This document will demonstrate how the duet has expanded to include the combination of soprano voice and marimba and/or vibraphone.

Justification for the Study

In the author’s search of works for the instrumentation of soprano voice with marimba and/or vibraphone, difficulties began to arise as there is no centralized resource available that catalogs the works available through

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Texas Tech University, Jeremy David Isley, August 2019 publishers and/or distributors. The author began a search for this instrumentation online using YouTube. The results yielded only a few examples of works. Upon further research into the websites of several publishing companies based in the United States, including major percussion and/or vocal music distributors, the author found several pieces fitting the description. It is the author’s goal to highlight the duets for soprano and marimba and/or vibraphone as well as to provide an in-depth resource for those interested in seeking out this performance idiom as well.

Limitations of the Study

This document is limited to the soprano and mezzo-soprano voice ranges that are written in a duet instrumentation with either marimba and/or vibraphone. The instrumentation is limited to a duet or duo setting because the author of this document is a percussionist who performs on a regular basis with his wife who is a soprano. In addition to personnel, the instrumentation being limited to only marimba and/or vibraphone allows for a more streamlined performance experience. There are some duets with voice and percussion that are geared towards a multiple percussion instrumentation, creating a logistical concern that can be avoided by playing either marimba and/or vibraphone.

Furthermore, the duets included in this study are published by United

States publishing companies, making them readily available for consumer access.

While researching duets for this project, the author discovered many pieces were private commissions, or otherwise self-published works that are only available

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Texas Tech University, Jeremy David Isley, August 2019 upon special request from the composer. Therefore, these pieces were not included for review in this annotated bibliography.

Review of Relevant Resources

The process of obtaining the compositions and the information included in this document began with the research of dissertations and other publications that were readily available. Searching the Percussive Arts Society Resource

Library led to finding information about existing dissertations. Then, a general search through an internet search engine was a valuable resource to find similar dissertation topics on annotated catalogues or annotated bibliographies with compositions of other instrumentations.

Duets for soprano voice and marimba and/or vibraphone were found by searching specific percussion publishing company websites such as HoneyRock

Publications, Per-Mus Publications, C. Alan Publications, Bachovich Music

Publications, and Keyboard Percussion Publications. The author then completed specific searches and identified a large portion of works. The author’s next step was to double-check available pieces through major distribution company websites such as Steve Weiss Music and Lonestar Percussion. Finally, the author completed a search within major vocal and choral publication sites including Carl

Fischer Music, Brixton Publications, and Colla Voce Music.

Methodology

The duets for soprano voice and marimba and/or vibraphone were found on the specific publishing websites through perusal of duet website pages with

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Texas Tech University, Jeremy David Isley, August 2019 the intent to find pieces with the instrumentation of soprano voice and any combination of percussion instruments. When the author searched on the larger distributor sites, several combinations of keyword searches were used in order to obtain every composition title possible. Keywords included: soprano, soprano and percussion, soprano and vibraphone, soprano and vibraphone duets, soprano and vibraphone duos, soprano and marimba duos. The most successful keyword was “soprano,” as it pulled up any piece with soprano in the instrumentation.

Once the author obtained each composition title, the specific information was compiled and organized into a spreadsheet. The author then obtained original copies through purchasing each piece and then evaluated through a rubric chart for consistent research. The author developed a rubric that organized the following items in each work: composer, title, publisher, publishing date, number of movements, instrumentation, vocal range, marimba and/or vibraphone instrument ranges, duration, recording links if available, premiere information if available, and any other unique or particular information.

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CHAPTER II

DUETS FOR SOPRANO VOICE AND MARIMBA AND/OR VIBRAPHONE

Through the research of specific publishing websites and major distributor websites, the author found over one hundred pieces with the instrumentation of soprano voice and any combination of percussion. Out of the one hundred, there were thirty-three published and unpublished pieces, which are duets for soprano voice and marimba and/or vibraphone. Furthermore, there were nineteen pieces that fit within the scope of this document, all of which have been reviewed and arranged within three categories. Within those categories, pieces were arranged alphabetically by composer.

After researching and focusing on the nineteen duets found, the author discovered three categories for which each composition fit: secular poetry texts, sacred texts, and theoretical qualities serving as the primary inspiration for the composition. These theoretical qualities were based on the analytical form to which the text was set. Fifteen of the nineteen duets contained texts inspired by poetry, and of those fifteen, two of them were specifically Japanese Haiku poetry.

Out of the nineteen duets, eight contained sacred texts. Finally, two pieces were categorized by their theoretical forms: the Italian Aria and a lullaby.

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Duets Categorized by Secular Poetry Texts

Adams, Daniel: Three Subtropical Vistas

Table 2.1 Adams, Daniel: Three Subtropical Vistas Composer Adams, Daniel

Title Three Subtropical Vistas

Publisher HoneyRock Publications

Date 1991

# of Movements 3 Movements 1. “Key Vaca” 2. “The Matecumbes” 3. “Tavernier” Instrumentation Mezzo-Soprano Voice, Marimba, and Vibraphone Vocal Range C4 - E5

Mallet 3 Octave Vibraphone; F3 - F6 Instrument 4 Octave Marimba; C3 - B6 Range Required Duration Mvt 1: 6 min, Mvt 2: 3 min, Mvt 3: 2 min

Composer Information

Composer Daniel Adams was born in 1956 in South Florida. His musical training began in Louisiana State University with a Bachelor of Music degree, followed by a Master of Music degree from the University of Miami. Adams culminated his career with a Doctor of Musical Arts degree from the University of

Illinois at Urbana-Champaign. His current position is Professor of Music at the

Texas Southern University where he has composed and published many different musical compositions and articles over a wide range of topics related to

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Texas Tech University, Jeremy David Isley, August 2019 twentieth-century percussion music and percussion pedagogy. Adams has performed nationally and internationally throughout Spain, Germany, Belgium,

Sweden, Turkey, Costa Rica, Argentina, Finland, Canada, and South Korea. Many of these performances have been captured on Capstone, Ravello, Summit, Albany, and Potenza Records.7

Musical and Performance Considerations

Three Subtropical Vistas is a multi-movement work based upon the poetry of Stephen Cochran Singleton that is compiled in a book called A Song of Years in

Florida. The written words by Singleton capture the beauty, tranquility, and legacy of the Florida Keys during the early 1900s. Composer Daniel Adams combines the inspiration from the words and his own anecdotal experiences with the beauty, mystique, and caprice of these islands during the latter part of the

20th century.8

Three Subtropical Vistas is multi-metered throughout all three movements and both parts include polyrhythms. The instrumentation specifies “one percussionist” because the instrumentation calls for vibraphone and marimba, and the compositional writing blends both marimba and vibraphone melodic lines into one single line written over three staves simultaneously. The vocalist carries much of the melodic line while the serves as a

7Daniel Adams, “Biography,” accessed January 17, 2019, http://www.danieladamscomposer.com/biography.html. 8Daniel Adams, Three Subtropical Vistas for Mezzo Soprano and One Percussionist, C. Alan Publications, 1991.

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Texas Tech University, Jeremy David Isley, August 2019 soundscape throughout. The composer calls for the vibraphone pedal to be held down for the entirety of the piece. A logistical concern is that the musical score comes from the publisher as a large spiral-bound work with all four staves written together on pages printed single-sided.

Babbitt, Milton: A Waltzer in the House

Table 2.2 Babbitt, Milton: A Waltzer in the House Composer Babbitt, Milton Title A Waltzer in the House Publisher C. F. Peters Corporation Date 2003 # of Movements 1 Movement Instrumentation Soprano Voice and Vibraphone Vocal Range A3 - Ab5 Mallet 3 Octaves; F3 - F6 Instrument Range Required Duration 3 minutes Particular Poem by Stanley Kunitz Information

Composer Information

Milton Babbitt was an American composer, pedagogue, and innovator in the realm of music theory. When Babbitt was studying at New York University under

Marin Bauer and Philip James, he was first introduced to Schoenberg's twelve- tone method. Milton Babbitt is credited with expanding Schoenberg's method as a professional while teaching at Princeton and Julliard. Babbitt turned

Schoenberg's twelve-tone method into total serialism by applying the

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Texas Tech University, Jeremy David Isley, August 2019 methodology to rhythm, dynamics, timbre, as well as other musical concepts.

Babbitt's result came in the form of combinatoriality, partitioning, arrays, pitch class, pitch set, and the time-point system. Later in his career, Babbitt turned his interests to analogue recording technology, and therefore, co-founded the

Columbia-Princeton . A large part of his compositional style was to incorporate the human voice into his concepts. This can be heard in his piece

Philomel, written in 1964, as well as A Waltzer in the House.9

Musical and Performance Considerations

A Waltzer in the House by Milton Babbitt employs twelve-tone technique and is based on a poem by Stanley Kunitz. The score consists of an original handwritten manuscript where both the voice and vibraphone share the same grand staff. The contrapuntal nature of the two lines overlap and intertwine throughout, creating a complexity of rhythm, sparse syncopations, and large interval jumps. This piece requires four-mallet technique and specifically utilizes combination stroke types (i.e. double vertical strokes and single independent strokes at the intervallic distance of a perfect fourth).

9Rovi Staff, “Milton Babbitt Biography and History,” accessed May 22, 2019, http://www.allmusic.com/artist/milton-babbitt- mn0000764225/biography.

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Texas Tech University, Jeremy David Isley, August 2019

Becker, Bob: The Firefly Hunt

Table 2.3 Becker, Bob: The Firefly Hunt Composer Becker, Bob Title The Firefly Hunt Publisher Copyright Bob Becker, readily available through Steve Weiss Music Date 1967 # of Movements 1 Movement Instrumentation Soprano Voice and Marimba Vocal Range Eb4 - B5 Mallet Instrument 4 Octaves; C3 - F6 Range Required Duration 3 minutes

Composer Information

Bob Becker is a performer and composer from Allentown, Pennsylvania.

He earned two degrees from the Eastman School of Music. He studied performance under William G. Street and John H. Beck, as well as composition with Warren Benson and Aldo Provenzano. Becker has performed as a member of multiple prestigious performing ensembles, as well as a soloist for major symphonies throughout his career. He co-founded the percussion group NEXUS in 1971 and has consistently played with the ensemble and Musicians since 1973. Becker has been a soloist with the New York Philharmonic, Boston

Symphony, Chicago Symphony, Philadelphia Orchestra, Cleveland Orchestra, San

Francisco Symphony, and Los Angeles Philharmonic.

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Musical and Performance Considerations

The Firefly Hunt is written in multi-meter with much of the marimba part written in octave melody, aside from the four-note chords written in stacked perfect fourth intervals. Four-mallet techniques required include single independent stroke types that are combined with double vertical strokes. Grace notes are present in the upper soprano vocal range and are followed by an interval skip. The tonality of the piece avoids the half-step interval and is based on the pentatonic scale.

Carlsen, Philip: Morning Star

Table 2.4 Carlsen, Philip: Morning Star Composer Carlsen, Philip Title Morning Star Publisher C. Alan Publications Date 1993 # of Movements 5 Movements 1. “The Morning Star” 2. “Shaman Song” 3. “Pine Tree Tops” 4. “Birds” 5. “The Myth” Instrumentation Soprano Voice and Vibraphone Vocal Range A3 - G5 Mallet 3 Octaves; F3 - F6 Instrument Range Required Duration Mvt 1: 3 min Mvt 2: 3 min Mvt 3: 2-3min, Mvt 4: 2-3min Mvt 5: 2-3min Particular The composition of Morning Star was supported by a Information composer/librettist fellowship from the National Endowment for the Arts. Dedicated to Elizabeth Arnold and James Preiss. 12

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Composer Information

Philip Carlsen was born in Washington and currently lives in South Portland,

Maine. He is a Professor Emeritus at the University of Maine at Farmington.

Early in his career, he began studying with Robert Suderburg and Jacob

Druckman and now enjoys composing for groups such as the Portland Symphony

Orchestra, the Bossov Ballet Theatre, the Sebago-Long Lakes Region Chamber

Music Festival, and the Trio Penumbra.10

Musical and Performance Considerations

Morning Star is a five-movement piece based on five poems of Gary

Snyder. The first poem, “Pine Tree Tops,” is from his book, Turtle Island. The remaining texts are from another Gary Snyder book entitled, Myths and Texts.

This composition was supported by a composer and librettist fellowship from the

National Endowment for the Arts. In movement one, the composer calls for manual and rhythmic manipulation of the paddles of the vibraphone, and techniques that include rapid double lateral strokes and fragmented quintuplets. Movement two includes bowed notes in combination with notes played with mallets. Movement three includes less fragmented rhythms as seen in the prior two movements, contains multi-meter time signatures, and includes occasional four-mallet quartal harmony. Movement four utilizes eighth-note melodic lines written in the vibraphone part throughout the movement that

10Philip Carlsen, ”Biography,” accessed June 2, 2019, https://www.composers.com/philip-carlsen.

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Texas Tech University, Jeremy David Isley, August 2019 require a combination of single independent strokes and single alternating strokes to achieve the contrary motion between hands. Movement five is reminiscent of movement one because of the manually manipulated resonator paddles while playing a melodic line with the opposite hand.

Chan, Alan: Without a Trail to Lace

Table 2.5 Chan, Alan: Without a Trail to Lace Composer Chan, Alan Title Without a Trail to Lace Publisher HoneyRock Publications Date 2009 # of Movements 2 Movements 1. “Mother’s Lament” 2. “Daughter’s Lullaby” Instrumentation Soprano Voice and Vibraphone Vocal Range A3 - B5 Mallet 3 Octaves; F3 - F6 Instrument Range Required Duration Circa 8 minutes

Recordings Online Link at https://www.youtube.com/watch?v=MqPiQfL0t1c Premiere Faculty Recital - Saturday, September 30, 2006. White Hall, Performing Arts Center, University of Missouri - Kansas City Melanie Snell - Soprano; Jim Snell - Percussion. Particular Text by Nicky Schildkraut. Cover design by Sam Lee. The Information second movement calls for spoken speech narration.

Composer Information

Composer Alan Chan has lived in America, East Asia, and Europe. His experiences in each of these places serve as inspiration and influence for his music. Stylistically, Chan spans from classical to , where he is the bandleader 14

Texas Tech University, Jeremy David Isley, August 2019 for the Alan Chan Jazz Orchestra. His eclectic background spills over into his compositional style and often blurs the lines of tradition. Chan’s music has been featured at the Percussive Arts Society International Convention, International

Jazz Composer’s Symposium, and the International Jazz Festival Enschede. His compositions are published through various publishing companies including

HoneyRock, Keyboard Percussion Publications, Meridian, and Navona.11

Musical and Performance Considerations

Without a Trail to Lace is a two-movement work based on the poetry of

Nicky Schildkraut. The two movements have “shades” of jazz harmony with the extreme contrapuntal melodic lines. Rarely does the vibraphone serve as an accompaniment. The first movement is about the anguished search of a mother for her daughter. From a performance perspective, there are exaggerated moments in the soprano part that are specifically aimed at the traditional Korean style singing, p’ansori. There are specific performance notes to this point, and there is a specific score marking to denote the technique. The second movement is about a young girl who has been abandoned by both her mother and father, and the piece is the representation of the emotional conflict within the girl. The final note at the end is symbolism of the daughter’s coerced independence.12

11Alan Chan, ”Bio,” accessed May 19, 2019, http://www.alanchanmusic.com/bio.htm. 12Matthew Thomas, Alan Chan, Without A Trail to Lace, HoneyRock Publications, 2008.

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Texas Tech University, Jeremy David Isley, August 2019

Childs, Barney: Lanterns and Candlelight

Table 2.6 Childs, Barney: Lanterns and Candlelight Composer Childs, Barney Title Lanterns and Candlelight Publisher Smith Publications Date 1976 # of Movements 1 Movement Instrumentation Soprano Voice and Marimba Vocal Range Bb3 - C5 Mallet Instrument 4 Octaves: C#3 - Bb6 Range Required Duration Circa 8 minutes

Composer Information

Composer and scholar Barney Childs was born in Spokane, Washington in

1926. Childs earned a Bachelor of Arts degree from the University of Nevada, as well as a Bachelor of Arts degree and a Master of Arts degree in the English language and literature at Oxford University. His education culminated with a doctoral degree from Stanford University. His teachers included Carlos Chavez,

Aaron Copland, and Elliott Carter.13 His life and career were intertwined between the English language and music, which makes this piece the perfect fit for this study.

13Affiliated Composer, ”Barney Childs Biography,” accessed May 9, 2019, https://www.composers.com/barney-childs.

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Texas Tech University, Jeremy David Isley, August 2019

Musical and Performance Considerations

Lanterns and Candlelight is a duet in definition, but in practice the piece is more of a marimba feature with the soprano voice singing as a textural change.

The marimba part for this piece is written completely in treble , and the range requires multiple ledger lines, making this piece more difficult to read. Also, much like the title indicates, the marimba part is written to be more important than the soprano part, and the staves reflect it as well. The marimba part is the top stave when the two parts appear at the same time in the score. In fact, the program notes in the beginning clearly state, “Soprano is accompanying throughout. She sits as shown, behind and stage left of marimba.”14 Also, the composer is very specific in the mallet selection, more than just listing yarn mallets at the beginning of the score, he calls for Earl Hatch Green wound mallets specifically to be played for this piece.15

14Barney Childs, Lanterns and Candlelight, Smith Publications, 1976. 15Barney Childs, Lanterns and Candlelight, Smith Publications, 1976.

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Texas Tech University, Jeremy David Isley, August 2019

Glassock, Lynn: Five Songs for Voice and Marimba

Table 2.7 Glassock, Lynn: Five Songs for Voice and Marimba Composer Glassock, Lynn Title Five Songs for Voice and Marimba Publisher C. Alan Publications Date 1994 # of Movements 5 Movements 1. ”It sifts from leaden sieves” 2. “A murmur” 3. “The sun kept setting” 4. “Two butterflies” 5. “The summer lapsed away” Instrumentation Mezzo-Soprano Voice and Marimba Vocal Range A3 - F5 Mallet 4.3 Octave; A2 - E6 Instrument Range Required Duration 12:07 Recordings Online Link at https://www.youtube.com/watch?v=PTUGUey0ibI https://www.youtube.com/watch?v=gEtSDgcu9Ms https://www.youtube.com/watch?v=BfQj_IPgHCg https://www.youtube.com/watch?v=Az7hwzIvku4 https://www.youtube.com/watch?v=YJ-pMRq9uIA Particular 1st Place Winner of the 1994 PAS Composition Contest Information

Composer Information

Lynn Glassock is a composer and performer in North Carolina. He holds a

Bachelor of Music degree and a Master of Music degree from the University of

North Texas. His teachers included Ed Soph, Leigh Howard Stevens, and Ron

Fink. Before teaching at the University of North Carolina at Chapel Hill, Glassock

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Texas Tech University, Jeremy David Isley, August 2019 performed with the Dallas Symphony Orchestra, Fort Worth Symphony, and the

Fresno Philharmonic. His compositions have won many prestigious awards, such as First Place in the Percussive Arts Society (PAS) Composition Contest and the

Festival of New American Music in 1987.16

Musical and Performance Considerations

Five Songs for Voice and Marimba is a five-movement work based on the poetry of Emily Dickinson. Dickinson often wrote about life, death, and nature with many of these themes appearing throughout the entire duet. The marimba part is written in a very melodic way, requiring the combination of all four mallets to collaborate for the overall melodic line. Advanced four-mallet techniques, such as the one-handed roll, are incorporated throughout the entire work. The composer includes sticking suggestions in selected sections of musical phrases. Polyrhythms are used throughout.

16Lynn Glassock, Five Songs for Voice and Marimba, C. Alan Publications, 1994.

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Texas Tech University, Jeremy David Isley, August 2019

Stamp, Jack: Journey Past the Unicorn

Table 2.8 Stamp, Jack: Journey Past the Unicorn Composer Stamp, Jack Title Journey Past the Unicorn Publisher Per-Mus Publications Date 1989 # of Movements 1 Movement Instrumentation Soprano Voice and Vibraphone Vocal Range Eb4 - G5 Mallet 3 Octave; F3 - F6 Instrument Range Required Duration 3 minutes

Composer Information

Jack Stamp recently retired from Indiana University at Pennsylvania, where he held the position of Professor of Music and Conductor of Bands. He holds a Bachelor of Music degree from Indiana University of Pennsylvania, a

Master of Music degree from East Carolina University, and finally a Doctor of

Musical Arts degree from Michigan State University. One of his teachers included

Eugene Corporon.17

Musical and Performance Considerations

Journey Past the Unicorn is a short piece based upon the text by Denise

Andrews. Performance concerns for the vibraphonist are the parallel chords that

17Jack Stamp, ”Biography,” accessed May 29, 2019, https://wwwgiamusic.com/bios/stamp_jack.cfm.

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Texas Tech University, Jeremy David Isley, August 2019 require consistent interval control in the hands with accurate wrist and note placement. Four-mallet technical stroke types employed include single alternating, double vertical, and single independent strokes.

Vidales, Jorge: Four Bashō Haiku for Soprano and Vibraphone

Table 2.9 Vidales, Jorge: Four Bashō Haiku Composer Vidales, Jorge Title Four Bashō Haiku for Soprano and Vibraphone Publisher HoneyRock Publications Date 2008 # of Movements 4 Movements 1. ”Winter Garden” 2. “Awake At Night” 3. “Stillness” 4. “Moonlight Slanting” Instrumentation Soprano Voice and Vibraphone Vocal Range F4 - A5 Mallet Instrument 3 octaves F3 - F6 Range Required Duration 9:09 Recordings Online Link at https://www.youtube.com/watch?v=Fdb71Qka59U Premiere 2009 as part of the PAS Composition Rules/Regulations Particular 2nd Place Winner of the 2008 PAS Composition Contest Information

Composer Information

Jorge Vidales was born in Mexico City in 1969 and has received many prestigious awards such as the Young Creators Grant. His works have been premiered in Mexico’s most important venues and festivals including the

University Music Composition Festival, the University Arts and Humanities 21

Texas Tech University, Jeremy David Isley, August 2019

Festival, and Mexico City’s International Festival. Vidales composed and entered

Four Bashō Haiku for Soprano and Vibraphone into the Percussive Arts Society’s

Composition Contest in 2008 and was rewarded as the 2nd Place Winner.

Musical and Performance Considerations

Four Bashō Haiku is a song cycle setting of four haiku of Matsuo Bashō for soprano and vibraphone. “Haiku’” is an unrhymed verse form of Japanese origin having three lines containing usually five, seven, and five syllables respectively.

As denoted in the title, bashō, is a fictitious name for the author, Matsuo

Munefusa, who was a Japanese poet and considered to be one of the most important artistic figures in Japan. Munefusa is thought to be a master of this style of Japanese poetry, which often portray vivid images and make references to nature as well as sound objects.

Movement one creates a motive out of the first five vibraphone notes that is played throughout the movement. Movement two utilizes linear lines in the vibraphone part and the steady eighth notes are intended as a driving force for the movement. Movement three uses a combination of bow and mallets, as well as the only movement that employs the vibraphone motor. Movement four is written as a theme and variations as the musical ideas are introduced in A-B-A-C-

A-D form.

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Duets Categorized by Sacred Texts

Beall, Andrew: El Shaddai Table 2.10 Beall, Andrew: El Shaddai Arranger Beall, Andrew (Card, Michael) Title El Shaddai Publisher Bachovich Music Publications Date 2006 # of Movements 1 Movement Instrumentation Soprano Voice and Marimba Vocal Range E4 - G5 Mallet Instrument 5 Octave; C2 - D6 Range Required Duration 4:42 Recordings Online Link at https://www.youtube.com/watch?v=j4x0DFHhrns

Composer Information

Michael Card, the American Christian singer-, originally wrote

“El Shaddai” for his Legacy in 1981.18 is often credited for the composition of this piece because she recorded it on her album Age to Age in

1982. Andrew Beall adapted the work into a duet for soprano voice and marimba in 2006.

Musical and Performance Considerations

The term El Shaddai is widely known and translated as “God Almighty,” serving as one of the names of Yahweh God, “the God of Israel.” The

18Michael Card, “Resources,” accessed May 13, 2019, https://www.michaelcard.com.

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Texas Tech University, Jeremy David Isley, August 2019 compositional techniques for marimba alternate between rolled quartal harmony and arpeggiations over the same chord changes. The ternary form of this piece is

A-B-A with a tag ending.

Beall, Andrew: Song of ‘Almah

Table 2.11 Beall, Andrew: Song of ‘Almah Composer Beall, Andrew Title Song of ‘Almah Publisher Bachovich Music Publications Date 2006 # of Movements 3 Movements 1. “Rose of Sharon” 2. “Yearning For” 3. “Cedar of Lebanon” Instrumentation Soprano Voice and Marimba Vocal Range G3 - C5 Mallet Instrument 5 Octaves; C2 - Ab6 Duration Circa 20 minutes Recordings BMP Records Andrew Beall - Deliverance www.bachovich.com

Composer Information

Andrew Beall is a composer and percussion performer based in New York.

Beall holds one degree from the Manhattan School of Music and one degree New

York University. Furthermore, he is the owner of Bachovich Music Publications.19

His works have been performed by groups such as the Siberian Symphony

Orchestra. Beall has performed multiple shows on Broadway such as The Lion

19Andrew Beall, “Biography,” accessed April 10, 2019, http://www.andewbeall.com/biography.php.

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King and Les Miserables, played with symphonies such as the Greenwich

Symphony and the Philharmonic Orchestra of the Americas, and is the drummer for the rock group Cordis.

Musical and Performance Considerations

Song of ‘Almah is a three-movement work based on the text taken from the

Old Testament book, Song of Solomon and tells of the story of King Solomon and his search for true love. ‘Almah is a variation on the Hebrew musical term

‘alamoth, which can be translated as “soprano.” The composer purposefully chose the scriptures and texts that would be sung from the young ‘Almah’s perspective. This is an intense musical setting of a powerful story set to the duo instrumentation of soprano voice and marimba and is recorded on the album

Deliverance by BMP Records.20

Arpeggiated sixteenth notes in the marimba part dominate the texture throughout the first movement. The composer wrote difficult syncopations with hocketed rhythms between hands in the marimba part at the end of the first movement. The second movement is a complete texture and style change to 42

BPM with soft marimba rolls and a lower vocal range for the vocalist. There is a brief rubato section for the marimba to perform in a soloistic manner, followed by a transitional section that leads directly to the third movement. The final movement begins with cascading sixteenth notes in the marimba to set forth the

Molto espressivo e rubato style marking. Much like the “back-n-forth" of the love

20Andrew Beall, Song of ’Almah, Bachovich Music Publications, 2006.

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Texas Tech University, Jeremy David Isley, August 2019 story being portrayed through the text, the styles change multiple times over the last few pages of the piece.

Bolton, Calvin: Two Songs for Voice and Marimba

Table 2.12 Bolton, Calvin: Two Songs for Voice and Marimba Composer Bolton, Calvin Title Two Songs for Voice and Marimba Publisher Per-Mus Publications Date 1989 # of Movements 2 Movements 1. “I Love You” (Ludwig van Beethoven) 2. “The Last Rose of Summer” (Irish Air) Instrumentation Soprano Voice and Marimba Vocal Range D4 - F5 Mallet Instrument 4.5 Octave; F2 - G6 Range Required Duration 4 - 5 minutes

Composer Information

Calvin Bolton is an American composer. In addition to the above listed work, his marimba transcription of Robert Schumann’s piano work, Album for the

Young is published by C. Alan Publications. One item to note is that the composer’s name is misspelled “Calvin Boulton” in two places on the publication by Per-Mus Publications. When searching for Two Songs for Voice and Marimba by Calvin Bolton, one might consider searching for both spellings as needed.

Musical and Performance Considerations

Two Songs for Voice and Marimba is a two-song set of . Song one is entitled “I Love You” and was originally written by Ludwig van Beethoven.

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This piece was commissioned by and is dedicated to Jackie Henson from Chase

High School in Forest City, North Carolina. The soprano part is light, soft, and very bouncy while the marimbist plays four-mallet independent passages. The right-hand marimba part is mainly comprised of sixteenth notes that have rapid interval changes while playing single alternating strokes in the left hand.

The second song of this set is based off the Old Irish Air, “The Last Rose of

Summer.” The marimba part provides a syncopated accompaniment part that has rapid chord changes within each measure. This movement is strophic in nature. In other words, the movement has a total of three verses of different text that are sung over the same melody.

Goodenberger, Mark: Come Away

Table 2.13 Goodenberger, Mark: Come Away Composer Goodenberger, Mark Title Come Away Publisher HoneyRock Publications Date 1997 # of Movements 1 Movement Instrumentation Soprano Voice and Vibraphone Vocal Range C4 - C6 Mallet Instrument 3 Octaves; F3 - F6 Range Required Duration 7 - 9 minutes Particular Commissioned by Nancy Olsen-Chatalas Information

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Texas Tech University, Jeremy David Isley, August 2019

Composer Information

Mark Goodenberger earned a Bachelor of Music Education degree from

Lewis and Clark College and a Master of Music degree from the University of

Michigan. He currently serves as the Director of Percussion Studies at Central

Washington University in Ellensburg, Washington. His performance colleagues include Steve Reich, Libby Larsen, Chen Yi, George Crumb, Elliot Carter, Lou

Harrison, Chinary Ung. His professional associations include Vic Firth, Yamaha, and Amy Putnam Mallets. Many of his compositions are premiered by the groups in which he is also a performer.21

Musical and Performance Considerations

Come Away is based on text from the Song of Solomon, in the Hebrew scripture. This single-movement work is multi-metered and changes keys multiple times. The vibraphone part has accented notes that help support the soprano melodic line, and sometimes play against the soprano melody. The utmost control of each mallet must be obtained and displayed in order to create the flowingly sections, as well as bring out the melody notes within the contrapuntal lines on the vibraphone.

21Mark Goodenberger, ”CWU Bio Page,” accessed April 20, 2019, https://www.cwu.edu/music/mark-goodenberger.

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Jones, Brett: Missa Brevis

Table 2.14 Jones, Brett: Missa Brevis Composer Jones, Brett Title Missa Brevis Publisher HoneyRock Publications Date 2003 # of Movements 2 Movements 1. “” 2. “Gloria” Instrumentation Mezzo-Soprano Voice and Vibraphone Vocal Range G3 - G5 Mallet 3 Octaves; F3 - F6 Instrument Range Required Duration 12 - 13 minutes

Composer Information

Brett Jones was born in South Dakota and currently serves as Professor of

Percussion and Department Chair at the University of Wisconsin at Superior. He earned degrees from the University of Colorado as well as Texas Tech University where he studied with Alan Shinn, Lisa Rogers, Doug Walter, Don N. Parker, John

R. Beck, and Gene Holter. Jones’ publications range from articles in Percussive

Notes to pieces published by C. Alan Publications, HoneyRock Publications, and

HaMaR Percussion Publications.

Musical and Performance Considerations

Missa Brevis is a two-movement work that is based on the formal structure of a church . The melodic material of the “Kyrie” is very similar to

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Texas Tech University, Jeremy David Isley, August 2019 plainchant. The “Gloria” is through-composed and encompasses multiple motives including: “Gloria,” “World,” “Father,” “Son,” and “Holy Spirit.” The last three motives are interwoven together to form a “Trinity” motive.22 Some performance notes to include are the use of two bows on the edges of the bars during the beginning of the first movement, and then four-mallet techniques are employed for the remainder. The second movement is a contrasting style that requires four-mallet independence for many of the fast melodic lines written for the vibraphone.

Roberts, Bruce: Dona Eis Requiem

Table 2.15 Roberts, Bruce: Dona Eis Requiem Composer Roberts, Bruce Title Dona Eis Requiem Publisher C. Alan Publications and McClaren Publications Date 1994 # of Movements 1 Movement Instrumentation Mezzo-Soprano Voice and Marimba Vocal Range G3 - Ab5 Mallet Instrument 4.3 Octaves; A2 - G6 Range Required Duration 7 minutes

Composer Information

Bruce Roberts is the Director of Academic Programs for University

Outreach at the University of Oklahoma. He holds a Bachelor of Music Education

22Brett Jones, Missa Brevis, HoneyRock Publications, 2003.

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Texas Tech University, Jeremy David Isley, August 2019 degree and Master of Music degree from the University of Arkansas as well as a doctoral degree from the University of Oklahoma.23

Musical and Performance Considerations

Dona Eis Requiem is based on the “Mass of the Requiem” and is the only piece in this study where the soprano begins the piece. The composer notes are very thorough and explicit for techniques throughout the work. Topics covered in the notes include text specifications as well as overall performance practice considerations as suggested by the composer.

The difficulties of the piece come from the rapid style changes, as well as

Chopin-styled intermotivic lines that take shape in a quintuplet motive that drives the first main section. The quintuplet is comprised of a combination of four-mallet lateral strokes, double vertical strokes, and single alternating strokes for the marimbist. Finally, the two lines of the piece require six-mallet technique to successfully play the written chords.

23Bruce Roberts, ”Biography,” accessed May 23, 2019, https://www.c- alanpublications.com/brands/Roberts-Bruce.

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Saul, Walter: Visions of the Glory of God

Table 2.16 Saul, Walter: Visions of the Glory of God Composer Saul, Walter Title Visions of the Glory of God Publisher HoneyRock Publications Date 1997 # of Movements 4 Movements 1. ”God’s Grandeur” 2. “The Windhover: To Christ our Lord” 3. “Easter ” 4. “Pied Beauty” Instrumentation Soprano Voice and Vibraphone Vocal Range B4 - A5 Mallet Instrument 3 Octaves; F3 - F6 Range Required Duration Mvt 1: 3 min, Mvt 2: 2 min, Mvt 3: 2 min, Mvt 4: 2 min Particular This collection is dedicated to Doug Walter. Information

Composer Information

Walter Saul was born in Philadelphia, Pennsylvania. He attended Duke

University, where he won the Henry Schuman Music Prize for composition three times total, and then proceeded to attend the Eastman School of Music. While earning his doctoral degree in composition, he was a student of Samuel Adler,

Warren Benson, and Joseph Schwantner.

Musical and Performance Considerations

Visions of the Glory of God is a suite of four word paintings and tone paintings based on God. The text is drawn from four poems by Gerard Manley

Hopkins. The performance notes suggest that this piece may also be performed 32

Texas Tech University, Jeremy David Isley, August 2019 by tenor solo, and the last two movements can be accompanied by piano.

Movement 1, “God’s Grandeur,” starts softly with rolled vibraphone notes, and the soprano melody is tonal in nature. There are a set of septuplet lines that are based upon the diminished scale. Movement two, entitled “The Windhover,” also requires four-mallet techniques. The movement begins triumphantly and upon entering, the soprano and vibraphone rhythms interlock to form the entire melody. Quick wrist rotations are required for many of the parts of the vibraphone. In movement 3, entitled “Easter Communion,” the composer maintained tonal for the vocalist, however, the thickness of texture comes from the three-note chords that travel up the vibraphone rapidly and require advanced wrist rotation control. Finally, the fourth movement entitled

“Pied Beauty,” is also joyful and majestic with rapid chord changes for the vibist to execute. Much of this movement has an independent contrapuntal line on top of chords that outline the note groupings.

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Thomas, Tracy: Three Songs for Voice and Marimba Table 2.17 Thomas, Tracy: Three Songs for Voice and Marimba Composer Thomas, Tracy Title Three Songs for Voice and Marimba Publisher Keyboard Percussion Publications Date 2010 # of Movements 3 Movements 1. ”We Wear the Mask” 2. “A Litany” 3. “Lead, Kindly Light” Instrumentation Soprano Voice and Marimba Vocal Range C4 - Bb5 (Optional D6) Mallet Instrument 5 Octave; C2 - C6 Range Required Duration 8 - 10 minutes Particular Text by Paul Laurence Dunbar, Phineas Fletcher, John H. Information Newman

Composer Information

Tracy Thomas resides in Troy, Missouri. He serves on the music faculty at

Missouri Western State University, where he is an active music educator in Troy.

In 2010, Thomas received his doctoral degree from the University of Kansas.

Musical and Composer Information

Three Songs for Voice and Marimba is a three-movement work which requires advanced four-mallet techniques. The first movement text was written by Paul Laurence Dunbar. The marimba parts include polyrhythms as well as sticking suggestions from the composer. The carefully placed double vertical strokes shape the emphasis within the musical lines of the marimba. The second

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Texas Tech University, Jeremy David Isley, August 2019 movement is entitled “Litany” and is based on the text by Phineas Fletcher.

Advanced four-mallet roll techniques and combination stroke types are used throughout the second movement. The third movement is entitled “Lead, Kindly

Light.” The text is written by John H. Newman. Tenuto markings are present above the notes on the downbeat for the marimbist, and dictate that those notes are melody and should have more weight. There are flourishing marimba lines that push to the end to give a finality to the piece.

Duets Categorized by Theoretical Qualities

Andreatta, Drew: Six Italian Arias Arranged for Marimba and Soprano Table 2.18 Andreatta, Drew: Six Italian Arias Arranged for Marimba and Soprano Composer Andreatta, Drew Title Six Italian Arias Arranged for Marimba and Soprano Publisher Per-Mus Publications Date 2018 # of Movements 6 Movements 1. “Amarilli, mia bella” 2. “Caro mio ben” 3. “Maria, dolce Maria” 4. “Nina” 5. “O del mio dolce ardor” 6. “Come raggio di sol” Instrumentation Soprano Voice and Marimba Vocal Range C4 - G5 Mallet 5 Octave; C2 - B5 Instrument Range Required Duration Mvt 1: 2-3min Mvt 2: 2 min Mvt 3: 3 min Mvt 4: 4 min Mvt 5: 2-3min Mvt 6: 2 min Particular This collection is dedicated to Gary and Kirsten Cook. Information

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Texas Tech University, Jeremy David Isley, August 2019

Composer Information

Drew Andreatta serves on the adjunct faculty at Baldwin Wallace

University in Northeast Ohio. He graduated with a Doctor of Musical Arts Degree from the University of Arizona under Professor Gary Cook. He holds a Master of

Music degree from the University of Nevada at Las Vegas, as well as a Bachelor of

Music degree from the University of Kentucky. Andreatta was a featured marimba soloist at Scotland’s 2016 “Sound Festival of New Music.”24

Musical and Performance Considerations

Six Italian Arias Arranged for Marimba and Soprano is a collection of pieces where the original piano accompaniment has been adapted to fit the five-octave marimba. All six of these arias have been chosen from a collection of vocal literature entitled 24 Italian Art Songs and Arias from the 17th and 18th Centuries.

Each aria serves as a piece within itself. Furthermore, the difficulty level for each movement is not sequential or progressive in nature. The compositional style differs between each movement from multi-textural contrapuntal lines between the top two mallet voicings to blocked and/or arpeggiated quartal harmony.

24Drew, Andreatta, Six Italian Arias Arranged for Marimba and Soprano, Per-Mus Publications, 2018.

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Texas Tech University, Jeremy David Isley, August 2019

Joest, Kevin: Twin Compasses

Table 2.19 Joest, Kevin: Twin Compasses Composer Joest, Kevin Title Twin Compasses Publisher C. Alan Publications Date 2010 # of Movements 1 Movement Instrumentation Soprano Voice and Vibraphone Vocal Range C4 - A5 Mallet Instrument 3 Octaves: F3-E6 Range Required Duration 4:09 Recordings Online Link at https://www.youtube.com/watch?v=BDAbGpcCiuo

Composer Information

Composer and performer Kevin Joest resides in New York City. He holds a

Bachelor of Music degree in music theory and composition from Middle

Tennessee State University. He studied with Lalo Davila, Julie Davila, Andy Smith,

Jason Tiemann, Michael Linton, and Paul Osterfield.

Musical and Performance Considerations

Twin Compasses is a lullaby setting of a portion of the text of John Donne’s poem “A Valediction Forbidding Mourning.” The inspiration of this piece was the lullaby, and the text was set over the top of the music. Vibraphone pedal markings are available throughout the entire piece, and special considerations must be made concerning proper stickings. Combination stroke types are required to play this piece. 37

Texas Tech University, Jeremy David Isley, August 2019

CHAPTER III

CONCLUSION

The performance of duet works is an opportunity to improve musicianship within a chamber ensemble setting. The careful entrances and releases, as well as the crafted musical lines are both the challenge and inspiration to great duet performances. The pieces researched within this document are of a wide variety and provide multiple opportunities to challenge the performer within a setting. Through the research of specific publishing websites and major distributor websites, the author found over one hundred pieces with the instrumentation of soprano voice and any combination of percussion, and out of those, nineteen are duets for soprano voice and marimba and/or vibraphone. Each of the nineteen pieces have been reviewed, alphabetized by composer, and all specific information for each piece has been notated on individual rubrics designed by the author.

After researching and focusing on the nineteen duets found, the author discovered three categories for which each piece fit: secular poetry texts, sacred texts, and theoretical qualities. Fifteen of the nineteen duets contained texts inspired by poetry, and of those fifteen, two of them were specifically Japanese

Haiku poetry. Out of the nineteen, eight of the duets contain sacred text, and finally, two pieces were categorized by their theoretical forms: the Italian Aria and a lullaby.

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Additionally, an unexpected finding while comparing works was the discovery of a vast spectrum of musical styles within the same genre of duets for soprano voice and marimba and/or vibraphone. Some pieces were highly classical with roots in functional harmony that date back to the seventeenth century. Other pieces were written by late twentieth-century composers, such as

Milton Babbitt, and the musical style was more contemporary and quite different from Baroque era harmonies. Other compositional techniques resultant of the author’s research were the roles that each member of the duo played, when compared from piece to piece. Fifteen of the nineteen duets were of balanced writing where each member of the duo had substantial parts and these pieces were considered “true duets.” Four of the nineteen duets feature the soprano more as a soloist with marimba or vibraphone accompaniment. Finally, Lanterns and Candlelight by Barney Childs was the only piece to feature the marimbist as a soloist with soprano voice as accompaniment.

An important factor to note, five of the nineteen duets were the result of commissions for various reasons, primarily showing a significant interest in the genre and ultimately adding pieces to a genre that has grown over time. Of the nineteen duets, one was published in the 1960s, one in the , two in the

1980s, six in the 1990s, and nine after the year 2000. Finally, of all nineteen duets, there were nine with soprano and marimba instrumentation, nine with soprano and vibraphone instrumentation, and one piece that was soprano with marimba and vibraphone.

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Implications for Further Research

The author believes this study is a snapshot or small footprint of the larger instrumentation combination of voice and percussion. Of the one hundred pieces compiled as a result of the author’s initial research, the largest percentage of pieces consisted of thirty-three pieces with mixed instrumentation (i.e. strings, winds, piano, and percussion). The second-largest instrumentation was that of soprano and non-pitched percussion. The author would like to see a complete annotated bibliography of these instrumentations from the remaining pieces not included in this document. Other areas of research could expand from soprano voice into other voice parts such as alto, tenor, or bass. Additionally, a document written from a vocalist’s perspective would compliment this document well by adding performance considerations as they pertain to the vocal part for each duet. Because this genre seems to be growing, reviews and research could expand into including pieces that were commissioned for this instrument combination, yet not published by major United States publishers. The author believes such research, when paired with this document, will provide a valuable resource for anyone seeking music that combines voice and percussion.

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BIBLIOGRAPHY

Adams, Daniel. Three Subtropical Vistas for Mezzo Soprano and One Percussionist. Greensboro, North Carolina: C. Alan Publications, 1991. Adams, Daniel. “Biography,” accessed January 17, 2019, http://www.danieladamscomposer.com/biography.html.

Affiliated Composer, “Barney Childs Biography,” accessed May 9, 2019. https://www.composers.com/barney-childs.

Andreatta, Drew. Six Italian Arias Arranged for Marimba and Soprano. Columbus, Ohio: Per-Mus Publications, 2018.

Babbitt, Milton. A Waltzer in the House. New York, New York: C.F. Peters Corporation, 2003.

Beall, Andrew, “Biography,” accessed April 10, 2019. http://www.andrewbeall.com/biography.php.

Beall, Andrew. El Shaddai. New York, New York: Bachovich Music Publications, 2006.

Beall, Andrew. Song of ‘Almah. New York, New York: Bachovich Music Publications, 2006.

Beck, John H and Strain, James A. Percussion Music. July 10, 2012. Accessed June 13, 2019, https//:doi-org.lib-e2.lib.ttu.edu/10.1093/gmo/9781561592630.

Becker, Bob. The Firefly Hunt. Copyright Bob Becker, 1967.

Benson, Warren. Streams. Winona, Minnesota: Hal Leonard Corporation, 1961.

Bolton, Calvin. Two Songs for Voice and Marimba. Columbus, Ohio: Per-Mus Publications, 1989.

Calabrese, Anthony Joseph, “An Annotated Catalog of Marimba Concertos with Winds, DMA Dissertation, Northwestern University, 2014. Percussive Arts Society.org. https://www.pas.org/docs/default-source/thesisdissertations.

Card, Michael, “Resources,” accessed May 13, 2019. https://www.michaelcard.com.

Carlsen, Philip, “Biography,” accessed June 2, 2019. https://www.composers.com.

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Carlsen, Philip. Morning Star. Greensboro, North Carolina: C. Alan Publications, 1993.

Chan, Alan, “Bio,” accessed May 19, 2019. http://www.alanchanmusic.com/bio.html.

Chan, Alan. Without A Trail to Lace. Everett, Pennsylvania: HoneyRock Publications, 2008.

Childs, Barney. Lanterns and Candlelight. New York, New York: Smith Publications, 1976.

Ferguson, “Mozart’s Duets for One Pianoforte, Proceedings of the Royal Musical Association 73” I 766084, (1946). http//www.jstor.org/stable/766084.

Foster, Christopher C. “An Examination of Music for and Marimba and the Wilder Duo with Analyses of Three Selected Works by Gordon Stout, Paul Turok, and Alec Wilder.” DMA Dissertation, University of North Texas, 2007. 67531. https://digital.library.unt.edu.

Glassock, Lynn. Five Songs for Voice and Marimba. Greensboro, North Carolina: C. Alan Publications, 1994. Goodenberger, Mark. Come Away. Everett, Pennsylvania: HoneyRock Publications, 1997.

Goodenberger, Mark, “CWU Bio Page,” accessed April 20, 2019. https://www.cwu.edu/music/mark-goodenberger.

Joest, Kevin. Twin Compasses: A Lullaby for Soprano and Vibraphone. Greensboro, North Carolina: C. Alan Publications, 2010.

Jones, Brett. Missa Brevis for Mezzo-Soprano and Vibraphone. Everett, Pennsylvania: HoneyRock Publications, 2003.

Lin, Nan-Yen, “An Annotated Bibliography of Published Duets for and Marimba Available in the United States.” DMA Treatise, Florida State University, 2012. Florida State University Libraries, 182977. https://diginole.lib.fse.edu.

Maltese, Casey N, “A Performance Guide of Selected Works for Horn and Mallet Percussion.” DMA essay, University of Miami, 2011. Open Access Dissertations, 527. https//scholarlyrepository. miami.edu/oa_dissertations/527.

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Merriam-Webster Dictionary. “Vibraphone,” accessed June 13, 2019. https://www.merriam-webster.com/dictionary/vibraphone.

Nexus Percussion, “Bob Becker Bio,” accessed February 21, 2019. https://www.nexuspercussion.com/member/bob-becker.

Roberts, Bruce. Dona Eis Requiem. Greensboro, North Carolina: C. Alan Publications and McClaren Publications, 1994.

Roberts, Bruce, “Biography,” accessed May 23, 2019. https://www.c-alanpublications.com/brands/Roberts-Bruce.

Saul, Walter. Visions of the Glory of God. Everett, Pennsylvania: HoneyRock Publications, 1997.

Staff, Rovi, “Milton Babbitt Biography and History,” accessed May 22, 2019, http:www.allmusic.com/artist/milton-babbitt-mn0000764225/biography.

Stamp, Jack, “Biography,” accessed May 29, 2019. https://www.giamusic.com/bios/stamp_jack.cfm.

Stamp, Jack. Journey Past the Unicorn. Columbus, Ohio: Per-Mus Publications, 1989.

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Thomas, Tracy. Three Songs for Voice and Marimba. Asbury Park, New Jersey: 2010.

Vidales, Jorge. Four Basho Haiku for Soprano and Vibraphone. Everett, Pennsylvania: HoneyRock Publications, 2008.

“Was Mozart’s sister actually the most talented musican in the family?” Classic FM. March 6, 2018. http://www.classicfm.com/composers/mozart.

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APPENDIX A LIST OF PUBLISHED DUETS Instrumentation Title Composer Publisher Date Soprano and Three Adams, Daniel C. Alan 1991 Marimba Subtropical Publications Vistas Soprano and Six Italian Andreatta, Drew Per-Mus 2018 Marimba Arias Arranged Publications for Marimba and Soprano Soprano and A Waltzer in Babbitt, Milton Peters 2003 Vibraphone the House Publishing, New York Soprano and El Shaddai Beall, Andrew Bachovich 2006 Marimba Music Publications Soprano and Song of ‘Almah Beall, Andrew Bachovich 2006 Marimba Music Publications Soprano and Firefly Hunt Becker, Bob Found on 1967 Marimba SteveWeiss Soprano and Two Songs for Bolton, Calvin Per-Mus 1989 Marimba Voice and Publications Marimba Soprano and Morning Star Carlsen, Philip C. Alan 1993 Vibraphone Publications Soprano and Without a Trail Chan, Alan HoneyRock 2008 Vibraphone to Lace Publications Soprano and Lanterns and Childs, Barney Smith 1976 Marimba Candlelight Publications Mezzo-Soprano Five Songs for Glassock, Lynn C. Alan 1994 and Marimba Voice and Publications Marimba Soprano and Come Away Goodenberger, HoneyRock 1997 Vibraphone Mark Publications Soprano and Twin Joest, Kevin C. Alan 2010 Vibraphone Compasses Publications Mezzo-Soprano Missa Brevis Jones, Brett HoneyRock 2003 and Vibraphone Publications Mezzo-Soprano Dona Eis Roberts, Bruce C. Alan 1994 and Marimba Requiem Publications

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Soprano and Visions of the Saul, Walter B. HoneyRock 1997 Vibraphone Glory of God Publications Soprano and Journey Past Stamp, Jack Per-Mus 1989 Vibraphone the Unicorn Publications Soprano and Three Songs for Thomas, Tracy Keyboard 2010 Marimba Voice and Percussion Marimba Publications Soprano and Four Bashō Vidales, Jorge HoneyRock 2008 Vibraphone Haiku Publications

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Texas Tech University, Jeremy David Isley, August 2019

APPENDIX B LIST OF UNPUBLISHED AND SELF-PUBLISHED DUETS Soprano and Da Boo Adolphe, Bruce Self-published Marimba Soprano and Song of the Seashore Albert, Ludwig Self-published Marimba Soprano and Penseroso Bauer, Rod Commissioned by Marimba Aurora Borealis Duo Soprano and Chove en Santiago Fusco, Raphael Commissioned by Marimba Aurora Borealis Duo Soprano and Three Songs for Gianopoulos, Commissioned by Marimba Soprano and Marimba George Aurora Borealis Duo Soprano and ...And the Lillies Harvey, William Commissioned by Marimba Revived Aurora Borealis Duo Soprano and Love After Love Leon, Tania Commissioned by Marimba Aurora Borealis Duo Marimba or Memories Rosauro, Ney Ney Rosauro Vibraphone and Soprano Marimba and A Song (Cobalt Blue) Rosauro, Ney Ney Rosauro Soprano and Abe, Keiko Soprano and Three Songs of Carl Russell, Richard Commissioned by Marimba Sandburg Aurora Borealis Duo Soprano and Songs of the Smith, Paul Commissioned by Marimba Wildflower Aurora Borealis Duo Soprano and Incantation Solook, Stephen Commissioned by Marimba Aurora Borealis Duo Soprano and Puppy and I Spivack, Larry Self-Published Vibraphone

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