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Seasons for a Cynic: a Compositional Process Utilizable for a Program Symphony

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Seasons for a Cynic: a Compositional Process Utilizable for a Program Symphony University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2010 Seasons for a Cynic: A Compositional Process Utilizable for a Program Symphony David Anthony Pegel [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Composition Commons, and the Music Theory Commons Recommended Citation Pegel, David Anthony, "Seasons for a Cynic: A Compositional Process Utilizable for a Program Symphony. " Master's Thesis, University of Tennessee, 2010. https://trace.tennessee.edu/utk_gradthes/653 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by David Anthony Pegel entitled "Seasons for a Cynic: A Compositional Process Utilizable for a Program Symphony." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Kenneth A. Jacobs, Major Professor We have read this thesis and recommend its acceptance: Kenneth Jacobs, Angela Batey, Brendan McConville Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by David Anthony Pegel entitled “Seasons for a Cynic: A Compositional Process Utilizable for a Program Symphony.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music, with a major in Music. Kenneth Jacobs, Major Professor We have read this thesis and recommend its acceptance: Kenneth Jacobs Angela Batey Brendan McConville Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School SEASONS FOR A CYNIC: A COMPOSITIONAL PROCESS UTILIZABLE FOR A PROGRAM SYMPHONY A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville David Anthony Pegel May 2010 Copyright © 2010 by David A. Pegel All rights reserved. ii ABSTRACT The technique of symphonic composition requires a deliberate and methodical process by the composer; when the symphony is intended to aesthetically convey a specific subject matter, the compositional process must become even more deliberate. First a subject must be chosen and examined in a contemporary standpoint. Then the composer must determine how to reflect this subject through his or her composing. Ideally, the end result of this composition should encompass the subject matter as thoroughly as possible. While the great majority of textbooks on music theory and composition centralize themselves on elements of pitch in music, the composer has many other elements to consider, notably rhythm, texture, timbre, and form. These elements – be they working independently of one another, supporting one another, or at odds with one another – can be influenced by a wide variety of both traditional and developmental artistic movements. Oftentimes, a composer may find it ideal to synthesize both older techniques of one element with newer techniques in another. This synthesis was the objective in composing a modern program symphony based on the four seasons. Emulating different styles and affects of the twentieth century, this work aimed to synthesize both older and newer techniques. This thesis explains in detail the compositional process used for this program symphony. iii TABLE OF CONTENTS Chapter Page Abstract......................................................................................................................................... iii List of Figures.................................................................................................................................v List of Attachments ..................................................................................................................... vi Chapter I: Introduction and Methodology ................................................................................1 The Principle of Music as a Communicative Unit................................................................1 Determining the Theme of the Symphony............................................................................2 Compositional Methodology...................................................................................................4 Chapter II: An Approach to Organization of Pitch .................................................................7 A Clarification of Terms Concerning Melodic Organization .............................................7 Traditional Pitch Practice vs. Progressive Pitch Practice ....................................................9 Pitched Techniques Employed in “Seasons For a Cynic” .................................................13 Unifying the Symphony through the use of a Monotheme..........................................13 Quartal Harmonies and Mediant Submelodies of “Summer”.....................................16 Non-modal Harmonic Scheme of “Autumn”.................................................................18 Harmonic Washing in “Winter”.......................................................................................26 Further Unifications in “Spring” ......................................................................................28 Chapter III: An Approach to Non-Pitched Elements .............................................................30 Traditional and Progressive Practices in Rhythm..............................................................30 Rhythmic Techniques Used in “Seasons For a Cynic” ......................................................32 Irregular and Simultaneous Pulses in “Spring”.............................................................32 Syncopations and Missing Beats in “Summer”..............................................................34 Treatment of Voices in “Seasons For a Cynic” ...................................................................37 Regarding Texture ..............................................................................................................37 Regarding Timbre...............................................................................................................40 Form and Order of Movements ............................................................................................45 Chapter IV: Results and Conclusion.........................................................................................48 List of References.........................................................................................................................49 Vita.................................................................................................................................................51 iv LIST OF FIGURES Figure Page Figure 2.1. Debussy, La Cathédrale Engloutie, mm. 1-3. .................................................................10 Figure 2.2. Bartók, Music For Strings, Percussion, and Celeste, “I: Fugue”, mm. 13-15..........11 Figure 2.3. : Reich, Piano Phase, phs. 1-3...........................................................................................12 Figure 2.4. Bartók, Music For Strings, Percussion, and Celeste, “I: Fugue”, mm. 1-4...................12 Figure 2.5. Some significant statements of the monotheme in “Seasons for a Cynic”.............14 Figure 2.6. “Winter”, mm. 68-71, flute and oboe...........................................................................16 Figure 2.7. “Summer”, mm. 2-5, piano.............................................................................................17 Figure 2.8. “Summer”, mm. 49-55, submelody in the cello supported by fifths........................17 Figure 2.9. “Autumn”, mm. 19-24, viola and cello (notes only)...................................................21 Figure 2.10. “Autumn”, mm. 21, bassoon........................................................................................22 Figure 2.11. “Autumn”, mm. 24-27, oboe and English horn (sounding pitch). .........................23 Figure 2.12. “Autumn”, mm. 43-47; cello, bassoon, and horns (sounding pitch)......................23 Figure 2.13. “Autumn”, mm. 1-8; flutes, piano, and glockenspiel (notes only).........................24 Figure 2.14. “Autumn”, mm. 1-8, rhythmic reduction. .................................................................25 Figure 2.15. “Winter”, mm. 28-31; Violin Ib and Violin IIa (notes only).....................................27 Figure 2.16. “Winter”, mm. 28-31; Violins I/II (notes only). ........................................................27 Figure 2.17. “Winter”, mm. 28-31; harmonic wash with ground bass. .......................................28 Figure 2.18. “Winter”, mm. 28-31; part reduction (notes only)....................................................28 Figure 3.1. Hindemith, Ludus Tonalis, “Fuga Prima in C”, mm. 1-9. ..........................................30 Figure 3.2. Stravinsky, “Glorification of the Chosen One”, The Rite of Spring, [106]................31 Figure 3.3. “Spring”, mm. 32-41, percussion (notes and articulations
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