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Circuition: Concerto for Jazz Guitar and Orchestra

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Circuition: Concerto for Jazz Guitar and Orchestra University of Kentucky UKnowledge Theses and Dissertations--Music Music 2021 CIRCUITION: CONCERTO FOR JAZZ GUITAR AND ORCHESTRA Richard Alan Robinson University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2021.166 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Robinson, Richard Alan, "CIRCUITION: CONCERTO FOR JAZZ GUITAR AND ORCHESTRA" (2021). Theses and Dissertations--Music. 178. https://uknowledge.uky.edu/music_etds/178 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Richard Alan Robinson, Student Dr. Raleigh Dailey, Major Professor Dr. Lance Brunner, Director of Graduate Studies CIRCUITION: CONCERTO FOR JAZZ GUITAR AND ORCHESTRA ________________________________________ DISSERTATION ________________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Richard Alan Robinson Lexington, Kentucky Director: Dr. Raleigh Dailey, Associate Professor of Jazz Studies, Piano Lexington, Kentucky 2021 Copyright © Richard Alan Robinson 2021 ABSTRACT OF DISSERTATION CIRCUITION: CONCERTO FOR JAZZ GUITAR AND ORCHESTRA Circuition: Concerto for Jazz Guitar and Orchestra is a programmatic musical composition which tells the story of the life cycle. Each part is designed to represent a particular time in life through age or set of events that relate to all people regardless of the specifics in one’s life. Although I disclose how the program of relates to specifics within my own life, the goal is that a listener will find resonance with their own. In this document I examine how the elements of form, harmony, melody, and rhythm shape the composition and inform its programmatic nature. Topics are divided into six chapters: The Conceptual and Compositional Process, “Part I: So, It Begins”, “Part II: The Response”, “Part III: Inquisitorial”, “Part IV: To the End”. These chapters will include musical examples, detailed analysis depicted through figures and text explanations, and information pertaining to the programmatic design. The objective of chapter one is to reveal this composer’s influences and how they relate to the musical creativity and program of the storyline, how the musical ideas were engineered to convey the story, the origins of the program, and how the combined elements of jazz guitar and the jazz vocabulary in conjunction with traditional orchestral instruments and writing culminate into a single work. Chapters two through five will break down each part into the four components previously mentioned: form, harmony, melody, and rhythm. KEYWORDS: Jazz, Guitar, Guitar Concerto, Jazz Orchestra, Jazz Composition Richard Alan Robinson (Name of Student) 02/19/2021 Date CIRCUITION: CONCERTO FOR JAZZ GUITAR AND ORCHESTRA By Richard Alan Robinson Raleigh Dailey Director of Dissertation Lance Brunner Director of Graduate Studies 02/19/2021 Date iii DEDICATION To my wife Rachael and two children, Myriah and Myles, who have been supportive during the many months that I have composed and worked on the dissertation portion of this project. To my mother Doris, for introducing me to a wide array of musical influences at an exceedingly early age and supporting me through my musical endeavors at a young age. In memory of my father Willis Dean Robinson, who I miss dearly, and wish could have been here to see this accomplishment. To Brad and Debbie Daniels for their time and investment in mt earliest musical training and professional career. To all of my friends, colleagues, and students that have supported my work and encouraged me to demand more of myself. iv ACKNOWLEDGMENTS The following dissertation, while an individual work, benefited from the insights and direction of several people. First, my Dissertation Chair, Raleigh Dailey, exemplifies the high-quality scholarship to which I aspire. In addition, Dr. Dailey provided timely and instructive comments and evaluation at every stage of the composition and dissertation process, allowing me to complete this project on schedule. I also wish to thank the complete Dissertation Committee, and outside reader, respectively: Dr. Kevin Holm- Hudson, Dr. James Revell Carr, Dr. Jeffery Peters, and Dr.Yuqing Zheng. Everyone provided insights that guided and challenged my thinking, substantially improving the finished product. In addition to the technical and instrumental assistance above, I received equally important assistance from family and friends. My wife, Rachael Robinson, provided on- going support throughout the dissertation process, as well as technical assistance critical for completing the project in a timely manner. iii TABLE OF CONTENTS ACKNOWLEDGMENTS ................................................................................................. iii LIST OF FIGURES ........................................................................................................... vi LIST OF ADDITIONAL FILES ..................................................................................... viii CHAPTER 1. The Conceptual and Compositional Process ............................................... 1 1.1 Instrumentation and Performance Platform ........................................................... 1 1.2 Programmatic Topic ............................................................................................... 2 1.3 Musical Concepts .................................................................................................... 5 1.4 Analytical Tools ...................................................................................................... 7 CHAPTER 2. “Part I: So It Begins” ................................................................................... 8 2.1 Musical Form .......................................................................................................... 8 2.2 Harmonic Scheme ................................................................................................. 10 2.3 Melodic Content .................................................................................................... 17 2.4 Rhythm .................................................................................................................. 22 CHAPTER 3. “Part II: The Response” ............................................................................. 26 3.1 Prelude .................................................................................................................. 26 3.2 Transition (Variation 1) ........................................................................................ 32 3.3 Variation 2 ............................................................................................................ 33 3.4 Coda ...................................................................................................................... 35 CHAPTER 4. “Part III: Inquisitorial” ............................................................................... 37 4.1 Movement Concept and Form ............................................................................... 37 4.2 Harmonic Content ................................................................................................. 38 4.3 Melodic Content .................................................................................................... 41 4.4 Rhythm .................................................................................................................. 46 CHAPTER 5. “Part IV: To The End” ............................................................................... 50 5.1 Musical Form ........................................................................................................ 50 5.2 Harmony
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