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1 the Singing Horn Player The Singing Horn Player: Enhancing Performance with Vocal Transcriptions for Horn Item Type text; Electronic Dissertation Authors McGillivray, Margaret Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 17:43:10 Link to Item http://hdl.handle.net/10150/628403 THE SINGING HORN PLAYER: ENHANCING PERFORMANCE WITH VOCAL TRANSCRIPTIONS FOR HORN By Margaret McGillivray ______________________________________________ Copyright © Margaret McGillivray 2018 A Research Paper Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree Of DOCTOR OF MUSICAL ARTS THE UNIVERSITY OF ARIZONA 2018 1 2 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission of extended quotations from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. 3 ACKNOWLEDGEMENTS This paper, indeed this degree, would not have been possible for the participation of many people. While not an exhaustive list by any means, there are a few people that require some extra recognition. To Daniel Katzen, for not laughing at me when I came to audition 4 months post- partum and for still believing I could finish after moving across the country and having another child. To Edward Reid, Matthew Tropman and Kelly Thomas, for agreeing to serve on this committee and for the time and energy they devoted to my degree. To Michael Dauphinais, for being my collaborative-pianist-in-chief. To Peter McGillivray and Jennifer Piazza-Pick for helping me to refine my thinking regarding vocal technique for horn playing and for their helpful suggestions of possible arias to transcribe and issues that might arise. To Angela Myles Beeching for her thoughtful questions and editorial comments. To my parents, Angus and Kathleen McGillivray, for singing to me before they knew me, and for their love and support through many countries, time zones and circumstances. To all the women who helped to keep my family safe, loved, fed and cared for when I needed to be away to pursue my goals: Sandra, Katie, Tessa, Anne, Nadia, Lauren, Larissa, Jennifer – you are an amazing tribe of strong, capable people and I hope one day to be able to reciprocate in kind. To Maren and Callum, for surviving the initial school residency and for their ability to adapt to any situation and go with the flow. To Lachlan, who came later and also because he has never known a mother who is not a student. You are the best things I have ever done. Finally, to Todd, who has held my hand every step of the way and encouraged me to walk my own path. I cannot thank you enough. 4 This document is dedicated to the memory of Joan Watson, Ed Matthiessen, and Kelly Thomas. 5 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ............................................................................................................... 9 ABSTRACT .................................................................................................................................................. 11 CHAPTER I: INTRODUCTION ............................................................................................................. 12 CHAPTER II: TRANSCRIPTION AND THE HORN ........................................................................ 20 Transcriptions or Arrangements: A Brief Study ................................................................... 20 Transcribing for Horn – General Considerations ................................................................. 25 Transcriptions – A Survey............................................................................................................... 33 CHAPTER III: VOCAL TECHNIQUES FOR HORN PLAYERS .................................................... 35 Audiation and the Horn Player ..................................................................................................... 37 Bel Canto for the Horn Player ....................................................................................................... 42 The Role of Text ................................................................................................................................... 48 CHAPTER IV: VOCAL ELEMENTS IN HORN LITERATURE AND REPERTOIRE ............. 53 Writing for Horn and Voice ............................................................................................................ 54 W. A. Mozart: Concerto for Horn, K. 495, First Movement ................................................. 57 Mozart: Concerto in E-flat, K. 495, I – Applied Vocal Techniques ................................... 65 Richard Strauss: Concerto for Horn in E-flat Major, Opus 11 ............................................ 71 Strauss: Concerto in E-flat, No. 1, I - A Vocal Approach ...................................................... 74 CHAPTER V: PRACTICAL APPLICATIONS OF VOCAL TRANSCRIPTION ......................... 79 Vocal Repertoire for Transcription ............................................................................................. 79 Role of Text ............................................................................................................................................ 82 6 Performance Preparation ............................................................................................................... 84 Role in Recital Programming ......................................................................................................... 85 Current Applications of Vocal Transcription for Horn ....................................................... 86 Recommendations for Teaching .................................................................................................. 90 CHAPTER VI: THREE NEW TRANSCRIPTIONS FOR HORN: BACKGROUND AND PERFORMANCE GUIDE ......................................................................................................................... 94 Transcription Preparation .............................................................................................................. 95 W. A. Mozart: “Martern aller Arten” ........................................................................................... 96 Plot Overview .................................................................................................................................. 96 Transcription Rationale .............................................................................................................. 97 Text ...................................................................................................................................................... 99 The Aria ........................................................................................................................................... 101 Technical Preparation .............................................................................................................. 102 W. A. Mozart: “Ach ich fühl’s” ..................................................................................................... 107 Plot Overview ............................................................................................................................... 107 Text ................................................................................................................................................... 108 Transcription Rationale ........................................................................................................... 110 Transcription Performance Guide ....................................................................................... 109 Technical Preparation .............................................................................................................. 112 Richard Strauss: “Es gibt ein Reich” ........................................................................................ 113 Plot Overview ............................................................................................................................... 114 The Aria ........................................................................................................................................... 115 Transcription Rationale ........................................................................................................... 116 7 Form ................................................................................................................................................. 117 Text ........................................................................................................................................................ 117 Transcription Performance Guide ....................................................................................... 119 Technical Preparation .............................................................................................................. 121 CHAPTER VII: CONCLUSIONS
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