Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe M

Total Page:16

File Type:pdf, Size:1020Kb

Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe M Cambridge University Press 0521619920 - Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe M. J. Grant Frontmatter More information Serial music, serial aesthetics Serial music was one of the most important aesthetic movements to emerge in post-war Europe, but its uncompromising music and modernist aesthetic have often been misunderstood. This book focuses on the controversial journal die Reihe, whose major contributors included Stockhausen, Eimert, Pousseur, Dieter Schnebel and G. M. Koenig, and discusses it in connection with many lesser-known sources in German musicology. It traces serialism’s debt to the theories of Klee and Mondrian, and its relationship to developments in concrete art, modern poetry, and the information aesthetics and semiotics of Max Bense and Umberto Eco. M. J. Grant sketches an aesthetic theory of serialism as experimental music, arguing that serial theory’s embrace of both rigorous intellectualism and aleatoric processes is not, as many have suggested, a paradox, but the key to serial thought and to its relevance for contemporary theory. M. J. Grant specialises in the theory and aesthetics of new and experimental music. © Cambridge University Press www.cambridge.org Cambridge University Press 0521619920 - Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe M. J. Grant Frontmatter More information Music in the Twentieth Century gener al edit or Arnold Whittall This series offers a wide perspective on music and musical life in the twentieth century. Recent titles The Music of John Cage James Pritchett The Music of Ruth Crawford Seeger Joseph Straus The Music of Conlon Nancarrow Kyle Gann The Stravinsky Legacy Jonathan Cross Experimental Music:Cage and Beyond Michael Nyman The BBC and Ultra-Modern Music, 1922–1936 Jennifer Doctor The Music of Harrison Birtwistle Robert Adlington Four Musical Minimalists:La Monte Young, Terry Riley, Steve Reich, Philip Glass Keith Potter Faure´ and French Musical Aesthetics Carlo Caballero The Music of To¯ru Takemitsu Peter Burt The Music and Thought of Michael Tippett:Modern Times and Metaphysics David Clarke Serial Music, Serial Aesthetics:Compositional Theory in Post-War Europe M. J. Grant © Cambridge University Press www.cambridge.org Cambridge University Press 0521619920 - Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe M. J. Grant Frontmatter More information Serial music, serial aesthetics Compositional theory in post-war Europe M.J.Grant © Cambridge University Press www.cambridge.org Cambridge University Press 0521619920 - Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe M. J. Grant Frontmatter More information PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York NY 10011–4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © M. J. Grant 2001 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2001 First paperback edition 2005 Typeface Minion 10.5/13.5 pt. System LATEX 2ε [t b] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Grant, M. J. (Morag Josephine), 1972– Serial music, serial aesthetics: compositional theory in post-war Europe / M. J. Grant. p. cm. – (Music in the 20th century) Includes bibliographical references and index. ISBN 0 521 80458 2 hardback 1. Music – Europe – 20th century – Philosophy and aesthetics. 2. Serialism (Music) 3. Art and music – History – 20th century. 4. Music and language – History – 20th century. I. Music in the twentieth century. ML3877 .G73 2001 781.3'31 – dc21 2001035283 ISBN 0 521 80458 2 hardback ISBN 0 521 61992 0 paperback © Cambridge University Press www.cambridge.org Cambridge University Press 0521619920 - Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe M. J. Grant Frontmatter More information Contents Acknowledgements vii Note on the text viii Introduction 1 PART I 1 European culture in the post-war years 11 2 The isolated tone: electronic and serial music, 1945–1954 39 PART II 3 Electronic music: ‘chaos or order’? 75 4 Webern and Debussy 103 PART III 5 Serial music as an aleatoric process 131 6 ‘Das Serielle’ 165 PART IV 7 Music and language 193 8 Serial theory, serial practice: wherefore, and why? 222 PART V Conclusion: Dorthin? 251 Bibliography 253 Index 268 © Cambridge University Press www.cambridge.org Cambridge University Press 0521619920 - Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe M. J. Grant Frontmatter More information Acknowledgements The initial research for this study was funded by the Student Awards Agency for Scotland, and the Deutscher Akademischer Austauschdienst. The research was further facilitated by the resources at many institutions, particularly the University of London Senate House, the British Library, the Staatsbibliothek zu Berlin Preußischer Kulturbesitz, and the music department of the Deutsche Bibliothek. In addition, I am grateful to the Westdeutscher Rundfunk in Cologne, and particularly Petra Witting- Nothen,¨ for allowing me access to their archives. Michael Fend, who su- pervised my original dissertation at King’s College London, has supported this project since its inception, and his critical reading and rereading of initially half-baked notions has been enormously helpful; I also thank the other members of staff of the Music Department for all their help. My year at the Humboldt-Universitat¨ zu Berlin benefited greatly from the assistance of Professor Hermann Danuser, and Professor Wolfgang Auhagen, who in- troduced me to the work of Max Bense. My special thanks go to Karlheinz Stockhausen, for his encouragement and his speedy and comprehensive re- sponses to my enquiries. I also thank Professor Helmut Kirchmeyer for valu- able information regarding Herbert Eimert. Preparation and publication of this version of the text has benefited greatly from the editorial expertise of Penny Souster, and from Arnold Whittall’s many useful comments on the various drafts. I gratefully acknowledge the permission given by various publishers for the reproductions of examples as follows: Ex. 2.1 C 1953 by Universal Edition (London Ltd). Exx. 4.1a, 4.2a, 4.3, 5.5, 6.1, 7.1 and 7.3 C Universal Edition, A. G. Ex. 4.2b: C Stockhausen Verlag 2000. Ex. 5.2: C Schwabe & Co. Verlag. My family and friends in Scotland have remained an invaluable source of support, and my friends and colleagues in Berlin, through participation at many formal and informal seminars in the last few years, have enabled me to expound these ideas at a crucial stage. All have tolerated my persistent and probably incessant conviction regarding the importance of serial aesthetics. This book is dedicated to all of them, mit herzlichem Dank. © Cambridge University Press www.cambridge.org Cambridge University Press 0521619920 - Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe M. J. Grant Frontmatter More information Note on the text Footnote references to die Reihe are abbreviated as dR followed by the volume number (Roman numerals) and the edition ((D) or (E) for German or English respectively). A full list of contents for the German edition is in- cluded in the Bibliography. Due to problems with the original translations, I have referred almost exclusively to the German text. Footnote citations include only the relevant author or editor and the date and page of the edition consulted. Where the original date of publication is significant, this has been given in round brackets. Translations are my own, except where an English translation is cited in the bibliography. Other abbreviations employed are as follows: AfM Archiv f¨ur Musikwissenschaft CMR Contemporary Music Review JMT Journal of Music Theory MGG Die Musik in Geschichte und Gegenwart MQ Musical Quarterly MT Musical Times NZfM New Zeitschrift f¨ur Musik PNM Perspectives of New Music UE Universal Edition WDR Westdeutscher Rundfunk ZfM Zeitschrift f¨ur Musik © Cambridge University Press www.cambridge.org.
Recommended publications
  • Party Pieces to Find a Pathway Through It So That I Have Some Feeling for the Shape and the Climaxes
    For most people, reaching the age of 60 is a signal to take two of the pieces had arrived - Henze’s intriguingly-titled things easy, to enjoy the benefits of free travel or take that Scorribanda pianistica, and Olicantus, a slow ragtime from world cruise you’d always promised yourself. But pianist George Benjamin, a composer whose music Crossley has Paul Crossley will spend his 60th birthday on 17 May long championed. All five commissions have their origins giving a recital in the Wigmore Hall. The first half of the in their composers’ orchestral output. Scorribanda recital comprises premieres of five new works pianistica, roughly translated as ‘pianistic raiding-party”, commissioned by Crossley and in the second half he plays plunders an earlier orchestral work by Henze which itself one of his party-pieces - Debussy’s Preludes Book 2. It is a raided material from an even earlier work. The title of very Salonen’s piece is Scheggia, literally ‘fragment or ‘chip’ (as in ‘chip off the old block). How does Crossley tackle a new piece once it has dropped on to the doormat? ‘I do what I always do. I hack my way through the jungle from beginning to end. I have Party pieces to find a pathway through it so that I have some feeling for the shape and the climaxes. Then I get down to details.’ Pianist Paul Crossley special birthday present to himself from a pianist Crossley considers himself very fortunate that his whose profile is perhaps not so high as it once was. playing career happened at the right time and concedes has commissioned five There have been three constants in Crossley’s pub- that it’s far harder for a young performer these days to lic pianistic life: the French repertoire and the music carve a niche.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17523/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998).
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Clarkes Direkter, Leidenschaftlicher Musik Welker Uraufgeführt
    570429bk EU 14/9/07 3:46 pm Page 8 gestört. Black Fire wurde in Tuscaloosa, Alabama, unter Es ist nicht nötig, etwas von diesen Dingen zu wis- der Leitung des inzwischen verstorbenen Gerald Loren sen, um sich an Clarkes direkter, leidenschaftlicher Musik Welker uraufgeführt. erfreuen zu können; er aber hält es nicht für nötig, seine Einige Zeit nach der Premiere stellte Clarke fest, dass Anregungen zu verbergen und spricht immer freimütig er, ohne es zu wissen, schon ein Vorspiel zu diesem Stück von den „Auslösern“, die ihn faszinieren und inspirieren. geschrieben hatte – in Gestalt seines frühen Trompeten- werkes Premonitions. Dieses wurde zu einer passenden, Nigel an Ives erinnernden Frage und geht als Auftakt dem Klang Stella Wilson und der Wut von Black Fire voran. Deutsche Fassung: Cris Posslac CLARKE Samurai • Black Fire The Miraculous Violin Peter Sheppard Skærved, Violin Ivan Hutchinson, Trumpet Band of HM Royal Marines, Plymouth Longbow Band of HM Royal Marines, Plymouth, conducted by Lt Col Chris Davis, recording Black Fire with Lt Col Chris Davis Peter Sheppard Skærved at HMS Raleigh, Plymouth. 8.570429 8 570429bk EU 14/9/07 3:46 pm Page 2 Nigel Clarke (b.1960) Dieser informatorische Ansatz bildet auch die 1995 erhielt Nigel Clarke den Auftrag zu Samurai für Pernambuco · The Miraculous Violin · Loulan · Samurai · Premonitions · Black Fire Grundlage von Pernambuco, dem ältesten Violinstück Timothy Reynish und das symphonische Blasorchester auf dieser CD. Clarke nahm sich vor, ein Werk über den des Royal Northern College of Music im nordenglischen Nigel Clarke began his musical career as a military Andelko Krpan leant over to Sheppard Skærved.
    [Show full text]
  • Academiccatalog 2017.Pdf
    New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland, June 2016. #e information herein is subject to change and amendment without notice. Table of Contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-57 Academic Regulations and Information 59-61 Health Services and Residence Hall Information 63-69 Financial Information 71-85 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 87 Music-in-Education Concentration 89-105 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Diploma Professional String Quartet Training Program Professional
    [Show full text]
  • The Critical Reception of Tippett's Operas
    Between Englishness and Modernism: The Critical Reception of Tippett’s Operas Ivan Hewett (Royal College of Music) [email protected] The relationship between that particular form of national identity and consciousness we term ‘Englishness’ and modernism has been much discussed1. It is my contention in this essay that the critical reception of the operas of Michael Tippett sheds an interesting and revealing light on the relationship at a moment when it was particularly fraught, in the decades following the Second World War. Before approaching that topic, one has to deal first with the thorny and many-sided question as to how and to what extent those operas really do manifest a quality of Englishness. This is more than a parochial question of whether Tippett is a composer whose special significance for listeners and opera-goers in the UK is rooted in qualities that only we on these islands can perceive. It would hardly be judged a triumph for Tippett if that question were answered in the affirmative. On the contrary, it would be perceived as a limiting factor — perhaps the very factor that prevents Tippett from exporting overseas as successfully as his great rival and antipode, Benjamin Britten. But even without that hard evidence of Tippett’s limited appeal, the very idea that his Englishness forms a major part of his significance could in itself be a disabling feature of the music. We are squeamish these days about granting a substantive aesthetic value to music on the grounds of its national qualities, if the composer in question is not safely locked away in the relatively remote past.
    [Show full text]
  • The Operas of Michael Tippett : the Inner Values of Tippett As Portrayed
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The Operas of Michael Tippett: The Inner Values of Tippett as Portrayed by Selected Female Characters A thesis presented in fulfilment of the requirements for the degree of Master of. Philosophy Ill Music at Massey University, New Zealand Julie Jackson-Tretchikoff 2006 for my cfear li:us6ancf (l)imitri wno nas wnofe-neartec[(y encouragecf me to pursue a [ifefong cfream Abstract Sir Michael Kemp Tippett (1905-1998) was a British composer who wrote five operas. This dissertation explores the dramatic and musical presentation of five selected female characters, one from each of Tippett's operas: Sosostris (alto) The Midsummer Marriage (1955); Helen (mezzo-soprano) King Priam (1962); Denise ( dramatic soprano) The Knot Garden (1970); Hannah (rich mezzo) The Ice Break (1977); Jo Ann (lyric soprano) New Year (1989). It is argued that each of the five selected characters portrays Tippett' s inner values of humanitarianism, compassion, integrity and optimism. The dissertation focuses on certain key moments in each opera with an analysis of a central aria. Due to the writer's interest in the performance aspect of these operas, discussion centres on melody, the timbre of voice-types linked with instrumentation, rhythm, word­ setting and the vexed question of Tippett's libretti. 11 Acknowledgements I would particularly like to acknowledge the assistance and encouragement given to me by my UK supervisor, Dr Claire Seymour.
    [Show full text]
  • Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century.
    [Show full text]
  • The Late Choral Works of Igor Stravinsky
    THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5.
    [Show full text]
  • Michael Finnissy (Piano)
    MICHAEL FINNISSY (b. 1946) THE HISTORY OF PHOTOGRAPHY IN SOUND CD1: 1 Le démon de l’analogie [28.29] 2 Le réveil de l’intraitable réalité [20.39] Total duration [49.11] CD2: 1 North American Spirituals [23.41] 2 My parents’ generation thought War meant something [35.49] Total duration [59.32] CD3: 1 Alkan-Paganini [13.37] 2 Seventeen Immortal Homosexual Poets [34.11] 3 Eadweard Muybridge-Edvard Munch [26.29] Total duration [74.18] CD4: 1 Kapitalistisch Realisme (met Sizilianische Männerakte en Bachsche Nachdichtungen) [67.42] CD5: 1 Wachtend op de volgende uitbarsting van repressie en censuur [17.00] 2 Unsere Afrikareise [30.35] 3 Etched bright with sunlight [28.40] Total duration [76.18] IAN PACE, piano IAN PACE Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society and the avant-garde. He was born in Hartlepool, England in 1968, and studied at Chetham's School of Music, The Queen's College, Oxford and, as a Fulbright Scholar, at the Juilliard School in New York. His main teacher, and a major influence upon his work, was the Hungarian pianist György Sándor, a student of Bartók. Based in London since 1993, he has pursued an active international career, performing in 24 countries and at most major European venues and festivals. His absolutely vast repertoire of all periods focuses particularly upon music of the 20th and 21st Century. He has given world premieres of over 150 pieces for solo piano, including works by Julian Anderson, Richard Barrett, James Clarke, James Dillon, Pascal Dusapin, Brian Ferneyhough, Michael Finnissy (whose complete piano works he performed in a landmark 6- concert series in 1996), Christopher Fox, Volker Heyn, Hilda Paredes, Horatiu Radulescu, Frederic Rzewski, Howard Skempton, Gerhard Stäbler and Walter Zimmermann.
    [Show full text]
  • Performer's Guide to Michael Tippett's the Blue Guitar Orlando Roman
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Performer's Guide to Michael Tippett's the Blue Guitar Orlando Roman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC PERFORMER’S GUIDE TO MICHAEL TIPPETT’S THE BLUE GUITAR By ORLANDO ROMAN A Treatise submitted to the School of Music In partial fulfillment of the Requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2003 The members of the Committee approve the treatise of Orlando Roman, defended on April 25, 2003. _______________________________ Charles Brewer Professor directing Treatise _______________________________ Bruce Holzman Committee Member _______________________________ Larry Gerber Committee Member ________________________________ James Streem Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Examples………………………………………………………………………... iv Abstract………………………………………………………………………………...... vi INTRODUCTION…………………………………………………………………...….. 1 1. THE OLD GUITARIST……………………………………………………………… 2 2. THE MAN WITH THE BLUE GUITAR…………………………………………..… 9 3. MICHAEL TIPPETT………………………………………………………………... 17 4. THE BLUE GUITAR……………………………………………………………….. 33 BIBLIOGRAPHY…………………………………………………………………… 48 DISCOGRAPHY……………………………………………………………………. 50 BIOGRAPHICAL SKETCH………………………………………………………... 51 iii LIST OF EXAMPLES 1. Tippett, The Blue Guitar, “Transforming,” m. 5 and m. 13……………………...… 35 2. Tippett, The Blue Guitar, “Transforming,” mm. 17-19………………………...….. 35 3. Tippett, The Blue Guitar, “Transforming,” m. 23 and m. 24…………………...….. 37 4. Tippett, The Blue Guitar, “Transforming,” m. 31…………………………….…… 37 . 5. Tippett, The Blue Guitar, “Transforming,” m. 36 and m. 45…………………...….. 38 6. Tippett, The Blue Guitar, “Transforming,” mm. 54-56………………………...….. 38 7. Tippett, The Blue Guitar, “Transforming,” m. 57……………………………...….. 38 8.
    [Show full text]
  • A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N.
    [Show full text]