DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library
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DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library Date: 12/03/2019 DMA Option (circle): 2 [thesis] or 3 [scholarly essay] Your full name: Bora Ryu Full title of Thesis or Essay: A COMPARATIVE STUDY OF FRANK BRIDGE'S CHARACTER PIECES FOR PIANO FROM THE 1910S AND 1920S AND CHARACTER PIECES BY HIS CONTEMPORARIES ARNOLD BAX, CYRIL SCOTT, AND JOHN IRELAND Keywords (4-8 recommended) Please supply a minimum of 4 keywords. Keywords are broad terms that relate to your thesis and allow readers to find your work through search engines. When choosing keywords consider: composer names, performers, composition names, instruments, era of study (Baroque, Classical, Romantic, etc.), theory, analysis. You can use important words from the title of your paper or abstract, but use additional terms as needed. 1. _________________________________Frank Bridge 2. _________________________________Character pieces 3. _________________________________Arnold Bax 4. _________________________________Cyril Scott 5. _________________________________John Ireland 6. _________________________________1910s and 1920s 7. _________________________________comparative analysis 8. _________________________________piano If you need help constructing your keywords, please contact Dr. Tharp, Director of Graduate Studies. Information about your advisors, department, and your abstract will be taken from the thesis/essay and the departmental coversheet. A COMPARATIVE STUDY OF FRANK BRIDGE’S CHARACTER PIECES FOR PIANO FROM THE 1910S AND 1920S AND CHARACTER PIECES BY HIS CONTEMPORARIES ARNOLD BAX, CYRIL SCOTT, AND JOHN IRELAND BY BORA RYU THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2019 Urbana, Illinois Doctoral Committee: Professor William Heiles, Chair Associate Professor Reynold Tharp, Director of Research Research Scholar Susan Parisi Associate Professor Dana Robinson ABSTRACT This thesis compares character pieces of Frank Bridge (1879-1941) to those of his British contemporaries Arnold Bax (1883-1953), Cyril Scott (1879-1970), and John Ireland (1879-1962). Musical elements examined include motives, chord constructions, harmonic syntax, rhythm and meter changes, form, pedal points, and pianistic writing. These comparisons then serve to facilitate an exploration of how Bridge’s character pieces differ from the early-twentieth-century mainstream. The thesis is in four chapters. The first chapter introduces the study and sets out the methodology employed. The second contains biographical sketches of the composers, and a survey of their musical languages. Chapter 3 comprises a detailed comparative analysis that focuses on the musical elements introduced earlier; and the final chapter summarizes some new findings. This chapter also suggests directions for future study, and comments on the pedagogic use of character pieces of this sort. ii TABLE OF CONTENTS LIST OF FIGURES…………………………………….……………………………………...….v LIST OF TABLES………………………………………..………………………………………ix CHAPTER ONE: INTRODUCTION……………………………………………………………..1 1.1 General Introduction to the Study..……….…………………….……………….. 1 1.2 Literature Review….…………………………………………………………..….2 1.3 Methodology…………………………………………………………………..….6 CHAPTER TWO: BRIDGE AND HIS CONTEMPORARIES AND THEIR CHARACTER PIECES………………………………………………………..8 2.1 Frank Bridge: His Life and Music………………………..……….……………...8 2.2 Arnold Bax, Cyril Scott, John Ireland: Their Lives and Music…….....………...10 2.3 Overview of Selected Character Pieces …………………………….…..……....13 CHAPTER THREE: MUSICAL ANALYSIS: COMPARISON OF FRANK BRIDGE’S CHARACTER PIECES TO THOSE OF ARNOLD BAX, CYRIL SCOTT, AND JOHN IRELAND………………………………………………...20 3.1 Use of Motives ………………………………………………….………………20 3.2 Chord Construction ………………………………………………………...….. 24 3.3 Harmonic Syntax….………………………………………..…….………...……50 3.4 Rhythm and Meter Changes …………………………………………………….64 3.5 Form……………………………………………………………………………..72 3.6 Pianistic Writing from Impressionistic Music…………………..…………........80 3.7 Summary ………………………….......................................................................87 iii CHAPTER FOUR: CONCLUSION……………………………………………………………..90 BIBLIOGRAPHY………………………………………………………………………..…..…..92 iv LIST OF FIGURES Figure 1: Bridge, Bittersweet from Four Characteristic Pieces, mm. 1-8………………………21 Figure 2: Bridge, Bittersweet from Four Characteristic Pieces, mm. 36-38……………………22 Figure 3: Bridge, Bittersweet from Four Characteristic Pieces, mm. 25-28……………………22 Figure 4: Bridge, Dusk from The Hour Glass, mm.1-6………………………………………….23 Figure 5: Bridge, Fragrance from Four Characteristic Pieces, mm.1-3………………………..24 Figure 6: Bridge, The Midnight Tide from The Hour Glass, mm.1-2…………………………...25 Figure 7: Bridge, En Fête from Vignettes de Marseille, mm.124-127…………………………..25 Figure 8: Bax, Apple-Blossom-Time, mm.1-4…………………………………………………...26 Figure 9: Bax, A Mountain Mood, mm. 39-46…………………………………………………...27 Figure 10: Scott, The Garden of Soul-Sympathy from Poem, mm. 20-22……………………….28 Figure 11: Ireland, February’s Child, mm. 12-14……………………………………………….28 Figure 12: Bridge, Water Nymphs from Four Characteristic Pieces, mm.1-2…………………..29 Figure 13: Bridge, Water Nymphs from Four Characteristic Pieces, mm. 9-11………………...30 Figure 14: Bridge, Carmelita from Vignettes de Marseille, mm.1-2…………………………….31 Figure 15: Bridge, Fireflies from Four Characteristic Pieces, mm.1-3…………………………32 Figure 16: Bridge, En Fête from Vignettes de Marseille, mm.112-119…………………………33 Figure 17: Bax, A Mountain Mood, mm. 57-59………………………………………………….33 Figure 18: Bax, In a Vodka Shop, mm. 78-83…………………………………………………...34 Figure 19: Scott, Sphinx, mm. 62-70…………………………………………………………….35 Figure 20: Scott, The Twilight of the Year from Poems, mm. 22-29…………………………….35 Figure 21: Ireland, Soliloquy, mm. 7-9…………………………………………………………..36 Figure 22: Ireland, Soliloquy, mm. 26-28………………………………………………………..36 v Figure 23: Ireland, The Island Spell from Decorations, mm. 99-101……………………………37 Figure 24: Ireland, The Scarlet Ceremonies from Decorations, mm.100-103…..………………37 Figure 25: Ireland, The Scarlet Ceremonies from Decorations, mm.51-53………..……………37 Figure 26: Debussy, La Cathédrale engloutie, mm. 1-4…………………………………………38 Figure 27: Bridge, Dusk from The Hour Glass, mm. 14-18…...…………..……….……………39 Figure 28: Bridge, Carmelita from Vignettes de Marseille, mm. 1-4…………………………....40 Figure 29: Bridge, Nicolette from Vignettes de Marseille, mm. 24-29………………………….40 Figure 30: Bridge, Bittersweet from Four Characteristic Pieces, mm. 1-4……………………..41 Figure 31: Bridge, Bittersweet from Four Characteristic Pieces, mm. 9-12……………………41 Figure 32: Bridge, Fragrance from Four Characteristic Pieces, mm. 7-8……………………...42 Figure 33: Bax, A Hill-Tune, mm. 51-52………………………………………………………...43 Figure 34: Bax, Winter Waters, mm. 64-67……………………………………………………...43 Figure 35: Bax, Winter Waters, mm. 98-101…………………………………………………….44 Figure 36: Scott, Bells from Poems, mm. 1-4……………………………………………...…….45 Figure 37: Scott, Bells from Poems, mm. 44-50…………………………………………………45 Figure 38: Scott, Paradise-Birds from Poems, mm. 41-42………………………………...……46 Figure 39: Scott, The Garden of Soul-Sympathy from Poems, mm. 42-44……………………...46 Figure 40: Ireland, Chelsea Reach from London Pieces, mm. 14-17……………………………47 Figure 41: Ireland, Chelsea Reach from London Pieces, mm. 30-33……………………………48 Figure 42: Ireland, The Scarlet Ceremonies from Decorations, mm. 67-71.................................48 Figure 43: Ireland, April, mm. 29-32…………………………………………………………….49 Figure 44: Bridge, Fragrance from Four Characteristic Pieces, mm. 18-22……………...……51 Figure 45: Bridge, The Midnight Tide from The Hour Glass, mm. 16-20………………………52 vi Figure 46: Bax, A Mountain Mood, mm.1-8……………………………………………………..52 Figure 47: Delius, Sonata for Violin and Piano no.2, mm. 17-18……………………………….53 Figure 48: Bax, A Hill-Tune, mm. 24-26………………………………………………………...53 Figure 49: Scott, Sphinx, mm. 5-8……………………………………………………………….54 Figure 50: Scott, Jocund Dance, mm. 61-68…………………………………………………….55 Figure 51: Ireland, Soliloquy, mm. 7-11…………………………………………………………55 Figure 52: Ireland, February’s Child, mm. 71-74……………………………………………….56 Figure 53: Debussy, Reflets dans l'eau, mm. 1-2………………………………………………..57 Figure 54: Bridge, Dusk from The Hour Glass, mm. 45-48……………………………………..57 Figure 55: Bridge, Fragrance from Four Characteristic Pieces, mm. 27-33…………………...58 Figure 56: Bridge, Bittersweet from Four Characteristic Pieces mm. 58-61…………………...59 Figure 57: Bax, A Hill-Tune, mm. 46-48………………………………………………………...59 Figure 58: Bax, A Mountain Mood, mm. 36-38………………………………………………….60 Figure 59: Bax, Apple-Blossom-Time, mm. 75-80………………………………………………61 Figure 60: Bax, Apple-Blossom-Time, mm. 1-2…………………………………………………61 Figure 61: Scott, Bells from Poems, mm. 83-103……………………………………..…………62 Figure 62: Ireland, Chelsea Reach from London Pieces, mm. 30-33……………………………62 Figure 63: Ireland, February’s Child, mm. 50-54……………………………………………….63 Figure 64: Ireland, The Island Spell from Decorations, mm. 96-105……………………………64 Figure 65: Bridge, Fragrance from Four Characteristic Pieces, mm. 9-14…………………….65 Figure 66: Bridge, Carmelita from Vignettes de Marseille, mm. 86-98…………………………65 Figure 67: Bridge, En Fête from Vignettes de Marseille, mm. 1-8…………………………...…66 Figure 68: Bridge, En Fête from Vignettes de Marseille, mm.124-127…………………………67 vii Figure 69: Bax, In a Vodka Shop, mm. 1-3……………………………………………………...67 Figure 70: