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Horn and Live Electronics a Survey of and a Performance Guide for A

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Horn and Live Electronics a Survey of and a Performance Guide for A HORN AND LIVE ELECTRONICS A SURVEY OF AND PERFORMANCE GUIDE FOR A NEGLECTED REPERTOIRE Garrett Nathaniel Krohn A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS May 2021 Committee: Andrew Pelletier, Advisor Carolyn Tompsett Graduate Faculty Representative Ryan Ebright Nora Engebretsen © 2021 Garrett Krohn All Rights Reserved iii ABSTRACT Andrew Pelletier, Advisor The purpose of this document is to explore works written for horn and live electronics. This repertoire is considerably smaller compared to other instruments’ and the existing pieces are not widely considered to be part of the standard repertoire. The author’s intention is that this document will raise an awareness of the sonic possibilities of this genre to promote performances of the existing pieces and inspire new commissions. Eight pieces were obtained via the composers and are analyzed from the viewpoint of both performer and pedagogue. This document explores Silhouettes, Receding (2012) by Jay Batzner (b.1974) for Bruce Bonnell, Ghost Circles (2013) by Jay Batzner for Bruce Bonnell, Recombinant Serenade (2013) by Christopher Biggs (b.1979) for Lin Foulk Baird, Nisi (2012) by Kevin Ernste (1973) for Adam Unsworth, Horn Call (1976) by Randall Faust (1947), Gently Weep (2009) by Thomas Hundemer, Zylamander (2011) by Russell Pinkston (b. 1949) for Luke Zyla, and Pulsar [Variant I] (2013) by Seth Shafer. iv For Hannah v ACKNOWLEDGMENTS I would like to thank all of the composers who graciously sent me the scores and electronics for their precious works. Each and every one of them was a pleasure to interact with and it was an honor to analyze such incredible pieces. Thank you as well to the commissioners/ performers of these works, who were very helpful in my research and analysis. Thank you to my committee for helping me through this process, especially to my chair and mentor Dr. Andrew Pelletier. He has helped me in more ways than I can list, and I am forever grateful for all he has done for me over the past 5 years of studying with him. Last but not least I want to thank my family for always believing in me. To my mom and dad, Brett and Melissa, thank you for supporting me in my interests and always encouraging me to be the best person I can be. I want to give the biggest thank you to my beautiful wife, Hannah. You have been my cheerleader and my rock through life. I cannot imagine this world without you, you are my everything. vi TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION ............................................................................................ 1 The Compositional Challenges of Live Electronics ..................................................... 7 Overview of Softwares ................................................................................................. 11 Pieces Reviewed ........................................................................................................... 13 CHAPTER II. COMPOSERS AND PERFORMERS ............................................................. 15 Batzner, Jay Silhouettes, Receding and Ghost Circles ................................................. 15 Biggs, Christopher Recombinant Serenade .................................................................. 18 Ernste, Kevin Nisi ......................................................................................................... 20 Faust, Randall Horn Call .............................................................................................. 22 Hundemer, Thomas Gently Weep ................................................................................. 23 Pinkston, Russell Zylamander ...................................................................................... 24 Shafer, Seth Pulsar [Variant 1] .................................................................................... 25 CHAPTER III. A SURVEY OF AND PERFORMANCE GUIDE FOR THE REPERTOIRE ... 27 Method of Analysis ...................................................................................................... 27 Average Pitch ................................................................................................... 27 Average Pitch Weighted for Duration .............................................................. 28 Average Interval ............................................................................................... 28 Order of Composition ....................................................................................... 28 Batzner, Jay Ghost Circles ........................................................................................... 30 Overview .................................................................................................. 30 Horn Part .................................................................................................. 31 Electronics .................................................................................................. 32 vii Performance Considerations and Practice Recommendations ......................... 32 Articulation Exercises .......................................................................... 33 Upper Register ...................................................................................... 33 Bb4 .................................................................................................. 33 Biggs, Christopher Recombinant Serenade .................................................................. 34 Overview .................................................................................................. 34 Horn Part .................................................................................................. 37 Electronics .................................................................................................. 37 Performance Considerations and Practice Recommendations ......................... 38 Drum Beats ........................................................................................... 38 Vocalize Rhythms ................................................................................ 38 Low Range Flexibility .......................................................................... 38 Ascending Scales .................................................................................. 39 Shafer, Seth Pulsar [Variant 1] .................................................................................... 40 Overview .................................................................................................. 40 Horn Part .................................................................................................. 42 Electronics .................................................................................................. 43 Performance Considerations and Practice Recommendations ......................... 44 Horn Choir Section Effect .................................................................... 44 Angular Lines ....................................................................................... 44 Midrange Articulation .......................................................................... 44 Rhythmic Subdivision .......................................................................... 45 Ernste, Kevin Nisi .................................................................................................. 46 viii Overview .................................................................................................. 46 Horn Part .................................................................................................. 47 Electronics .................................................................................................. 49 Performance Considerations and Practice Recommendations ......................... 50 Coordination of On and Off Mic .......................................................... 51 Bell Coordination ................................................................................. 51 Use of Highlighters for Music .............................................................. 52 Hundemer, Thomas Gently Weep ................................................................................. 53 Overview .................................................................................................. 53 Horn Part .................................................................................................. 54 Electronics .................................................................................................. 56 Performance Considerations and Practice Recommendations ......................... 56 Natural Horn Technique ....................................................................... 56 Angular Lines ....................................................................................... 56 Batzner, Jay Silhouettes, Receding ............................................................................... 57 Overview .................................................................................................. 57 Horn Part .................................................................................................. 59 Electronics .................................................................................................. 60 Performance Considerations and Practice Recommendations ......................... 60 First Section Almost All Closed with Right Hand Technique ............. 60 Lip Trill Stopped from F-Ab ...............................................................
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