An Analysis of Johan De Meij's Ufo Concerto For
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AN ANALYSIS OF JOHAN DE MEIJ’S UFO CONCERTO FOR EUPHONIUM AND WIND ORCHESTRA THROUGH THE LENS OF CONDUCTOR AND SOLOIST, WITH A LIST OF ORIGINAL EUPHONIUM SOLOS ACCOMPANIED BY WIND BAND (2007-2014) A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY ISHBAH COX DR. TOM CANEVA AND DR. LINDA POHLY – DISSERTATION CO-CHAIRS BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2016 AN ANALYSIS OF JOHAN DE MEIJ’S UFO CONCERTO FOR EUPHONIUM AND WIND ORCHESTRA THROUGH THE LENS OF CONDUCTOR AND SOLOIST, WITH A LIST OF ORIGINAL EUPHONIUM SOLOS ACCOMPANIED BY WIND BAND (2007-2014) A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY ISHBAH COX DISSERTATION CO-CHAIRS: DR. TOM CANEVA AND DR. LINDA POHLY APPROVED BY: _____________________________________ ____________ Co-Chair Committee Member Date _________________________________________ ____________ Co-Chair Committee Member Date _________________________________________ ____________ Committee Member Date _________________________________________ ____________ Committee Member Date _________________________________________ ____________ Committee Member Date _________________________________________ ____________ Dean of Graduate School Date BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2016 Copyright © 2016 by Ishbah Cox All Rights Reserved v DEDICATION To my loving wife Monica for her prayers, love, and support. In loving memory of my big brother, Lavelle, who imparted so much of my passion for music. vi ACKNOWLEDGEMENTS I start my acknowledgements by honoring God. “For with Him all things are possible” (Matthew 19:26). I know that God has made available to me so many people to help me along this journey, especially my wife, Monica, who has provided inspiration, prayers, love, and belief in me. I could not have done this without her support. I sincerely want thank Johan de Meij for sharing his time, knowledge, and musicianship. He has gifted both the euphonium and the wind band with a wonderful piece. I am also grateful to Amstel Music and to him for giving me permission to insert some examples of UFO Concerto for Euphonium and Wind Orchestra so that I can tell a story about this wonderful piece. I also want to thank other members who contributed to the study via their interviews, Dr. Richard Good, and Mr. Adam Frey. I am grateful for their time and expertise. I must thank my dissertation committee beginning with both of my Co-Chairs, Dr. Tom Caneva and Dr. Linda Pohly. Thanks to Dr. Caneva for his advising, insight, and expertise within this study, but beyond that, thanks for challenging me to be a better conductor and overall musician. It has been an absolute pleasure to have him as my advisor. I want to express my gratitude to Dr. Pohly for her scholarship, insight, and attention to detail. Her work ethic motivates me to become a better scholar, and her passion and commitment to the academy and to music students in our department inspires me to do the same. I also express my gratitude to my committee members: Dr. Mark Mordue, for his insight to the pedagogical and performing concerns within this study and for pushing me to be a better performer and a professional; Professor Douglas Droste, for his insight to the conducting and teaching perspective of this study; Dr. Rachel Kraus, for her knowledge and insight shared and Dr. Jarka Popovikova, for her committee membership during my proposal and exam process. vii I want to thank every professor with whom I spent time at Ball State University. I would like to acknowledge Dr. Shawn Vondran, Professor Matthew Lyon, and Dr. Jody Nagel for their selflessness and expertise in the areas of conducting, performance and theory, respectively. Thanks also to Mrs. Linda Elliott and Mrs. Kathryn McPherson for their extra efforts of communication with me during the graduate school process and for working through logistics on my behalf. There have been many prayers, phone calls, and encouragement for me from my family. I acknowledge my Father and Mother, Mr. Ruben and Mrs. Lynn Cox; my youngest brother, Jasher Cox; my oldest brother Lavelle Cox (Rest In Peace); and my father- and mother-in-law, Mr. Jimmy and Mrs. Teresa Farmer. I also want to thank my Pastor and his wife, Julius and Carol Stephens for their spiritual guidance and many prayers. I want to thank all of my former music teachers including Mr. Kenneth Hall, Ms. Cindy Salter, Dr. Richard Good, Dr. Johnnie Vinson, and Mr. Mike Dunn. I also want to thank the support of my colleagues at Purdue University for their support, with special gratitude to Jay Gephart and Mo Trout for assisting me as I worked full time while pursuing this degree. I also want to acknowledge a few of my friends and colleagues who offered me support during this journey: Ward Miller, Craig Aarhus, Demondrae Thurman, Charles Reader, Scott Hippensteel, Roby George, Rodney Dorsey, Pam Nave, Max Jones, Matt Conaway, Pat Newton, Joy McEwen, Courtney Downey, and Janet Baker. I appreciate every kind word and source of inspiration during this process. I am humbled and grateful to all who have endorsed, supported, and contributed to my success through this journey, and I dedicate this work to them. viii CONTENTS LIST OF TABLES ......................................................................................................................... xi LIST OF EXAMPLES .................................................................................................................. xii CHAPTER 1. INTRODUCTION TO STUDY .................................................................................................. 1 Brief Biography of Johan de Meij .................................................................................................. 3 Purpose of Study ............................................................................................................................. 4 Review of Literature ....................................................................................................................... 6 Review of Dissertations .................................................................................................................. 7 Review of Books ........................................................................................................................... 11 Review of Websites ...................................................................................................................... 14 Review of Other Sources .............................................................................................................. 15 Details of the Methodology .......................................................................................................... 16 Details about Interviews ............................................................................................................... 16 Details about Analysis .................................................................................................................. 17 Detail of the Chapters ................................................................................................................... 19 Content of Appendices .................................................................................................................. 20 2. BACKGROUND INFORMATION ........................................................................................ 21 Biographical Sketch of Johan de Meij .......................................................................................... 21 Biographical Sketch of Jason Ham ............................................................................................... 22 Biographical Sketch of Richard Good .......................................................................................... 23 Biographical Sketch of Adam Frey ............................................................................................... 24 Background Information on UFO Concerto for Euphonium and Wind Orchestra ...................... 25 ix 3. FORMAL ANALYSIS OF UFO ............................................................................................. 32 Identification of Themes and Formal Structure ............................................................................ 32 Movement I Melody and Form ..................................................................................................... 33 Movement II Melody and Form .................................................................................................... 35 Movement III Melody and Form .................................................................................................. 38 Movement IV Melody and Form .................................................................................................. 40 Movement V Melody and Form ................................................................................................... 42 Harmonic Use of de Meij Chord/Gamelan Chord ........................................................................ 43 Movement I Harmonic Analysis ................................................................................................... 47 Movement II Harmonic Analysis .................................................................................................. 49 Movement III Harmonic Analysis ................................................................................................ 51 Movement IV Harmonic