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The Wind Music of Steve Danyew: a Discussion and Analysis of Three Significant Wind Compositions

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University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 THE WIND MUSIC OF STEVE DANYEW: A DISCUSSION AND ANALYSIS OF THREE SIGNIFICANT WIND COMPOSITIONS Michael C. Black University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.388 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Black, Michael C., "THE WIND MUSIC OF STEVE DANYEW: A DISCUSSION AND ANALYSIS OF THREE SIGNIFICANT WIND COMPOSITIONS" (2017). Theses and Dissertations--Music. 100. https://uknowledge.uky.edu/music_etds/100 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Michael C. Black, Student Dr. John Cody Birdwell, Major Professor Dr. Michael R. Baker, Director of Graduate Studies THE WIND MUSIC OF STEVE DANYEW: A DISCUSSION AND ANALYSIS OF THREE SIGNIFICANT WIND COMPOSITIONS Dissertation A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Michael Cody Black Franklin, Indiana Director: Dr. John Cody Birdwell, Professor of Music Lexington, Kentucky 2017 Copyright © Michael Cody Black 2017 ABSTRACT OF DISSERTATION THE WIND MUSIC OF STEVE DANYEW: A DISCUSSION AND ANALYSIS OF THREE SIGNIFICANT WIND COMPOSITIONS Despite being active as a composer for a little less than a decade, Steve Danyew has established himself as a successful composer of wind music. Danyew has produced a surprisingly large amount of significant works for various music ensembles in a relatively short span of time. Danyew’s compositions for winds are some of his most frequently performed for any medium. Three of Danyew’s compositions for winds stand out as artistically significant, namely Lauda, Alcott Songs, and Magnolia Star. One of his first compositions for wind band, Lauda, is an award-winning work that has been performed by noteworthy ensembles throughout the country. Lauda displays Danyew’s ability to manipulate and expand on simple musical ideas, as the entire piece is developed from a few basic themes. Alcott Songs adds some diversity to Danyew’s body of work as a song cycle for chamber winds and solo soprano. The text for these songs comes from poems written by Louisa May Alcott. Danyew shows a remarkable ability to connect text and music through descriptive wind parts and frequent text painting. Magnolia Star has become Danyew’s most performed composition for winds and is inspired by both the C blues scale and the American railroad. Because of the railroad’s important role in disseminating jazz from the American south to the north, Danyew uses train sounds as a major theme in Magnolia Star, which employs, almost exclusively, notes from the C blues scale. This study provides background information and explores the inspirations and influences behind each of these three pieces. Following the introductory material, a melodic, harmonic, and formal analysis of each composition is presented, discussing the artistry and skill displayed by Danyew in each work. The author wishes to exhibit the musical value of Danyew’s compositions, demonstrating the significance of Danyew’s music in the recent history of music for winds. KEYWORDS: Steve Danyew, Wind Ensemble, Band, Chamber Winds Michael C. Black_____________________ April 21, 2017_______________________ Date THE WIND MUSIC OF STEVE DANYEW: A DISCUSSION AND ANALYSIS OF THREE SIGNIFICANT WIND COMPOSITIONS By Michael Cody Black John Cody Birdwell_________________________ Director of Dissertation Michael R. Baker___________________________ Director of Graduate Studies April 21, 2017_____________________________ ACKNOWLEDGEMENTS I must first give thanks to my Father in Heaven. I have accomplished many things in this life that no one would have ever imagined I would be capable of accomplishing. I credit this success to a Heavenly Father that knows me more intimately than I know myself, and is providing a guiding and influencing light in my life. I have had many conversations with Him through prayer and know that he is real, and that knowledge has shaped my actions and my desires. I cannot begin to express the amount of gratitude I have to my incredibly supportive wife, Caroline, and my son Cadence. I remember attending a class once in which an older fellow classmate asked what I did for a living. When I explained that I was a high school band director this classmate proceeded to tell me that her ex-husband was a band director and that she would be surprised if my marriage lasted. There was no question in my mind, then or now, that my companion would never leave my side, in this life or in the eternities. The hours I have spent working on this project have caused her, at times, to function as a single parent, but I have never heard a word of anything but encouragement. Cade has had a difficult time being separated from his father for extended periods, but every time I have finished working for the day he has greeted me with a smile, a hug, a kiss, and those immeasurably gratifying words, “I love you, Dada.” A great amount of thanks and credit is due to my parents, Mike and Rosalee Black, for always loving and supporting me, teaching me how to be a man, teaching me iii how to be a husband, teaching me how to be a father, and teaching me how I should act as a child of God. You both instilled in me a deep and abiding love for music, and had you not insisted that I try playing in band for at least one year I likely would not be writing this document or living out a career as a musician. I am forever indebted for your unconditional love, support, and encouragement. My siblings, Sirena, Richard, and LeiLani, have always challenged me to be better. You have always inspired me to give my best effort in everything I do, and provided me with a great example of Christ-like love and service for others. I am thankful that I have been so blessed to have you all as my brother and sisters in this life. I am also thankful for the wonderful family that I am lucky enough to have through marriage. The late Duane Thompson is one of the most inspirational men I have ever met, and I am so thankful for the time I got to spend with him. His wife, Joy, is a light to the world, the most caring and selfless person I have ever encountered, and a great example to me. I can’t begin to express the gratitude I have for Mr. Bruce Thompson, Dr. Jeff Bright, Dr. Robert Bailey, Dr. Jason Dovel, Dr. Norm Wika, Dr. Jeffrey Renshaw, Dr. David Mills, Mr. Scott-Lee Atchison, Mr. George Boulden, and Dr. Cody Birdwell. These men have all challenged me and trained me to be the person and musician I am today. I know that each of them have spent time pondering and considering how to help me improve, and I am so thankful for their devotion and efforts. iv I am thankful to my friends and colleagues in the music world that have worked alongside me over the years. Mr. Ward Eagleton, for his gentle kind heart, and encouraging words to a young high school band director. Amy Dauphinais, Justin McManus, and Andrew Janes for working alongside me at the University of Connecticut, and providing me with a kind and loving shoulder through difficult times in my life. From the University of Kentucky: Steve Seigel for his kind words and sense of humor, Jon Sweet for his quickly earned friendship, which I hope will last for a life time. Thank you to my committee members, Dr. Cody Birdwell, Dr. Jason Dovel, Dr. Michael Baker, and Dr. Clair Hicks, for their hours of work helping to make sure this document is thorough and scholarly. Mostly, thank you for being great mentors and advocates for my career.
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  • The 2020 Jazz Education Network Conference

    The 2020 Jazz Education Network Conference

    THE 2020 JAZZ EDUCATION NETWORK CONFERENCE JEN FEATURES ADONIS ROSE’S NEW ORLEANS! When Adonis Rose took over as artis- tic director of the New Orleans Jazz Orchestra, the group was on the verge of collapse. Through sweat, hard work and lots of faith, the drum- mer/bandleader has the 18-piece group cooking again. Witness them at the JEN Scholarship Concert on Friday night! 38 MEET THE 98 CHECKING IN ARTISTS! WITH ROXY COSS Meet the Artists is a new fea- The wicked good tenor player ture at this year’s JEN con- is also a staunch advocate for ference. During dedicat- equity in jazz. She discusses ed exhibit hours this week, how she founded the Women attendees have an opportu- In Jazz Organization, serves nity to say hello to dozens of on JEN’s Women In Jazz stars from jazz and jazz edu- Committee and strives to help cation. Just head down to create more opportunities for Elite Hall (Level 1)! women on the bandstand! WELCOME TO JEN! JEN CONFERENCE SCHEDULE 10 JEN President’s Welcome 36 Meet the Artists 12 Mayor of New Orleans’ Welcome 38 Hyatt Regency New Orleans Map 14 Meet the Sponsors 40 Tuesday, Jan. 7, Jazz Industry/Music 16 The JEN Board of Directors Business Symposium Schedule 18 JEN Initiatives 42 Tuesday, Jan. 7, JEN Conference Schedule 44 Wednesday, Jan. 8, JEN Conference Schedule 60 Thursday Jan. 9, JEN Conference Schedule Friday, Jan. 10, JEN HONOREES 78 JEN Conference Schedule 22 Scholarship Recipients 24 Composer Showcase Honorees VISIT OUR JEN EXHIBITORS! 26 Sisters In Jazz Honorees 92 Exhibitor List 28 JEN Commissioned Charts 93 Exhibition Hall Map 30 JEN Distinguished Award Honorees 94 JEN Guide Advertiser Index On the cover, clockwise from top left: Bass Extremes with Steve Bailey and Victor Wooten, The New Orleans Jazz Orchestra, the Dirty Dozen Brass Band, Bria Skonberg, Western Michigan University’s Gold Company, Chucho Valdés, the ChiArts Jazz Combo, Carmen Bradford and RJAM, Brubecks Play Brubeck, Tia Fuller and Mark Whitfield.