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James Rolfe's Vocal Chamber Music: a Performance Analysis and Interpretation

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James Rolfe's Vocal Chamber Music: a Performance Analysis and Interpretation Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-23-2019 12:00 PM James Rolfe's Vocal Chamber Music: A Performance Analysis and Interpretation Laura Duffy The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Co-Supervisor Hess, John The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Laura Duffy 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Duffy, Laura, "James Rolfe's Vocal Chamber Music: A Performance Analysis and Interpretation" (2019). Electronic Thesis and Dissertation Repository. 6450. https://ir.lib.uwo.ca/etd/6450 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This study examines three vocal chamber works by Canadian composer James Rolfe (b. 1961). Rolfe's vocal chamber music is examined through analysis of text setting, melodic, rhythmic, and harmonic components of his compositional style in vocal writing. Specific performance requirements and vocal considerations of each selected work are then provided. This study demonstrates Rolfe’s substantial contributions to Canadian vocal chamber music and provides specific information to guide vocalists and educators through the process of learning and performing this music; highlighting his specific contributions to the genre. The goal of this research is to increase awareness of Rolfe's vocal chamber music, both from an analytic and performance viewpoint. This exploration seeks to contribute to information of an important Canadian composer and foster performances of Canadian vocal chamber music, and spur further research and performances of this music. ii Keywords James Rolfe, Canadian Composer, Canadian Vocal Chamber Music, Singing, Analysis, Twenty-first Century Music, Contemporary Classical Music, Vocalist, Performance Guide, Canada, Ontario, Toronto, Walt Whitman, Arthur Rimbaud, Simon & Garfunkel, Public Enemy iii Summary for Lay Audience This study examines three vocal chamber works by Canadian composer James Rolfe (b. 1961). Vocal chamber music is a form of music composed for a small group of instrumentalists and vocalists. Rolfe's vocal chamber music is examined through an analysis of musical and textural aspects to provide performers information of musical interpretation and musical technique. This study demonstrates Rolfe’s substantial contributions to Canadian vocal chamber music and provides specific information to guide vocalists and musical educators through the process of learning and performing this music; highlighting Rolfe’s specific contributions to the genre. This exploration seeks to contribute to information of an important Canadian composer and foster performances of Canadian vocal chamber music, and spur further research and performances of this music. iv Acknowledgments First and foremost, I must acknowledge James Rolfe for composing such charming music that prompted me to undertake this document. I would like to express my deepest thanks to my co-supervisors Dr. Catherine Nolan and Dr. John Hess, and my second reader Patricia Green, for supporting and encouraging my work and shaping the development of this monograph. As well as her role as second reader, I would like to thank Patricia Green, my voice teacher of seven years, for her unwavering support, mentorship, and guidance through my graduate studies. Also, I want to thank my talented collaborator and pianist Samantha Lee for making beautiful music with me on my performance milestones and numerous recitals. A great deal of gratitude is owed to my good friends and fellow doctoral candidates Stephanie Higgins, soprano and Amelia Yates, pianist. Always available to read drafts, they have been supportive editors during this process. A special thank you to my very best friend Katelyn Dolan, a lover of non-classical music genres, but who feigns interest in my research and travels far distances to see me perform and cheer loudly anyways. To my parents—Barbara and Peter – and my brother Michael, I can say with certainty that none of this would have been possible without your help and support for me, emotionally and scholastically. Finally, thank you to my biggest fan, Joshua, for loving me and helping me through this document and this degree with my sanity more or less intact. v Table of Contents Abstract ...............................................................................................................................ii Keywords ………………………………………………………………………………...iii Summary for Lay Audience ..............................................................................................iv Acknowledgments ...……………………………………………………………………...v Table of Contents ..............................................................................................................vi List of Tables .....................................................................................................................ix List of Figures ....................................................................................................................x List of Appendices ...........................................................................................................xiv Preface ...…………………………………………………………………………....……xv Chapter One: Introduction ..............................................................................................1 1.1 Need for Study and Significance………………………………………….3 1.2 Literature Review........................................................................................5 1.3 Monograph Methodology..........................................................................12 Chapter Two: Biography and Musical Style ................................................................16 2.1 Biography……………………………………………………………......16 Early Years………………………………………….………...…16 Musical Education.…………………………………....................17 Continuing Education and Compositional Career……………….19 2.2 Musical Style ............................................................................................25 Influences ......................................................................................25 Text Setting………………………………………………………26 Rhythm …………………………………………………………..28 Melody ………………………………………………………….. 29 Harmony and Texture………………………………….............…30 2.3 Performance Guide Methodology ..……………………….………….….30 Chapter Three: Six Songs Performance Guide ............................................................32 3.1 Background………………………………………………………….……….32 3.2 Poet and Poetry: Walt Whitman and Leaves of Grass…………………….....35 3.3 Performance Guide…………………………………………………………..38 vi General Vocal Considerations………………………………………..….38 Outline of Six Songs Structure…………………………………………...39 Song One: “I heard you” ……………………………………………..….40 Poetry Analysis and Interpretation…………………………..…...41 Musical Analysis and Interpretation…………………….……….41 Vocal Considerations…………………………………….………46 Song Two: “Not heaving from my ribb’d breast only”………………….47 Poetry Analysis and Interpretation……………………………….48 Musical Analysis and Interpretation……………………………..49 Vocal Considerations…………………………………………….53 Song Three: “O you whom I often and silently come”…………………..56 Poetry Analysis and Interpretation……………………………….56 Musical Analysis and Interpretation……………………...……...57 Vocal Considerations…………………………………...………..60 Song Four: “Trickle drops” …………………………………...…………61 Poetry Analysis and Interpretation………………………...……..62 Musical Analysis and Interpretation………………...…………...63 Vocal Considerations………………………………...…………..66 Song Five: “One hour to madness and joy”………………...……………67 Poetry Analysis and Interpretation…………...…………………..68 Musical Analysis and Interpretation……………..……………....69 Vocal Considerations………………………………..…………...75 Song Six: “A clear midnight”……………………………..……………..76 Poetry Analysis and Interpretation………………..……………..77 Musical Analysis and Interpretation………………………..……78 Vocal Considerations………………………………………….....79 Six Songs Summary………………………………………………..……..80 Chapter Four: Phrases Performance Guide .................................................................82 4.1 Background……………………………………………………………….….82 4.2 Poet and Poetry: Arthur Rimbaud and Les Illuminations.…………………...84 4.3 Performance Guide…………………………………………………………..86 Poetry Analysis and Interpretation………………………………………86 Musical Analysis and Interpretation……………………………………. 87 Vocal Considerations…………………………………………………...104 Phrases Summary………………………………………………………108 Chapter Five: Simon & Garfunkel and The Prophets of Rage Performance Guide 109 5.1 Background………………………………………………………………....109 5.2 Public Enemy and the Background of the song “Burn Hollywood Burn”....112 5.3 Folk Duo Simon & Garfunkel and the Background of the Song “America”……………………………………………………………………....114 5.4 Performance Guide…………………………………………………………115 Lyric Analysis and Interpretation…………………………………...….115 vii Outline of Simon & Garfunkel and the Prophets of Rage Structure…...116 Performance Instructions ……………………………………………....117 Musical Analysis and Interpretation…………………………………....119 Vocal Considerations………………………………………………...…127 Simon & Garfunkel and The Prophets of Rage Summary.......................133
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