Social Consciousness in Wind Band Music of the Early 21St Century, Represented
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SOCIAL CONSCIOUSNESS IN WIND BAND MUSIC OF THE EARLY 21ST CENTURY, REPRESENTED THROUGH A STUDY OF THREE WIND BAND WORKS: SYMPHONY NO. 2-MIGRATION BY ADAM SCHOENBERG, SILVER LINING-CONCERTO FOR FLUTE AND WIND ENSEMBLE BY FRANK TICHELI, AND OF OUR NEW DAY BEGUN BY OMAR THOMAS Jack A. Eaddy Jr., B.M.E, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2019 APPROVED: Eugene Migliaro Corporon, Major Professor Dennis Fisher, Committee Member Donna Emmanuel, Committee Member Nicholas E. Williams, Committee Member Warren Henry, Committee Member Richard Sparks, Chair of the Division of Conducting and Ensembles Felix Olschofka, Interim Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Eaddy Jr., Jack A. Social Consciousness in Wind Band Music of the Early 21st Century, Represented through a Study of Three Wind Band Works: “Symphony No. 2-Migration” by Adam Schoenberg, “Silver Lining-Concerto for Flute and Wind Ensemble” by Frank Ticheli, and “Of Our New Day Begun” by Omar Thomas. Doctor of Musical Arts (Performance), August 2019, 196 pp., 2 tables, 9 figures, 167 musical examples, 6 appendices, bibliography, 87 titles. The wind band provides an outlet for composers to use their platform to reach performers, enlighten audiences, and heal communities. This document is an analysis of three composers’ approach to incorporate social consciousness in their wind band music. Adam Schoenberg, Omar Thomas, and Frank Ticheli work with specific social justice issues to respond to specific events, allowing them to reach and empower performers and audiences, to heal, thrive and build past these events. The chapters contain each composer’s biographical information, then provide detailed information of the three works; background and cursory information, the composer’s use and understanding of the social justice issue and an extensive analysis of each work. The composers use compositional design techniques to convey their intent to share a specific message. This document provides insight through each composer’s techniques and thought processes, providing a better understanding of the works. The knowledge gained will help conductors and performers understand social consciousness in wind band music. Copyright 2019 by Jack A. Eaddy Jr. ii ACKNOWLEDGEMENTS Throughout this dissertation process I have received support and guidance from many people. I would first like to thank my committee; Professors Corporon and Fisher, thank you for being my musical inspiration, and encouraging me to become a better musician and conductor. Drs. Henry and Emmanuel, thank you for pushing me to grow as a writer and educator. Lastly, I would like to thank Dr. Williams for always pushing me to succeed and being an example of who I can be in the future. Being a part of a graduate school cohort, allows you to not only grow from your teachers, but from your colleagues. Thank you, Ben Blasko, Vanessa Davis, Kelly Desjardins, Takashi Takao, and Jackie Townsend, for all of the love and care throughout our time together. Salada, Cowboy Chicken, and Chick-Fil-A made our bonds stronger and created lifelong experiences. Thank you to Jerry Junkin, Adam Schoenberg, Omar Thomas, and Frank Ticheli for being an integral part of this document. Your encouragement, and willingness to help made this project happen. I want to also give thanks to my special music colleagues who have been there from the beginning. OCPS made me the musician I am, while Oak Ridge taught me to care for my students as people. When people ask, “Who claps for you?” I know #teamocps will always be in my corner, encouraging me to go as far as I can. Thank you to the text group, who has kept me sane through my graduate career. You need people to have your back and you guys always will. Thank you so much to my family (mother, sister, and brother), for your love and support during this time. To my princess (Jillian) and angel (Jordyn), thank you for always believing in iii Daddy, and always understanding the unique circumstances you’ve gone through. I hope you understand your parent’s commitment to you and your education, and you always remember we are there for you. To my Queen, LaShonda, I could not have done this without you. You are my rock and your support is what got me through all those late nights. Thank you for senior editor of this document; my writing has grown through you. I love you so much, and thanks for creating the vision and leading the way through the #EaddyPhD(DMA)Project. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ................................................................................................................... iii LIST OF TABLES AND FIGURES ........................................................................................................ vii LIST OF MUSICAL EXAMPLES ......................................................................................................... viii CHAPTER 1. INTRODUCTION ........................................................................................................... 1 Purpose of Study ................................................................................................................. 1 Significance and State of Research ..................................................................................... 3 Method ............................................................................................................................. 11 CHAPTER 2. COMPOSERS’ BACKGROUND INFORMATION ........................................................... 13 Adam Schoenberg (b. 1980) ............................................................................................. 13 Omar Thomas (b. 1984) .................................................................................................... 16 Frank Ticheli IV (b. 1958) .................................................................................................. 20 CHAPTER 3. SYMPHONY NO. 2-MIGRATION BY ADAM SCHOENBERG ......................................... 25 Instrumentation ................................................................................................................ 34 Analysis ............................................................................................................................. 35 “March” – Movement 1 ........................................................................................ 36 “Dreaming” – Movement 2 ................................................................................... 43 “Escape” – Movement 3 ....................................................................................... 49 “Crossing” – Movement 4 ..................................................................................... 55 “Beginnings” – Movement 5 ................................................................................. 62 Significance ....................................................................................................................... 79 CHAPTER 4. OF OUR NEW DAY BEGUN BY OMAR THOMAS ........................................................ 83 Instrumentation ................................................................................................................ 90 Analysis ............................................................................................................................. 91 Significance ..................................................................................................................... 114 CHAPTER 5. SILVER LININGS-CONCERTO FOR FLUTE AND WIND ENSEMBLE BY FRANK TICHELI118 v Instrumentation .............................................................................................................. 123 Analysis ........................................................................................................................... 124 “To the Girl with the Flaxen Hair” – Movement 2 .............................................. 125 “Game” – Movement 1 ....................................................................................... 139 Rhythmic Motives ............................................................................................... 140 “Silver Lining” – Movement 3 ............................................................................. 146 Significance ..................................................................................................................... 157 CHAPTER 6. CONCLUSION ........................................................................................................... 159 APPENDIX A. CONSORTIUM LIST................................................................................................. 163 APPENDIX B. WIND BAND WORKS OF ADAM SCHOENBERG, OMAR THOMAS, AND FRANK TICHELI ........................................................................................................................................ 167 APPENDIX C. LIFT EVERY VOICE AND SING LYRICS ...................................................................... 176 APPENDIX D. LA FILLE AUX CHEVEUX DE LIN (THE GIRL WITH THE FLAXEN HAIR) BY CLAUDE DEBUSSY ...................................................................................................................................... 178 APPENDIX E. TO THE GIRL WITH THE FLAXEN HAIR PIANO SCORE WITH HIDDEN VOCAL TEXT TO THE POEM “A LITTLE WHILE” .....................................................................................................