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Brian Baldauff Treatise 11.9 Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love. And Michael Udow, my teacher and friend. iv TABLE OF CONTENTS List of Figures ............................................................................................................................... vii Abstract ............................................................................................................................................x INTRODUCTION ...........................................................................................................................1 1. BIOGRAPHY OF MICHAEL W. UDOW ................................................................................2 1.1. Junior and Senior High School ...........................................................................................2 1.2. Early Compositions ............................................................................................................5 1.3. Undergraduate Studies ........................................................................................................6 1.4. Fulbright Award and Study in Poland ..............................................................................11 1.5. The Blackearth Percussion Group ....................................................................................13 1.6. Graduate Studies and England ..........................................................................................14 1.7. Equilibrium Dance and Percussion Duo ...........................................................................16 1.8. Early Teaching Positions ..................................................................................................17 1.9. Influence of Keiko Abe and Japan ....................................................................................18 2. METHODS ..............................................................................................................................20 2.1. Method of Analysis ...........................................................................................................20 2.1.1. Terminology .............................................................................................................21 2.1.2. Contributing Elements .............................................................................................21 2.2. Procedures ........................................................................................................................22 3. TIMBRACK QUARTET .........................................................................................................23 3.1. Background .......................................................................................................................23 3.2. Timbrack Quartet Setup ....................................................................................................28 3.3. Sources of Shape ...............................................................................................................30 3.3.1. General Design ........................................................................................................30 3.3.2. Primary Elements .....................................................................................................30 3.3.3. Punctuations .............................................................................................................32 3.4. Sources of Motion .............................................................................................................35 3.4.1. Surface Rhythm Material .........................................................................................35 3.4.2. Processes of Continuation ........................................................................................36 3.5. Performance and Pedagogical Considerations ..................................................................39 4. THE CHARM ..........................................................................................................................42 4.1. Background .......................................................................................................................42 4.2. Text Source Material ........................................................................................................43 4.3. Ringing Changes ...............................................................................................................46 4.4. Costumes and Theatrical Effects ......................................................................................48 4.5. General Characteristics .....................................................................................................48 4.6. Sources of Shape ...............................................................................................................50 v 4.6.1. General Design ........................................................................................................50 4.6.2. Primary Elements .....................................................................................................50 4.6.3. Punctuations .............................................................................................................52 4.7. Sources of Motion .............................................................................................................54 4.7.1. Surface Rhythm Material .........................................................................................54 4.7.2. Processes of Continuation ........................................................................................58 4.8. Performance and Pedagogical Considerations ..................................................................59 5. TOPSY-TURVY ......................................................................................................................61 5.1. Background .......................................................................................................................61 5.2. Instrumentation .................................................................................................................61 5.3. General Characteristics .....................................................................................................63 5.4. Sources of Shape ...............................................................................................................65 5.4.1. General Design ........................................................................................................65 5.4.2. Primary Elements .....................................................................................................66 5.4.3. Punctuations .............................................................................................................69 5.5. Sources of Motion .............................................................................................................73 5.5.1. Surface Rhythm Material .........................................................................................73 5.5.2. Processes of Continuation ........................................................................................76 5.6. Performance and Pedagogical Considerations ..................................................................79 APPENDIX ....................................................................................................................................81 ANNOTATED LIST OF WORKS ...........................................................................................81 BIBLIOGRAPHY ........................................................................................................................104 BIOGRAPHICAL SKETCH .......................................................................................................106 vi LIST OF FIGURES 1.1 Original membership Tone Road Ramblers
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