Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1994 William Bolcom's "Twelve New Etudes for Piano". Henry Scott onesJ Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Jones, Henry Scott, "William Bolcom's "Twelve New Etudes for Piano"." (1994). LSU Historical Dissertations and Theses. 5879. https://digitalcommons.lsu.edu/gradschool_disstheses/5879 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell InformationCompany 300 North Zeeb Road. Ann Arbor.Ml 48106-1346USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. WILLIAM BOLCOM'S TWEL VE NEW ETUDES FOR PIANO A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Henry S. Jones B.A., Yale University, 1978 December 1994 r ~ Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9524459 Copyright 1994 by Jones, Henry Scott All rights reserved. UMI Microform Edition 9524459 Copyright 1995, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 r~ Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. (c) Copyright 1994 Henry S. Jones All rights reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I would like to express my gratitude to my major professor, Alumni Professor Jack Guerry, who has generously offered his time, energy, and invaluable insights. Indeed, without his constant encouragement this monograph might never have been completed. I also gratefully acknowledge the help and support of the other members of my graduate committee: professors Kathleen Rountree, Michael Gurt, Jan Herlinger, Richard Kaplan, and James Burke. Thanks are also due to Dr. William Bolcom of the University of Michigan at Ann Arbor and Dr. Mark Wait of the University of Colorado at Boulder; both have been very generous with their time. Finally, I am particularly grateful for the patience and support of my wife and daughter, Stacey and Billie Jones. iii r ~ Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGMENTS............................................................................................ iii LIST OF ILLUSTRATIONS...................................................................................... vi ABSTRACT....................................................................................................................viii CHAPTER I INTRODUCTION...........................................................................................1 II THE TWEL VE NEW ETUDES................................................................... 5 A. Style and Format ..................................................................................... 6 B. Passage-work.............................................................................................15 C. Leaps........................................................................................................... 17 D. Chords ........................................................................................................ 20 E. Trills and Tremolos .................................................................................21 F. Counterpoint ..............................................................................................22 G. Cross-rhythms .......................................................................................... 23 H. Stretches.................................................................................................... 24 I. Dynamics and Tone ..................................................................................25 J. Pedaling .......................................................................................................28 K. Non-traditional Techniques ................................................................. 29 III SUMMARY.................................................................................................. 3 5 BIBLIOGRAPHY.........................................................................................................37 APPENDIX I: CHRONOLOGICAL LIST OF SCORES EXAMINED 44 iv r_ Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX II: LETTERS OF PERMISSION........................................................48 VITA...................................................................................................................................52 v r Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ILLUSTRATIONS Figure Page 1. Etude 2, "Recitatif," p. 8 .................................................................................... 7 2. Etude 6, "Nocturne," p. 25 ..................................................................................7 3. Etude 12, "Hymne a l'amour," p. 54 ....................................................................8 4. Etude 3, "Mirrors," p. 11 ........................................................................................9 5. Etude 9, "Invention," p. 39 .................................................................................9 6. Etude 11, "Hi-jinks," p. 50 .....................................................................................11 7a. Etude 4, "Scene d'opera," p. 16 ..........................................................................11 7b. Etude 12, "Hymne a l'amour," p. 51 .................................................................12 8. Etude 1, "Fast, furious," p. 5 .................................................................................16 9a. Etude 1, "Fast, furious," p. 6 ...................................................................................17 9b. Etude 1, "Fast, furious," p. 6 ............................................................................. 17 10. Etude 3, "Mirrors," p. 11 ................................................................... ,..................18 11. Etude 8, "Rag infernal (Syncopes apocalyptiques)," p. 33 ........................19 12. Etude 8, "Rag infernal (Syncopes apocalyptiques)," p. 36 ........................19 13. Chopin, Etude Op. 25, no. 4 ............................................................................... 20 14. Etude 10, "Vers le silence," p. 45 .....................................................................21 15. Chavez, "Estudio II," from Cuatro estudios, p. 9........................................22 16. Etude 9, "Invention," p. 41 ................................................................................24 17. Etude 1, "Fast, furious," p. 6 ...................................................................... 25 18. Etude 10, "Vers le silence," p. 46 ....................................................................27 19. Etude 11, "Hi-jinks," p. 47 ................................................................................ 28 20. Etude 1, "Fast, furious," p. 7 .......................................................................30 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 21. Etude 8, "Rag infernal (Syncopes apocalyptiques)," p. 37 ......................3 1 22. Etude 7,