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U·M·I University Microfilms International a Bell & Howell Information Company 300 North Zeeb Road Similarities between two dissimilar American piano sonatas of the 1960s: The second piano sonatas of Robert Muczynski and Robert Starer. Item Type text; Dissertation-Reproduction (electronic) Authors Fosheim, Karen Marie. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 16:58:16 Link to Item http://hdl.handle.net/10150/186663 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 affect 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. U·M·I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. MI48106-1346 USA 313.'761-4700 800:521-0600 Order Number 9426224 Similarities between two dissimilar American piano sonatas of the 1960s: The second piano sonatas of Robert Muczynski and Robert Starer Fosheim, Karen Marie, A.Mus.D. The Universi~ of Arizona, 1994 V·M·I 300 N. Zeeb Rd. Ann Arbor. MI 48106 SIMILARITIES BETWEEN TWO DISSIMILAR AMERICAN PIANO SONATAS OF THE 1960S: THE SECOND PIANO SONATAS OF ROBERT MUCZYNSKI AND ROBERT STARER by Karen Marie Fosheim A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 9 4 UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by~Ka~r~e~n~Ma~r~~~'e~F~o~s~h=e~i=m~ ____________________ entitled Similarities Between Two Dissimilar American Piano Sonatas of the 1960s: The Second Piano Sonatas of Robert Muczvnski and Robert Starer and recommend that it be accepted as fulfilling the requirements .0 ! i ) ~~/,/, Date fMy Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgement the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: /{& 3;h;- 4 TABLE OF CONTENTS I. LIST OF EXAMPLES •• 5 II. INTRODUCTION. • • • • • • • • • • • • • • • • • .8 A Background of the Sonata in America • 10 The American Piano Sonata in the Twentieth Century. .15 III. ANALYSIS OF THE SECOND PIANO SONATAS OF ROBERT MUCZYNSKI AND ROBERT STARER. • • • • • • • • .21 Robert Muczynski • • • • • • • • • • • • • • • • 21 Robert Starer • • • • • • • • • • • • • • • • • .23 Formal structure • • • • • • • • • • • • • • • • 25 Harmonic Devices • • • • • • • • • • • • • • • • 27 Melodic Characteristics • • • • • • • • • • • • .31 Rhythmic Structures •••••••••••• , _ ~35 Keyboard Usage and Performance Considerations • ~4~ IV. CONCLUSIONS .52 .. V. APPENDIX A: Formal Structures •••••••••••• 57 VI. APPENDIX B: Robert Muczynski: Written Interview • • .59 VII. REFERENCES . .61 5 LIST OF EXAMPLES EXAMPLE 1: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 13-14 •••••••••• 28 EXAMPLE 2: Robert Starer, Sonata No.2, mm. 26-29 • 28 EXAMPLE 3: Robert Starer, Sonata No.2, mm. 1-2 •••• 29 EXAMPLE 4: Robert Muczynski, Second Sonata. Onus 22, Movement I, mm. 1-3 • • • • • • • • .29 EXAMPLE 5: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 193-95 • • • • • • • • • 30 EXAMPLE 6: Robert Muczynski, Second Sonata. Opus 22, Movement III, mm. 60-63 • • • • • ..31 EXAMPLE 7: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 7-8 • • • • • • • • .31 EXAMPLE 8A: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 1-4, Graph of melodic movement • • • • • • • 32 EXAMPLE 8B: Robert Starer, Sonata No.2, mm. 1-5, Graph of melodic movement. • • • • .32 EXAMPLE 9: Robert Starer, Sonata No.2, mm. 1-11 • .33 EXAMPLE 10: Robert Starer, Sonata No.2, mm. 80A-C • 35 EXAMPLE 11: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 27-32 • • • • • • • .37 EXAMPLE 12A: Source rhythm for Starer, Sonata No.2, (mm. 93-94) •••••• • 37 EXAMPLE 12B: Robert Starer, Sonata No.2, mm. 93-94 • 38 EXAMPLE 13: Robert Muczynski; Second Sonata. Opus 22, Movement IV, mm. 1-3 • • • • 39 EXAMPLE 14: Robert starer, Sonata No. 2, mm. 25A-D . · 40 EXAMPLE 15: Robert Starer, Sonata No. 2, mm. 1-11, Graph of meter changes . · 41 EXAMPLE 16: Robert Muczynski, Second Sonata, Opus 22, Movement I, mm. 148-49 . · 41 6 LIST OF EXAMPLES--continued EXAMPLE 17A: Robert Muczynski, Second Sonata. Opus 22, Movement III, mm. 1-3 • • • • • • 42 EXAMPLE ~7B: Robert Muczynski, Second sonata. Opus 22, Movement III, mm. 53-59 • • • 0 • 42 EXAMPLE 18: Robert Muczynski, Second Sonata. Opus 22, Movement II, mm. 1-12 • • • • •• • .43 EY_~~LE 19: Robert Starer, Sonata No.2, mm. 136-44 ••• 44 EXAMPLE 20A: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 69-71 • • • • • • 45 EXAMPLE 20B: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 86-89 • • • • • • 46 Ex&~LE 21: Robert Starer, Sonata No.2, Mm. 45-48 ••• 46 EXAMPLE 22: Robert Muczynski, Second Sonata. Oous 22, Movement II, mm. 37-45 • • • • • • • • • 47 EXAMPLE 23: Robert Muczynski, Second Sonata. Opus 22, Movement III, mm. 31-35 • • • • • • .49 7 ABSTRACT Two significant American composers, Robert Muczynski (b.1929) and Robert Starer (b.1924), composed piano sonatas in the years 1964-66, despite the tendency of other composers of the time to utilize less traditional structures. The second Sonatas of Muczynski and Starer are intricately conceived, finely crafted, and worthy examples of mid-century trends in ~~erican composition. They give evidence of the continuing viability of the sonata form. This study will examine the stylistic similarities between two works that utilized, paradoxically, differing methods of ccmpositional technique. These men chose different compositional languages, yet they chose the same formal structure to organize their work. This study will focus on those features that are style-determinant. I believe that many of the common stylistic traits present in the second piano Sonatas of Robert Muczynski and Robert Starer may be a result their common environment, as contemporary trends common to the culture of composers can have a significant influence on the style of their works. 8 INTRODUCTION Musicologists frequently examine not only the life and works of a composer but also the cuItural and personal circumstances which surround his/her life. The current twentieth-century trend toward historically accurate performance practices reflects that line of thought. An examination of a work within the framework of its particular time, place, and culture allows for a truer understanding of a composer's intent. A performance of music from any time period, including works composed in the present era, requires an awareness of the composer's socio-cultural milieu in order to render an accurate interpretation. From a purely aesthetic perspective, the musical work certainly has only itself as an objective. It is subject only to the law of aesthetics, to the intrinsic laws of music. But from an ethical and sociological perspective, the musical work enters into a relationship with the very goal and good of humanity. • • To neglect this perspective would be to cut the work of art from its natural links with the life of a person and of a society, and to forgo understanding it in its total meaning and significance. (Supicic 344-45)
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