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Elliott Carter's March View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by TopSCHOLAR Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Fall 12-14-2015 Elliott aC rter’s March: An Applicable Analysis Troy W. Palmer Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Music Performance Commons, and the Other Music Commons Recommended Citation Palmer, Troy W., "Elliott aC rter’s March: An Applicable Analysis" (2015). Honors College Capstone Experience/Thesis Projects. Paper 590. http://digitalcommons.wku.edu/stu_hon_theses/590 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ELLIOTT CARTER’S MARCH: AN APPLICABLE ANALYSIS A Capstone Experience Thesis Project Presented in Partial Fulfillment of the Requirements for The Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky University By: Troy W. Palmer ***** Western Kentucky University 2015 CE/T Committee: Approved by Dr. Mark Berry, Advisor Dr. Mary Wolinski ______________________ Advisor Dr. Victoria Lapoe Department of Music Copyright by Troy W. Palmer 2015 ABSTRACT This thesis, in summation, can be divided into two parts. The first half focuses on the story of Eight Pieces for Four Timpani, composed by Elliott Carter and published in 1968. Both its compositional and performance history are addressed. The compositional history starts with the writing of the first version of Carter’s music, Six Pieces for Kettledrums, written in 1950; next, the revision process is addressed, including the actual revisions seen in March. The performance history consists of a study done to determine which piece from the Eight Pieces is the most performed piece; to the author’s knowledge, this is the first study of its kind. The second half introduces the concept of metric modulation and the influences that led to Carter’s conception of the concept. Charles Ives’s relationship with Carter is explored, including how his ideas may have influenced March; additionally, this section analyzes metric modulation and form in March, along with the general character of the piece. Keywords: Elliott Carter, Timpani, Nancarrow, Ives, Eight, March ii Dedicated to my late grandmother, Mary Ruth McVety, and the late Elliott Carter. iii ACKNOWLEGDGEMENTS I would like to thank my parents for their “emotional” support. Although I have sometimes had second thoughts about my time living on campus, if I never lived on campus as a sophomore and a junior, my parents would never have missed me enough to let me have all of my papers and books scattered across the living room floor as I worked on my thesis at home. Academically, I would like to thank Dr. Jennifer Mize Smith for not giving up on me after I bombed my first speech in Business and Professional Speech. Her kindness has helped me immeasurably throughout my college experience. I would also like to thank Dr. Miguel Ramirez, who taught me the true fundamentals of writing music research papers. For their wonderful conversations, I would like to thank: Dr. Jieyoung Kong, Mr. Keith Epley, Dr. Clay Motley, and Ms. Susann Davis. Musically, I would like to start by thanking my middle and high school teachers, Mr. Cedrick Leavell, Mr. David Dayton, Mr. Johnathan Cline, and Mr. William Gray, Jr. On the collegiate level, I would like to thank Mr. Joe Stites and Dr. Robyn Swanson for their belief in me as an educator. To Dr. Sherri Phelps and Dr. Matthew Herman, thank you for believing that I was not a lost cause. Thank you to Dr. Jeff Bright, Dr. Gary Schallert, and Dr. Mark Berry, the professors who listened to my audition, for admitting me into the program; obviously, this thesis would not be possible without you. iv In regards to this thesis, thank you to Dr. Berry, Dr. Mary Wolinski, and Dr. Victoria Lapoe for your advice, the Honors College and its wonderful staff, and Eastern Kentucky University, the host of the 2015 Kentucky Honors Roundtable Conference. I would also like to thank Cynthia Marquet from the Historical Society of the Calico Valley for her kindness. Financially, I would like to first thank my parents for pushing me to strive academically; I would not have been able to receive full scholarship from Western Kentucky University without them, nor would I be able to pay for gas in my car. Secondly, I would like to thank Mr. Lowell Guthrie, who has granted me his scholarship, named after his local company, Trace Die Cast, Inc., in honor of my father, who has worked there for over two decades. Mr. Guthrie’s aid has had a major impact on my life while I have attended college. Lastly, thank you to everyone who reads this thesis. I have worked very hard on it and I hope that you can apply the information you learn to your performance, research, and/or everyday life. v VITA July 18, 1994……………………………………………..Born-Bowling Green, Kentucky 2012…………………………………………………Graduated Warren East High School FIELDS OF STUDY Major Field: Music Education vi TABLE OF CONTENTS Page Abstract................................................................................................................................ii Dedication...........................................................................................................................iii Acknowledgements.............................................................................................................iv Vita......................................................................................................................................vi List of Figures.....................................................................................................................ix Chapters: 1. The Story Behind Eight Pieces for Four Timpani ............................................1 Tucson .........................................................................................................1 Paul Price.....................................................................................................3 The Revisions: A Narrative ........................................................................5 The Revisions: In Application ....................................................................9 2. The Success of Carter’s Timpani Music………………………….....……….11 Early Performances of Carter’s Timpani Music........................................11 A Comprehensive Study............................................................................13 3. The Story Behind Elliott Carter’s Use of Metric Modulation.........................19 vii Page 4. Metric Modulation and March ....................................................................... 27 The Mathematics .................................................................................... 27 The Sound .............................................................................................. 29 5. March: An Understanding ............................................................................. 32 The Mood of March ............................................................................... 32 The Form of March ................................................................................ 33 6. Data Tables .................................................................................................... 37 Carnegie Hall Recitals ........................................................................... 37 PAS Archive Data Collection ................................................................ 40 viii LIST OF FIGURES Figure Page 1. Performances per piece .............................................................................................. 18 2. March, mm.13-14 ...................................................................................................... 19 3. Layers of Music ......................................................................................................... 26 4. Visual Outline of Sonata Form .................................................................................. 29 5. March, mm.57-58 ...................................................................................................... 30 6. Inaudibility of Metric Modulation ............................................................................. 31 7. Stinger ........................................................................................................................ 36 8. 1965 Carnegie Hall Recitals ..................................................................................37-38 9. Total Time of Data ..................................................................................................... 39 10-15. PAS Archive Collected Data ..........................................................................40-94 Intervallic……………………………………………………………………40-44 Entire Timeline……………………………………………………………...45-94 ix CHAPTER 1 The Story Behind “Eight Pieces for Four Timpani” Tucson The origin of Eight Pieces for Four Timpani begins in Tucson, Arizona. Carter was in Tucson on a Guggenheim Fellowship and a grant from the National Institute of Arts and Letters; this is where he would refine his technique of metric modulation.1 In an interview with Patrick Wilson, Carter discusses the importance of his timpani
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