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An Examination of Music for Trumpet and Marimba and the Wilder Duo

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An Examination of Music for Trumpet and Marimba and the Wilder Duo AN EXAMINATION OF MUSIC FOR TRUMPET AND MARIMBA AND THE WILDER DUO WITH ANALYSES OF THREE SELECTED WORKS BY GORDON STOUT, PAUL TUROK, AND ALEC WILDER Christopher C. Foster, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2007 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Minor Professor John Holt, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Foster, Christopher C., An examination of music for trumpet and marimba and the Wilder Duo with analyses of three selected works by Gordon Stout, Paul Turok, and Alec Wilder. Doctor of Musical Arts (Performance), December 2007, 143 pp., 2 tables, 72 illustrations, works consulted, 28 titles. This document discusses the relationship between trumpet and percussion over the past centuries, the development of music for trumpet and percussion ensembles, trumpet and percussion in twentieth-century chamber music and the creation of music for trumpet and marimba. A listing of all known trumpet and percussion duos is included. An exploration of the development of the Wilder Duo and a listing of all known trumpet and marimba duos is also included. There are analyses of works by Gordon Stout, Paul Turok and Alec Wilder. These analyses examine sound, form, harmony, melody and rhythm for each piece. Musical illustrations are included. These analyses are divided into chapters. Each chapter begins with a short biography of each composer. A short description of each work is also given. Summaries are included at the end of each analytical chapter. Copyright 2007 by Christopher C. Foster ii ACKNOWLEDGEMENTS I would like to thank Keith Johnson, Regents Professor of Trumpet at the University of North Texas, for his knowledge, guidance and support in every aspect of this project. His knowledge of trumpet history and chamber music has been inspiring and invaluable to my work. To Eugene Corporon, Regents Professor of Music, and Brian Bowman, Regents Professor of Euphonium, both at the University of North Texas, for their preliminary suggestions, guidance and encouragement. They were both very helpful in the planning and early phases of this dissertation. To Tracy Freeze, Assistant Professor of Music at Emporia State University, for his assistance, support and enthusiasm for this project; however, I would like to thank him mostly for his willingness to participate in the lecture recital portion of this dissertation. His efforts and musicianship are inexpressibly appreciated. To the faculty of the Performing Arts division of the College of Liberal Arts and Sciences at Alfred University for all their help with scheduling and making preparations for the lecture recital. To Stephen J. Dunn, Assistant Professor of Trumpet at Northern Arizona University, and Kurt G. Gorman, Assistant Professor of Trumpet at the University of Tennessee at Martin, for their enormous work in the fields of trumpet and percussion music, and trumpet in twentieth-century chamber music. Their research and work has been of substantial assistance for this dissertation. Finally, to Robert Levy and Gordon Stout, members of the Wilder Duo, for their generous time and information provided in interviews. Their formation of the duo iii resulted in numerous works for trumpet and marimba. Without the Wilder Duo, many great pieces within the trumpet and percussion repertory would be missing. They were my primary inspiration for this project. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ...............................................................................................iii LIST OF TABLES...........................................................................................................vii LIST OF MUSICAL EXAMPLES ................................................................................... viii Chapters 1. INTRODUCTION ....................................................................................... 1 Statement of Purpose ..................................................................... 1 Rationale for Study.......................................................................... 2 Organization.................................................................................... 3 2. HISTORY OF THE RELATIONSHIP BETWEEN TRUMPETERS AND PERCUSSIONISTS ................................................................................... 5 Early Origins.................................................................................... 5 The Egyptians ................................................................................. 7 The Israelites................................................................................... 7 The Greeks and Romans ................................................................ 8 The Middle Ages ........................................................................... 10 The Renaissance .......................................................................... 11 The Baroque Period ...................................................................... 12 Twentieth-Century to Present ....................................................... 13 3. TRUMPET AND PERCUSSION IN TWENTIETH-CENTURY CHAMBER MUSIC ..................................................................................................... 15 Twentieth-Century Chamber Music............................................... 15 The Trumpet in Nineteenth and Twentieth-Century Chamber Music ........................................................................................... 18 Percussion in Twentieth-Century Chamber Music ........................ 25 4. EXAMINATION OF TWENTIETH-CENTURY MUSIC FOR TRUMPET AND PERCUSSION DUOS ..................................................................... 35 Composers, Works and Instrumentations ..................................... 36 Music for Trumpet and Marimba ................................................... 43 v The Wilder Duo ............................................................................. 45 5. DUO (DANCE-SONG) BY GORDON STOUT ......................................... 49 Gordon Stout................................................................................. 49 About the Work ............................................................................. 49 Analysis......................................................................................... 49 Summary....................................................................................... 69 6. CONCERT VARIATIONS, OP. 51, #3 BY PAUL TUROK........................ 71 Paul Turok..................................................................................... 71 About the Work ............................................................................. 71 Analysis......................................................................................... 72 Summary....................................................................................... 96 7. SUITE FOR TRUMPET AND MARIMBA BY ALEC WILDER .................. 98 Alec Wilder.................................................................................... 98 About the Work ............................................................................. 98 Analysis......................................................................................... 99 Summary..................................................................................... 137 8. SUMMARY ............................................................................................ 140 WORKS CONSULTED................................................................................................ 141 vi LIST OF TABLES Page 4.1 Trumpet and percussion duos ............................................................................ 39 4.2 Trumpet and marimba duos ............................................................................... 44 vii LIST OF MUSICAL EXAMPLES Page 5.1 Gordon Stout, Duo (Dance-Song), measures 1-3............................................... 51 5.2 Gordon Stout, Duo (Dance-Song), marimba cadenza, measures 16-22 ............ 51 5.3 Gordon Stout, Duo (Dance-Song), measures 23-33........................................... 53 5.4 Gordon Stout, Duo (Dance-Song), measures 39-50........................................... 53 5.5 Gordon Stout, Duo (Dance-Song), measures 61-67........................................... 54 5.6 Gordon Stout, Duo (Dance-Song), measures 78-84........................................... 55 5.7 Gordon Stout, Duo (Dance-Song), measures 84-96........................................... 56 5.8 Gordon Stout, Duo (Dance-Song), measures 97-105......................................... 57 5.9 Gordon Stout, Duo (Dance-Song), measures 106-109....................................... 58 5.10 Gordon Stout, Duo (Dance-Song), measures 106-109....................................... 58 5.11 Gordon Stout, Duo (Dance-Song), measures 133-140....................................... 59 5.12 Gordon Stout, Duo (Dance-Song), measures 133-140....................................... 60 5.13 Gordon Stout, Duo (Dance-Song), measures 1-3............................................... 62 5.14 Gordon Stout, Duo (Dance-Song), measures 106-109....................................... 62 5.15 Gordon Stout, Duo (Dance-Song), measures 24-25..........................................
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