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DAVID MASLANKA’S SYMPHONY NO. 7: AN EXAMINATION OF ANALYTICAL, EMOTIONAL, AND SPIRITUAL CONNECTIONS THROUGH A “MASLANKIAN” APPROACH ______________________________________________ MUSICAL ARTS PROJECT ______________________________________________ A monograph submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Lane Weaver Hays, Kansas Director: Dr. John Cody Birdwell, Professor of Music Lexington, Kentucky 2011 Copyright © Lane Weaver 2011 ABSTRACT OF MUSICAL ARTS PROJECT DAVID MASLANKA’S SYMPHONY NO. 7: AN EXAMINATION OF ANALYTICAL, EMOTIONAL, AND SPIRITUAL CONNECTIONS THROUGH A “MASLANKIAN” APPROACH With a composition career spanning from the early 1970s to the present, David Maslanka (b.1943) has earned wide recognition as an important and respected composer of music for nearly every setting. While he has contributed significantly to chamber music, solo literature, vocal settings, and works for symphony orchestra, his compositions for percussion and wind band have arguably provided his most universal acclaim. All six of Maslanka’s band symphonies are considered noteworthy compositions. His distinctive musical voice emerges in each of these works as he explores the gamut of emotional impact from the darkest pain to the most euphoric joy. Such wide ranging scope is not limited solely to the musical moods Maslanka paints, but also includes the means he employs to paint them. Maslanka’s compositional method is rather unique and quite spiritual in nature as each work is produced through a great deal of subconscious exploration and meditation. His meditations often result in dream images that he translates into musical material. These translations typically are not a moment-by-moment, image-by-image retelling of the meditation, but instead are musical impressions motivated by the impulses of energy Maslanka perceives. Maslanka takes great interest in connecting with the commissioning party and ensemble while composing, at times meditating over some personal effect such as a baton or hymnal. With such a deeply personal approach, Maslanka’s music can touch the very essence of humanity and humanness. This research is focused on assisting others in preparing and presenting powerful and meaningful performances of Symphony No. 7. More specifically, the author wishes to establish a “Maslankian” approach to the music – a way of relating to the music that reflects the philosophical and spiritual nature of Maslanka and his compositional methodology. Those who wish to consider this “Maslankian” approach may apply it in combination with this document’s formal musical analysis as a means to achieving more emotionally and spiritually connected results. KEYWORDS: David Maslanka, Symphony, Conducting, Wind Ensemble, Band ____________________________________ Student’s Signature ____________________________________ Date DAVID MASLANKA’S SYMPHONY NO. 7: AN EXAMINATION OF ANALYTICAL, EMOTIONAL, AND SPIRITUAL CONNECTIONS THROUGH A “MASLANKIAN” APPROACH By Lane Weaver ____________________________________ Director of Musical Arts Project ____________________________________ Director of Graduate Studies ____________________________________ Date To Elizabeth, Luke, Grace, and Daniel with lasting gratitude to David Maslanka. ACKNOWLEGEMENTS Above all I am thankful to God. Somehow, in the wisdom of His strange and wonderful grace, He has allowed me to make a living as a musician. There is no doubt in my mind that music itself is His gift. It is too powerful, too magical, too beautiful to have come from the hand of man alone. Some say God is a crutch for the weak. I disagree. He is a stretcher for the broken, and I can do nothing apart from His love and power. Of that I am not ashamed. After months of research and innumerable hours trying to describe something abstract and yet mysteriously tangible in printed form, the most difficult thing to express in writing has nothing to do with music. It is my gratitude for the love, companionship, and support of my wife, Elizabeth. Where my words fail, I can only hope the depths of our unspeakable bond, founded and grounded in God’s plan, will intercede. The burden of sacrifice and effort required by this project has been every bit as much hers as it has mine. I am also indebted to my children for giving up their daddy so often just so he could write his “book.” Sometimes it’s a silly profession. Luke, Grace, and Daniel – I love you. The years of selfless giving by my parents, Frank and Kathy Weaver, I will never be able to repay. They started me on this grand journey, poured themselves into it, and have never turned their backs on my dreams. What a beautiful heritage. I also must acknowledge my wonderful parents-in-law, John and Nanette Eilers, for their unending encouragement and unrelenting support. Thank you all. I have had many fantastic teachers and mentors over the years. Through their guidance and support, I have been afforded a great education and amazing opportunities. My heartfelt appreciation and admiration to Douglas Wareing, Dr. Todd Fallis, Dr. Larry Smith, Dr. Nicholas Morrison, Dr. Kenneth Dye, Dr. Luther Snavely, and the late Father George Wiskirchen. Most of all I am grateful to Dr. Cody Birdwell for seventeen years of support and investment in my musical growth and professional career. Thanks to my committee for their influence, input, and concern in shaping this project. First and foremost, they are all gifted and dedicated musicians who are master teachers but also outstanding performers. Along with Dr. Birdwell, these esteemed gentlemen are: Professor Miles Osland, Dr. Ron Pen, Dr. Kevin Holm-Hudson, and Dr. iii Douglass Kalika. Thanks also to Dr. Michael Yonchak for a whole bunch of great memories and for doing it first. I never thought I would end up in Kansas (who does?), but what a great place it has been for me and my family. Appreciation is due to all my colleagues in the Department of Music and Theatre at Fort Hays State University (FHSU), most especially Dr. Jeff Jordan and Dr. Terry Crull for their input, for their advice, and for reading this darn thing. Thanks to our department chair, Professor Benjamin Cline, for allowing me to carve out the time needed to complete my degree and Dr. Timothy Rolls for perspective and encouragement. I must also express my appreciation and admiration to the music students of FHSU. Through you I am continually reminded why it is I do what I do. You are an impressive group of people. Don’t screw up. This project was enriched through the wisdom, perspective, and input of four leaders in our field. My gratitude to Dr. Stephen Steele, Professor Gregg Hanson, Professor Eugene Corporon, and Dr. Timothy Mahr. Finally, I offer deepest thanks and appreciation to Dr. David Maslanka, first for writing Symphony No. 7 and so many more incredible pieces, but just as much for his many hours spent in thought and concern over my project. It was a pleasure to visit with him in Wichita and to spend time with him and his wife at their home in Missoula. I know no better way to express my gratitude than this: Even though I am confident it is not remotely the case, Dr. Maslanka always makes me feel that my work is the only thing important to him, that nothing deserves his full attention except my questions. That is a gift, particularly in a cynical world where the joy of music is too often lost on musicians. May truth bless you always. iv TABLE OF CONTENTS Acknowledgements............................................................................................................iii List of Tables....................................................................................................................viii List of Figures.....................................................................................................................ix PART ONE Chapter One: Introduction Introduction..............................................................................................................1 Goals........................................................................................................................2 Methodology and Organization of the Study...........................................................2 Results......................................................................................................................6 Significance..............................................................................................................7 Literature Review.....................................................................................................7 Dissertations and Doctoral Documents........................................................7 Journal Articles and Book Chapters..........................................................11 Electronic Media........................................................................................13 Summation of Sources...............................................................................13 Chapter Two: David Maslanka Biography...............................................................................................................14 Compositional Approach.......................................................................................19 Maslanka’s Style and Voice...................................................................................27 The Bach Chorales.................................................................................................38 Compositional

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