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An Analysis of Joan Tower's Solo Keyboard Works a Dissertation

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An Analysis of Joan Tower's Solo Keyboard Works a Dissertation AN ANALYSIS OF JOAN TOWER’S SOLO KEYBOARD WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY JI-YOUNG JEOUNG DISSERTATION ADVISORS: ROBERT PALMER KIRBY KORIATH BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2009 Copyright © 2009 by Ji-Young Jeoung All rights reserved ii ACKNOWLEDGEMENTS I would like to say thank you to my advisor, Dr. Robert Palmer, who has been my piano professor and mentor during the length of my graduate program at Ball State University. I was privileged to participate in master classes he taught during his visit to South Korea. He introduced me to the opportunities at Ball State during this time. He helped make it possible for me to attend Ball State. With his support and consistent guidance I have been able to develop as a professional. Also, I would like to express my appreciation to Dr. Kirby Koriath who has been my organ professor during my study at Ball State. He introduced me to the world of organ music, which is my secondary major area. He has spent countless hours with me to mentor my organ performance and helped with my dissertation. I would like to thank Joan Tower, a great composer and performer. I appreciated her kindness to me during our cordial personal interview. She assisted with e-mails and personal letters. Further, she gave me a copy of her unpublished score, Big Steps. The gift of her time also included editing my notes from our interview. I had the privilege of performing her suite of piano pieces, No Longer Very Clear, on my second doctoral recital. Also, I would like to express my gratitude to my doctoral dissertation committee members: Dr. Jody Nagel, who helped with the music analysis; and Dr. Chin-Sook Pak and Dr. Lori Rhoden (who substituted for Dr. Ray Kilburn) for the time spent reviewing my dissertation. iii I appreciate the support given by my family in Korea. My mother, Sam-Soon Kang, has given me unlimited love. My two brothers, Eui-Yeol Jeoung and Hyun-Hee Jeoung, and my sister, Se-Jung Jeoung, have consistently prayed for me and encouraged me. My husband, John Krug, helped with many hours of editing. Without his love and support it would have been difficult for me to finish my degree. Also, I offer my sincere thanks to my in-laws, Dan and Mary House, who have supported me with their love and resources. In addition, Mary helped with the editing of my dissertation. I am thankful to my church family at First Presbyterian, Muncie, for their prayers and encouragement. I would like to dedicate this paper to my father, Gong-Gil Jeoung, who passed away on July 19, 2005. I am glad I have kept the promise made to him that I would achieve the goal of completing my doctoral degree. I am grateful to the publishing companies, ACA (American Composer’s Alliance), C. F. Peters Corporation, and AMP (Associated Music Publishers, Inc.) who gave me permission to use excerpts of Joan Tower’s music. Their permission notices here follow: Circles for Piano © 1964 by Joan Tower; Reprinted by permission of Joan P. Tower, Copyright owner, and American Composers Edition, Inc. (BMI), Sole Publishers. Fantasia for Piano © 1966 by Joan Tower; Reprinted by permission of Joan P. Tower, Copyright owner, and American Composers Edition, Inc. (BMI), Sole Publishers. Red Garnet Waltz Copyright © 1978 by C. F. Peters Corporation. All Rights Reserved. Used by Permission. iv Ascent, Copyright © 1996 by Associated Music Publishers, Inc. (BMI) International Copyright Secured. All Rights Reserved. Used by Permission. Holding a Daisy from No Longer Very Clear, Copyright © 1996 by Associated Music Publishers, Inc. (BMI) International Copyright Secured. All Rights Reserved. Or like a…an Engine from No Longer Very Clear, Copyright © 1994 by Associated Music Publishers, Inc. (BMI) International Copyright Secured. All Rights Reserved. Vast Antique Cubes from No Longer Very Clear, Copyright © 2000 by Associated Music Publishers, Inc. (BMI) International Copyright Secured. All Rights Reserved. Throbbing Still from No Longer Very Clear, Copyright © 2000 by Associated Music Publishers, Inc. (BMI) International Copyright Secured. All Rights Reserved. Due to copyright considerations the number of examples from Associated Music Publishers in this dissertation is limited. v TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................................................................................ iii LIST OF MUSICAL EXAMPLES ................................................................................. ix LIST OF FIGURES ........................................................................................................ xii CHAPTER ONE: INTRODUCTION ..............................................................................1 Statement of Purpose ...............................................................................................4 Delimitations ............................................................................................................4 Methodology ............................................................................................................4 Overview of the Study .............................................................................................5 CHAPTER TWO: REVIEW OF LITERATURE ..........................................................6 CHAPTER THREE: JOAN TOWER’S LIFE AND WORK ......................................17 A Brief Biography ..................................................................................................17 Joan Tower’s Development as a Composer ...........................................................22 CHAPTER FOUR: TITLES AND ORIGINS OF TOWER’S SOLO KEYBOARD WORKS ........................................................................................32 Circles ....................................................................................................................32 Fantasia .................................................................................................................33 Red Garnet Waltz ...................................................................................................33 No Longer Very Clear ............................................................................................35 Or like a…an Engine .............................................................................................36 Holding a Daisy .....................................................................................................37 Vast Antique Cubes ................................................................................................38 Throbbing Still .......................................................................................................38 Big Steps.................................................................................................................39 Ascent .....................................................................................................................39 Conclusion .............................................................................................................40 CHAPTER FIVE: AN ANALYSIS OF TOWER’S SOLO KEYBOARD WORKS ........................................................................................41 Introduction ............................................................................................................41 Tower’s First Period Compositions .......................................................................42 vi Contemporary Keyboard Techniques ........................................................42 Tone Clusters .................................................................................42 Glissandi ........................................................................................46 Plucked Strings ..............................................................................47 Muted Strings .................................................................................48 Pedals .............................................................................................50 Twelve-tone Row Forms............................................................................54 Circles ............................................................................................54 Fantasia .........................................................................................59 Summary of Twelve-tone Forms in Circles and Fantasia .........................73 Rhythm .......................................................................................................74 Tower’s Second Period Compositions ...................................................................80 Style ...........................................................................................................80 One-Movement Structure...............................................................80 Organic Process .............................................................................81 Motivic Development ....................................................................82 Influence from Other Composers ...................................................83 Stravinsky ..........................................................................83 Messiaen ............................................................................84 Bartok .................................................................................85 Bach ...................................................................................87 Chopin ................................................................................87
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