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Universidade Federal Do Rio Grande Do Norte Escola De Musica Christina Marie Bogiages Extended Oboe Techniques in Four Represen

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Universidade Federal Do Rio Grande Do Norte Escola De Musica Christina Marie Bogiages Extended Oboe Techniques in Four Represen UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE ESCOLA DE MUSICA CHRISTINA MARIE BOGIAGES EXTENDED OBOE TECHNIQUES IN FOUR REPRESENTATIVE CONTEMPORARY PIECES: AN EVOLUTIONARY PROCESS ENCOMPASSING COLLABORATION, CREATIVITY, AND RULE-BREAKING NATAL - UFRN 2015 CHRISTINA MARIE BOGIAGES EXTENDED OBOE TECHNIQUES IN FOUR REPRESENTATIVE CONTEMPORARY PIECES: AN EVOLUTIONARY PROCESS ENCOMPASSING COLLABORATION, CREATIVITY, AND RULE-BREAKING Dissertation submitted in partial fulfillment of the requirements for the degree of Master of Music at the Universidade Federal do Rio Grande do Norte. Advisor: Prof. Dr. Cleber da Silveira Campos NATAL - UFRN 2015 Catalogação da Publicação na Fonte Biblioteca Setorial da Escola de Música B675e Bogiages, Christina Marie. Explorando a execução de técnicas estendidas no oboé encontradas em quatro peças contemporâneas / Christina Marie Bogiages. – Natal, 2015. 147 f. : il.; 30 cm + 1 DVD Orientador: Cleber da Silveira Campos. Dissertação (Mestrado em Música) – Universidade Federal do Rio Grande do Norte, Escola de Música, 2015. 1. Música para oboé – Dissertação. 2. Oboé – Técnicas estendidas - Dissertação. 3. Oboé – Instrução e estudo - Dissertação. I. Campos, Cleber da Silveira. II. Título. RN/BS/EMUFRN CDU 788.7 Dedicated to my loving daughter, Gabriela. Never give up on your dreams. AKNOWLEDGEMENTS To my advisor, thank you for the many hours of invaluable advice and guidance. Your enthusiasm, experience and musicality have made this journey inspirational and fun. To CAPES (Coordenação de Aperfeiçoamento de Pessoal de Nível Superior), for the financial support throughout the second year of this project. To the fantastic Professors of the UFRN Graduate program that I had the pleasure to work with, Fabio Soren Presgrave, Durval da Nóbrega Cesetti, André Luiz Muniz Oliveira, Alexandre Reche e Silva, Agostinho Jorge de Lima, and Jean Joubert Freitas Mendes. Your dedication and knowledge provides for unforgettable and valuable experiences. To Professor Zilmar Rodrigues de Souza, UFRN School of Music Director, for his unending support and flexibility, and the entire administrative and maintenance staff – for without them we would not have a functioning school. For their experience, patience and time spent on both of my recitals, I’d like to thank Jair da Silva Alves and his UFRN audio and visual technical crew. The next group of people has been essential to my research over the past two years – thank you for your generosity and wisdom: Professor Franziska Schroeder (SARC), Dana Lyn (composer/USA), Kyle Bruckmann (free improviser/USA), Nils Bultzmann (free improviser/USA), Professor Heather Dea Jennings (UFRN), Professor Elke Reidel (UFRN), Professor Anderson Pessoa (UFRN) and the Free Improvisation Group of the UFRN, Professor Janet Popesco Archibald (US), Lisa Bielawa (composer/US), Professor Thomas Indermuhle (CH), and Professor José Medeiros Rocha Neto (BR). For important information and advice on scores and interpretations, I’d like to thank deeply Professor Petar Hristov (BG) and Professor Nenad Markovic (RS). Their invaluable information made much of this project possible. For help with score translations (German to English) I’d like to thank my dear friend Ute Bummel. For help with final copyediting, I’d like to thank my dear friends Rebekah Scott and Joyce Lin. To my parents Jean Bogiages and Robert Bogiages – without your life-long guidance I wouldn’t be who I am today - and to my incredible husband André Garcia Barbosa, who made this journey possible through constant moral support, and always stepping in for me at home when I needed to study. And last but never least, my beautiful daughter, for her patience and love throughout this process. ABSTRACT This dissertation presents an investigation of the evolutionary process of extended oboe techniques, through literary analysis and practical research. The objective of this work is to provide assistance to oboists interested in learning these techniques. Additionally, this work encourages the student, through the process of experimentation, to explore the questions that may arise around the aesthetics of sound, the concept of gesture as an additional visual and aural element in music, and the collaboration and “real-time” creation processes. Discussed within the work, are the relationship between the instrument (the oboe) and extended techniques, and two possible definitions of extended techniques, provided by Luk Vaes (2009) and Gardner Read (1993). Also explored are the how and why some composers have utilized extended techniques in their compositions, including brief discussions relating to extended techniques in real-time composition (improvisation), extended techniques and technological resources, theatrical gesture as an extended technique, and suggestions of how musicians might approach theatrical gestures in performance. Four works were visited: “I Know This Room So Well” – Lisa Bielawa (2007-9); “Four Pieces for Oboe and Piano” – Ernst Krenek (1966); “In Freundschaft” – Karlheinz Stockhausen (1978); “Atem” – Mauricio Kagel (1969-70); and an exploration of the difficulties and solutions associated with each extended technique found within these pieces, was carried out. The following founding works on extended oboe techniques were used, as a basis for research: books - Heinz Holliger’s Pro Musica Nova (1972); Gardner Read’s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus-Steffen Mahnkopf’s The Techniques of Oboe Playing (1994); and Libby Van Cleve’s Oboe Unbound: Contemporary Techniques (2004); and articles - Nora Post’s “Monophonic sound resources for the oboe: Part I – Timbre” (1984), “Part II- Pitch and other techniques” (1984), and “Multiphonics for the oboe” (1982). Keywords: Oboe. Extended Techniques. Theatrical Gesture. Collaboration. Evolutionary Process. RESUMO Essa dissertação apresenta uma investigação do processo evolutivo das técnicas estendidas do oboé, através de uma analise da literatura e de pesquisa em prática. O intuito deste trabalho é facilitar a aprendizagem dos oboístas interessados em estudar essas técnicas. Além disso, através da experimentação, o aluno é encorajada à explorar as perguntas subsequentes sobre a estética do som, o conceito de gesto como elemento visual e sonoro adicional, e os processos de colaboração e criação em “tempo real”. No decorrer do trabalho, são discutidas a relação entre o instrumento (o oboé) e as técnicas estendidas, e duas definições possíveis de técnicas estendidas, oferecidas por Luk Vaes (2009) e Gardner Read (1993). São abordados a forma e o motivo pelos quais alguns compositores têm utilizado técnicas estendidas em suas obras, incluindo breves discussões sobre técnicas estendidas na composição em tempo real (improvisação), técnicas estendidas e recursos tecnológicas, gesto cênico como técnica estendida e sugestões para o músico querendo abordar gestos cênicos na performance. Quatro peças foram analisadas: “I Know This Room So Well” – Lisa Bielawa (2007-9); “Four Pieces for Oboe and Piano” – Ernst Krenek (1966); “In Freundschaft” – Karlheinz Stockhausen (1978); “Atem” – Mauricio Kagel (1969-70) e foram investigadas as dificuldades e soluções associadas a cada técnica estendida encontrada nas peças. As seguintes fontes sobre técnicas estendidas foram utilizadas como base de pesquisa: livros - Heinz Holliger’s Pro Musica Nova (1972); Gardner Read’s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus- Steffen Mahnkopf’s The Techniques of Oboe Playing (1994); e Libby Van Cleve’s Oboe Unbound: Contemporary Techniques (2004); e artigos Nora Post’s “Monophonic sound resources for the oboe: Part I – Timbre” (1984), “Part II- Pitch and other techniques” (1984), and “Multiphonics for the oboe” (1982). Palavras-chaves: Oboé. Técnicas estendidas. Gestos cênicos. Colaboração. Processo evolutivo. TABLE OF FIGURES Figure 1 - Diagram of Extended Techniques Relating to Pitch Alteration ................. 54 Figure 2 - Diagram of Extended Techniques Related to Pitch Movement ................ 54 Figure 3 - Diagram of Extended Techniques Related to Respiration and Non- Specific Pitch Noise .................................................................................. 55 Figure 4 - Diagram of the Composition's System ..................................................... 64 TABLE OF IMAGES Image 1 - Ascending Glissando ................................................................................ 66 Image 2 - Ascending Glissando ................................................................................ 70 Image 3 - Descending Glissando .............................................................................. 70 Image 4 - Descending and Ascending Glissandi ...................................................... 71 Image 5 - Descending and Ascending Glissandi ....................................................... 71 Image 6 - Descending and Ascending Glissandi ....................................................... 71 Image 7 - Ascending Glissando ............................................................................... 71 Image 8 - Ascending Glissando ................................................................................ 71 Image 9 - Ascending Glissandi .................................................................................. 71 Image 10 - Ascending and Descending Glissandi ..................................................... 72 Image 11 - Ascending and Descending Glissandi ....................................................
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