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Winland Final DMA Document A Survey of Chamber Works for Trumpet and Electronics D.M.A. Document Presented in Partial Fulfillment of Requirements for the Degree of Doctorate of Musical Arts in the Graduate School of The Ohio State University By Isaac David Winland, M.M. Graduate Program in Music The Ohio State University 2018 D.M.A. Document Committee: Timothy Leasure, Adviser Marc Ainger Bruce Henniss Copyright by Isaac David Winland 2018 Abstract The field of trumpet and electroacoustic music has had limited research. The purpose of this paper is to further the understanding of electroacoustic chamber repertoire for trumpet through the study of works by Ingram Marshall, Karlheinz Stockhausen, Igor Silva, and Natasha Barrett. Within each compositional study, the author covers various trumpet techniques uncommon in most classical repertoire as well as a brief analysis of each work. The compositions studied show an array of styles composers use in the field of electroacoustic music. A “list of chamber works” compiled by the author for trumpet and electronics is also included. !ii Acknowledgments: I would like to thank all of my music teachers, most notably my trumpet professors: Timothy Leasure, Martin Saunders, Scott Johnston, Jack Schantz, Mark Dulin, and Greg Wing who inspire me to pursue my love of music. Also, a special thanks to professor Marc Ainger for being a sounding board during the process of writing this document. Lastly, I would not be here without the love and support of my family, friends, and my wife, April. !iii Vita 2007…………………………………………………………..Tyler Consolidated High School 2011…………………………………….………………………….B.F.A. Marshall University 2013………………………………………………………..……M.M. The University of Akron 2015 to present……………………………………Graduate Teaching Associate, School of Music, The Ohio State University Fields of Study Major Field: Music !iv Table of Contents Abstract…………………………………………………………………………………….……..ii Acknowledgments………………………………………………………………………………iii Vita…………………………………………………………………………………………..……iv List of Figures………………………………………….…………………………………..……vi Introduction………………………………………….………………………………………..….1 Chapter 1: Ingram Marshall - Fog Tropes……………………….……………………………2 Chapter 2: Karlheinz Stockhausen - Pietà…..…………………………………………..…..9 Chapter 3: Igor Silva - zap_ping_ …….……………………..………………………………20 Chapter 4: Natasha Barrett - Crack………….………..…………………………..…………27 Chapter 5: Conclusion……………………………………………..………….………………35 Bibliography…..………………………………………………………………………………..36 Appendix A: Research Methods and Definitions for List of Chamber Works……..…….37 Appendix B: List of Chamber Works for Trumpet and Electronics……………………….39 !v List of Figures Figure 1: Marshall, Fog Tropes 1’30’’ to 2’00’’……………………………………………4 Figure 2: Marshall, Fog Tropes 4’00’’ to 4’30’’………………………..…………………..6 Figure 3: Marshall, Fog Tropes 1’45 - Trumpet 1…………………………………………7 Figure 4: Marshall, Fog Tropes 6’30’’ to 7’00’’……….……………………………………8 Figure 5: Marcus Stockhausen’s Quarter-tone Flugelhorn…….……………………..11 Figure 6: Staging for Pietà…………………….……………………………………………12 Figure 7: Stockhausen’s Diagram of Loudspeakers and Mixing Console…………13 Figure 8: Stockhausen’s Pietà - Pietà Number 23……..……………………………….15 Figure 9: Chart of Soloist starting passage on the same note………………………16 Figure 10: Stockhausen’s Pietà - Pietà Number 1…….………………………………..18 Figure 11: Stockhausen’s Pietà - Mute Technique Description….…………………..19 Figure 12: Diagram of zap_ping_ electronics….………………..………………………21 Figure 13: Silva’s zap_ping_ Measures 1-8…….………………………………………..23 Figure 14: Silva’s zap_ping_ Measures 207-224….…………………………………….23 Figure 15: Silva’s zap_ping_ Measures 30-40…………………………………….…….24 Figure 16: Silva’s zap_ping_ Analysis……………………………………………………25 Figure 17: Silva’s zap_ping_ Trumpet Notation…….…………………………………..26 Figure 18: Barrett’s Atomic Crack Trumpet and Electric Guitar, measures 1-10…30 Figure 19: Barrett’s Atomic Crack Score, measures 76-81…….…..…………………30 !vi Figure 20: Barrett’s Deep Ice Score, measures 1-5……..………..……………………32 Figure 21: Barrett’s Deep Ice Score, measures 166-172…..….…………..…………..32 Figure 22: Barrett’s Trumpet Notation…………………..……………………………….34 Figure 23: Barrett’s "Atomic Crack” Trumpet Solo measure 116-127…..………….34 !vii Introduction The purpose of this paper is to further the understanding of chamber ensemble with trumpet and electronics repertoire through the study of works by Ingram Marshall, Karlheinz Stockhausen, Igor Silva, and Natasha Barrett. Each work was chosen to show the advancement of electroacoustic composition through varying software and electronic components. Furthermore, this paper will show the techniques necessary to perform the trumpet parts of each piece along with a brief analysis of the works. The sixth chapter covers the investigative process in collecting the data for the “list of works” and an explanation of chamber ensemble and electronics. The field of trumpet and electroacoustic music has had limited research. Other than my own research on the topic, a limited number of papers and articles have been written on certain works including a paper written by Michael Barth covering the solo literature for trumpet and electronics. For the history and composing techniques of electroacoustic music, the following sources are given: Thom Holmes: Electronic and Experimental Music: Technology, Music, and Culture, Peter Elsea: The Art and Technique of Electroacoustic Music, Curtis Roads: Composing Electronic Music: a New Aesthetic, and The Oxford Handbook of Computer Music. !1 Chapter 1: Ingram Marshall - Fog Tropes Ingram Marshall has received degrees from Columbia University and the California Institute of the Arts, and studied under Vladimir Ussachevsky, Ilhan Mimaroglu, and Morton Subotnick. Marshall also has many awards as a composer, as well as being a Fulbright Fellowship and a Guggenheim Fellowship recipient. In 1971, Marshall went on a study trip to Bali where he immersed himself in the music of the area and also started working with the Balinese bamboo flutes. From the influences of his trip, a listener can hear Marshall's "slowed-down sense of time and dreamy evocativeness" in his compositions. In 1973, after graduating and teaching for a short time at Cal Arts, Marshall moved to the San Francisco Bay area and worked as a composer, performer, and producer. Once in the “Bay area”, the composer started experimenting more with combining of live instrumental works with electronics. “Fog Tropes” is possibly Marshall's best known work. The work was composed in 1981 for six brass instruments and tape and was premiered by John Adams and the San Francisco New Music Ensemble. Alan Ulrich of the San Francisco Examiner explained, “Fog Tropes” as "the swiftness with which he makes you stop asking ‘How’ and keeps you listening to the ‘What.’” “FogTropes” suggests sonic vistas of incomparable beauty.”1 Marshall's first idea of Fog Tropes came from his tape piece 1 “Bio” http://www.ingrammarshall.net/long !2 named “Fog". The composition was created by using ambient sounds from the San Francisco Bay. Marshall adds that the tape part of “Fog Tropes”, " not only uses maritime sounds for its constructive materials, but vocal keenings and the unique sound of the Balinese gambuh, a long bamboo flute. Although the brass parts and tape sounds are distinct from one another there is an attempt to blend them so as to create a harmonious whole.”2 Marshall’s composition was also used in the movie Shutter Island, starring Leonardo di Caprio. Within Marshall's blog, he writes about hearing his piece in the movie and the scene. Marshall wrote3, “I had some apprehension as I knew my music would start the actual movie, Shutter Island starring Leonardo di Caprio, but I had no idea what would appear on the screen. Well, Leo and his US Marshal pal, Mark Ruffalo, are on a small ferry boat in choppy seas heading out to their island destination, and the music syncs up nicely with the image… and suddenly cuts to him violently vomiting in the head--Fog Tropes continues with the French horns and trombones weighing in. So my musical debut in a major Hollywood film, seen and heard by millions, accompanies one of the biggest stars tossing his cookies. Great.”4 Score (Fog Tropes, 1984 Peermusic III, Ltd. ) In the performance notes, Marshall gives many directions on how to play the work. One of which is how to coordinate the tape part with the live players. The composer says the work should be connected by the conductor or a musician giving cues every thirty seconds which are clearly marked in the score. (Figure 1) Along with Marshall's request that the tape sounds and live brass musicians be of equal balance. 2”Fog Tropes (Brass Version)” http://laphillive.net/philpedia/music/fog-tropes-brass-version-ingram- marshall 3 http://ingrammarshall.blogspot.com/ 4 Ingram Marshall. “Shudder Island.” Monday 22, 2010. !3 He also gives the softest and loudest sections of the piece to help the ensemble accomplish the goal of balance. Marshall states the echoic effect is very important, and "a delay of about 200ms with sufficient feedback to create a reverberation of several seconds is desirable... It (a reverb unit) can be dispensed with if the piece is performed in an unusually reverberant space with a discrete echo of several seconds, but in the average concert hall it is quite necessary.”5 Figure 1: Marshall, Fog Tropes 1’30’’ to 2’00’’ The piece is scored in concert pitch for two trumpets, two horns, two trombones, and tape and is roughly ten minutes long. Marshall does use traditional music notation of notes and note lengths, but at times
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