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NQ Fd Aiot 36^ 37? NQ fd Aiot 36^ TWENTIETH-CENTURY WORKS FOR TEXTLESS VOICE AND VARIOUS WOODWINDS WITH THREE RECITALS OF SELECTED WORKS OF STAMITZ, ROUSSEL, ALBINONI, WEBER, MILHAUD, AND OTHERS. DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Nancy M. Gamso, B.S., M.M. Denton, Texas December, 1992 37? NQ fd Aiot 36^ TWENTIETH-CENTURY WORKS FOR TEXTLESS VOICE AND VARIOUS WOODWINDS WITH THREE RECITALS OF SELECTED WORKS OF STAMITZ, ROUSSEL, ALBINONI, WEBER, MILHAUD, AND OTHERS. DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Nancy M. Gamso, B.S., M.M. Denton, Texas December, 1992 Gamso, Nancy M., Twentieth-Century Works for Textless Voice and Various Woodwinds with Three Recitals of Selected Works of Stamitz. Roussel. Albinoni. Weber. Milhaud. and Others. Doctor of Musical Arts (Woodwinds Performance), December 1992, 131 pp., 3 tables, 39 examples, 3 appendices, annotated bibliography of selected works, bibliography, 44 titles. The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I. ACKNOWLEDGMENTS It is with sincere graditude that I acknowledge the following people for their assistance in this endeavor: my committee, John Scott, Deanna Bush, and James Gillespie for their editorial assistance; Marilyn Nims, Diana Gale, and Rose Marie Chisolm for their performance assistance; Nancy Chance for information in the Duos J; and my family and friends for their generous and loving support. 1X1 PREFACE The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument, i.e., without the usual preoccupation with textual meaning. In texted compositions (numerous works) for voice and obbligato woodwinds the text tends to affect the general character of the work and often its overall structure. The programmatic association of the clarinet in Schubert's Der Hirt auf den Felsen (1828) is an obvious case. Similarly, John Banner's The Thrush, Edward German's Bird of Blue, and Lawrence Willingham's Carol of the Thrush, works for flute and voice, make overt programmatic use of the obbligato instrument here alluding to the sound of birds. Such narrow stereotyping certainly does not constitute the majority of works written for obbligato instruments. Yet, even in texted works of the highest merit, the roles of the singer and instrumentalist are inherently different. In the absence of text, however, the composer is better able to concentrate on matters of blend, timbral IV relationships and form without being constrained by structural or programmatic implications of a text. The variables of voice type and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, pitch, resultant tones, loudness, and special effects (fluttertongue, special vibrato demands, non- vibrato, etc.) become all-important without the distraction or aid of a literary focus. Past studies have focused almost exclusively on texted literature for the voice and obbligato instrument and on concert vocalises for the solo voice. Little research has been done concerning the history, analysis, or performance practice of music for untexted voice and woodwinds. This study begins with an historical overview of texted works for voice and woodwind obbligato and works employing textless voice. In addition, this study brings together knowledge of the special acoustical properties of woodwind instruments and voice that should aid the performer and teacher alike. The third chapter features a detailed analysis of the three works. The concluding chapter summarizes the contributions of the study. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance concerning Duos I, and program notes on Duos I, provided by the composer. Three works were selected from the bibliography of works for their special problems encountered with the medium. Aria (1930) by Jacques Ibert, Three vocalises (I960) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of each complete work to be performed and pertinent research on the composers are presented. Marilyn Nims and Diana Gale performed the vocal roles in these works. Their observations have aided in this research. VI TABLE OF CONTENTS PREFACE iv LIST OF TABLES viii LIST OF EXAMPLES ix PROGRAMS OF RECITALS xi Chapter I. HISTORICAL PERSPECTIVE 1 Historical Survey of Vocal Music with Woodwind Obbligato The Use of the Voice without Text II. PERFORMANCE CONSIDERATIONS 18 Introduction Timbre in Voice, Flute, Clarinet vibrato Pitch Loudness Special Techniques III. ANALYSES AND PERFORMANCE CONSIDERATIONS OF SELECTED WORKS 47 Introduction Aria (1931) by Jacques Ibert Three vocalises (1958) by Ralph Vaughan Williams Duos I (1976) by Nancy Chance IV. SUMMARY AND CONCLUSIONS 90 APPENDIX A: Annotated Bibliography of Selected Works ....95 APPENDIX B: Written Interview with Nancy Chance 107 APPENDIX C: Program Notes for Duos 1 110 BIBLIOGRAPHY 112 VI1 LIST OF TABLES 1. Cubic and simple difference tones 39 2. Harmonic Material 3, Reduction to sounding intervals, mm. 18-24, Chance Duos 1 77 3. Form of Chance Duos 1 84 Vlll LIST OF EXAMPLES 1. Glottal "trill," Rosen Serenade 42 2. Fluttertonguing, Chance Duos 1 42 3. Syllables, McBride Vocalise 43 4. Syllables, Weigl Brief Encounters 44 5. Fluttertonguing,Chance Duos 1 44 6. Fluttertonguing, Rosen Serenade 45 7. Glissandi, McBride Vocalise 45 8. Key and Tongue Clicks, Rosen Serenade 45 9. Arrangements, Ibert Aria 50 10. Differences in editions, Ibert Aria 53 11. Differences in editions, Ibert Aria 54 12. Texture of opening, Ibert Aria 56 13. Dissonance between flute and piano, Ibert Aria 57 14. Thirds, Ibert Aria 59 15. Unisons, Prelude Vaughan Williams Three Vocalises... 63 16. Final measures, Prelude, Vaughan Williams Three Vocalises 64 17. Cross rhythms, Scherzo, Vaughan Williams Three Vocalises 65 18. Ending, Quasi Menuetto, Vaughan Williams Three Vocalises 67 19. Melodic Materials 1, Chance Duos 1 72 IX 20. MM 2, Chance Duos 1 7 3 21. MM 3, Chance Duos 1 7 3 22. MM 4, Chance Duos 1 74 23. MM 5, Chance Duos 1 74 24. MM 6, Chance Duos 1 75 25. MM 7, Chance Duos 1 75 26. MM 8, Chance Duos 1 7 6 27. Harmonic Materials 1, Chance Duos 1 77 28. HM 2, Chance Duos 1 77 29. HM 4, Chance Duos 1 78 30. HM 5, Chance Duos 1 7 8 31. Rhythmic Materials 1, Chance Duos 1 79 32. RM 2, Chance Duos 1 79 33. RM 3, Chance Duos 1 80 34. RM 4, Chance Duos 1 80 35. Principal Cadence, Chance Duos J 81 36. Transposition of principal cadence by a P4th, Chance Duos 1 81 37. Principal cadence with special effects and rhythmic augmentations, Chance Duos 1 82 38. Foreshadowing, Chance Duos 1 83 39. Extension of motive, Chance Duos 1 83 presents Doctoral Solo Recital Nancy Gamso, Woodwinds with Sarah Staton, Piano Joueurs de flute, Op. 27 Albert Roussel Pan T i tyre Krishna Mr de la Pejaudie Premier Solo for Bassoon E. Bourdeau Intermission Concerto in B flat Major for Clarinet Oohann Stamitz Allegro moderato Adagio Poco presto Sonata for Clarinet and Piano, Op. 129 Allegro moderato Charles V. Stanford Caoine - Adagio (quasi Fantasia) Allegretto grazioso Monday, March 6, 1989 8:00 p.m. Recital Hall XI presents Graduate Recital NANCY GAMSO, clarinet and oboe assisted by: Judy Fisher, piano Paul Rennick, percussion Monday, June 25, 1990 6:15 p.m. Recital Hall Concerto in D minor, Op. 9, No. 2 Tomaso Albinoni Allegro e non presto (1671-1750) Adagio Allegro Solo de Concours, Op. 10 pour Clarinette Henri Rabaud in Sib avec accompanyement de Piano (1901) (1873-1949) Moderate - Largo - Allegro - INTERMISSION - Capriccio for Solo Clarinet Heinrich Sutermeister in A (1946) (b. 1910) i mtKoiml Xll Sources III for Two Performers (clarinet David Burge and percussion) (1967) (b. 1930) I. i = ca, 60 II. J = 132 III. > = 40 IV. ) = ca. 46 (Cadenza I) V. Free Tempo (Cadenza II) Presented in partial fulfillment of the requirements for the degree of Doctorate of Music in Woodwinds Xlll presents A Graduate Recital NANCY M. GAMSO, flute, clarinet, saxophone assisted by Philip Wilder, harpsichord Michael Kaprelian, ceilo Rose Marie Chisholm, piano Monday, March 9, 1992 6:15 p.m. Recital Hall Sonata No. 2 in d minor, "La Vibray" Michel Blavet Andante (1700-1768) Allemande - Allegro Gavotte (les Caquets) - Tranquillo Sarabande - Largo Finale - Allegro Philip Wilder, harpsichord Michael Kaprelian, cello - short pause - Concertino, Opus 26 Carl Maria von Weber (1786-1826) Hillandale Waltzes Victor Babin Temp di Valse - Con garbo (1908-1972) I.
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