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Graphic Analyses of the Conducting Techniques for Irregular Meters and Nonmetrical Organizations Found in Selected Twentieth- Century Band Literature

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Graphic Analyses of the Conducting Techniques for Irregular Meters and Nonmetrical Organizations Found in Selected Twentieth- Century Band Literature Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Graphic Analyses of the Conducting Techniques for Irregular Meters and Nonmetrical Organizations Found in Selected Twentieth- Century Band Literature. John Wesley Knight Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Knight, John Wesley, "Graphic Analyses of the Conducting Techniques for Irregular Meters and Nonmetrical Organizations Found in Selected Twentieth-Century Band Literature." (1979). LSU Historical Dissertations and Theses. 3445. https://digitalcommons.lsu.edu/gradschool_disstheses/3445 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 1FORMATION TO USERS This was produced from u copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University/ Micrdfilms international 300 N. ZEEB ROAD. ANN ARBOR, Ml 48106 18 BEDFORD ROW. LONDON WC1R 4EJ, ENGLAND 8013126 KNIGHT, JOHN WESLEY GRAPHIC ANALYSES OF THE CONDUCTING TECHNIQUES FOR IRREGULAR METERS AND NONMETRICAL ORGANIZATIONS FOUND IN SELECTED TWENTIETH-CENTURY BAND LITERATURE The Louisiana State University and Agricultural and Mechanical Col. PH.D. 1979 University Microfilms International300 N. Zeeb Road, Ann Arbor, MI 48106 18 Bedford Row, London WC1R 4EJ, England GRAPHIC ANALYSES OP THE CONDUCTING TECHNIQUES FOR IRREGULAR INTERS AND NONfoETRICAL ORGANIZATIONS FOUND IN SELECTED TWENTIETH-CENTURY BAND LITERATURE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music John Wesley Knight B.Wi.E., University of Central Arkansas, 19&9 fcJi, , Louisiana State University, 1973 December 1979 CONTENTS LIST OF ILLUSTRATIONS ............... iv LIST OF TABLES ................................... viii ACKNOWLEDGEMENTS ................................ x ABSTRACT . ................................... xii Chapter 1. INTRODUCTION .......... 1 Statement of the Problem ............... 3 Significance of the Study ............. 3 Delimitations .......................... 6 Definition of Terms ................... 7 Method of R e s e a r c h ........................ 10 Organization of the Study ............. 10 2. SURVEY OF RELATED LITERATURE ............. 13 Review of Supportive Evidence ..... 13 Review of Selected Literature ......... 1? Review of Conducting Textbooks ......... 59 3. ANALYSIS AND EVALUATION OF QUESTIONNAIRES ............................ 77 First Questionnaire! To College Band D i r e c t o r s .......................... 78 Second Questionnaire: To Selected Conductors . * ........... 116 Comparison of Responses ....... 126 Summary of Conducting Patterns for Irregular ketric Groupings . 132 ii Chapter 4. GRAPHIC ANALYSES ................... 135 Representative Diagrams of Irregular Metric Groupings ........... 136 Diagrams of Conducting Patterns for Specific Musical Examples of Irregular Meters ................. 149 Conducting Solutions for Nonmetrical Organizations ............. 164- Reference Chart of Diagrams ............. 1?4 5. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS .......................... 186 Summary ................................... 186 Conclusions. 192 Recommendations ........................ 198 APPENDIXES ......................................... 201 A. TWENTIETH-CENTURY BAND LITERATURE INVESTIGATED IN THIS S T U D Y ..................201 B. QUESTIONNAIRES ..... .................. 204 To College Band Directors ............... 204 To Prominent Conductors ............... 214 C. CORRESPONDENCE ............................... 217 Cover Letter to First Questionnaire . 217 Follow-up L e t t e r ....................... 218 Letter to Officers of ASBDA, ABA, CBDNA, and N B A ............. 219 Cover Letter to Second Questionnaire . 220 Letter to Publishers ................... 221 D. RESPONDING INSTITUTIONS .................. 222 E. FREE RESPONSES FROM COLLEGE BAND DIRECTORS ...............................225 SELECTED BIBLIOGRAPHY ............................ 229 VITA ................................................ 238 iii LIST OF ILLUSTRATIONS Figure 1. Percy Grainger, Lincolnshire Posy, third movement, "Rufford Park Poachers," measures 6-10, p. 1 3 ..................... 19 2. Andreas Makris, Aegean Festival Overture. measures 198-2 1 3 , p. 2 3 .......................20 3. Fisher Tull, Reflections on Paris, measures measures 103 -1 0 7 , p. 28 , . ................ 21 4. Igor Stravinsky, Concerto for Piano and wind Instruments, first movement, measures 277 -2 9 3 , p, 2 9 .......................22 5 . Alvin Ftler, Concerto for Clarinet. measures 7-10, P- 40 ! ! ! T~.............. 23 6. George Rochberg, Apocalyptica, measures 367-373, P. 5 0 ............................... 24 7. Paul Creston, Anatolia "Turkish Rhapsody," measures 16-19, P» 8 ........... 25 8. John Barnes Chance, Blue Lake. measures 167-170, p. 3 6 ...............................26 9, Thea Musgrave, Scottish Dance Suite. third movement, measures 1-7, p. 24 . 27 10, Robert Jager, Third Suite, first movement, "harch," measures 1-4, p, 3 . • • 27 11, Robert Jager, Third Suite, second movement, "Waltz," measures 1-7, p. 7 . 28 iv Illustrations continued Figure 12. Niel DePonte* Concertino for Marimba. measures 144-152, p. 10 . 28 13. Charles Ives, Scherzo "Over the Pavements. " measures 61-65, p. 1 0 ........... 29 14. Percy Grainger, Lincolnshire Posy. fifth movement, "Lord iVielbourne," measures 2-7, p. 30 . 30 15. Percy Grainger, Lincolnshire Posv. fifth movement, "Lord Melbourne," measures 37-41, p. 3 3 .....................31 16. Percy Grainger, The Power of Rome and the Christian Heart, measures 23 -2 7 , p. 4 . 31 17. Henry Brant, Verticals Ascending measures 132-134, p. 38 . ............ 33 16. Paul Hindemith, Symphony in B flat. second movement, measures 95**97. p. 59 . 34 19. Hindemith, continued, measures 98-101, p. 60 35 20. Cristobal Halffter, Lineas y Puntos. measures 14-28, p. 3 ..... ........... 36 21. Cristobal Halffter, Lineas y Puntos, measures 42-53, p. 5 .................... 37 22. Percy Grainger, Lincolnshire Posy, fifth movement, "Lord Melbourne," measures 2-16, p. 3 0 .............................39 23 . Paul Creston, Anatolia "Turkish Rhapsody." measures 32-3^1 P» 12 .......... 40 24. Alvin Etler, Concerto for Clarinet. fourth movement, measures 11-1 9, p. 41 . 41 v Illustrations continued Figure 2 5 . Igor Stravinsky, Concerto for Piano and Wind Instruments. first movement, measures 256-276 , p. 28 . 42 26. John Barnes Chance, Blue Lake. measures 69-71 , p. 18 43 27 . John Barnes Chance, Blue Lake. measures I63 -166, p. 35 44 28. Charles Ives, Scherzo "Over the Pavements." measures 44-47, p. 7 ........... ^+4 2 9 . Cristobal Halffter, Lineas v Puntos. measure 94, divisions 1-13, p. 1 2 ........... 48 30 . Cristobal Halffter, Lineas v Puntos. measures 1-6 , p. 1 .......................... 49 31. Cristobal Halffter, Lineas v Puntos, measure 2 06 , divisions 14-20, p. 33 .... 5° 32. Krzysztof Penderecki, Pittsburgh Ouverture. measure 31* P. 1 1 ............... 52 33* Jose Serebrier, Twelve Plus Twelve, p. 1 • . 53 34. Jose Serebrier, Twelve Plus Twelve, section E ............................... 5^ 35. Donald Erb, Stargazing, measure 6, p. 8 , . 55 36 . Karel Husa, Apotheosis of This Earth, first movement, "Apotheosis," measures 99-103, P. 19 56 37. Karel Husa, Apotheosis of This Earth. first movement,
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