University of Huddersfield Repository

Total Page:16

File Type:pdf, Size:1020Kb

University of Huddersfield Repository University of Huddersfield Repository Roche, Heather Dialogue and Collaboration in the Creation of New Works for Clarinet Original Citation Roche, Heather (2011) Dialogue and Collaboration in the Creation of New Works for Clarinet. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/17512/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 1 Dialogue and Collaboration in the Creation of New Works for Clarinet Heather Roche A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy September 2011 2 ACKNOWLEDGEMENTS.................................................................................4 STATEMENT OF COPYRIGHT........................................................................ 4 LIST OF FIGURES............................................................................................5 1. TOWARDS A PERSONAL DEFINITION OF COLLABORATION THROUGH PRACTICE: AN INTRODUCTION, LITERATURE REVIEW AND METHODOLOGY..............................................................................................6 1.1 Introduction:......................................................................................................................................6 1. 2. Rationale: ......................................................................................................................................17 1.3 Further Influences:......................................................................................................................... 23 1. 4. Motivation......................................................................................................................................27 1. 5. Methodology.................................................................................................................................. 28 1. 6. Conclusion......................................................................................................................................36 2. EXPLORATION OF COLLABORATIVE PROCESSES: A SELECT HISTORY OF CLARINETTIST-COMPOSER PARTNERSHIPS....................38 2.1 Introduction..................................................................................................................................... 38 2.2 1757-1846......................................................................................................................................... 41 2.3 1811-1891.........................................................................................................................................47 2.4 1928 - 1941....................................................................................................................................... 51 2.5 Conclusion........................................................................................................................................54 3. COLLABORATION AS CASE-STUDY: ALEC HALL’S HENDRIK LORENTZ STARES INTO THE BHAVACAKRA FOR CLARINET AND PIANO............................................................................................................. 56 4. CLARINETTIST, COMPOSER AND THE COLLABORATIVE PROCESS: THEMES EMERGENT THROUGH DIALOGUE AND NARRATIVE..............83 4.1 Introduction .................................................................................................................................... 83 4.2 Benefits of Collaboration................................................................................................................88 4.2.3 Individual personal growth........................................................................................................89 4.2.1 Network expansion....................................................................................................................92 4.2.2. Development of Personal Relationships...................................................................................93 4.2.4 Creating something neither could have discovered alone.........................................................94 4.3 Exploration of the Collaborative and Creative Process and the Development of Emergent Themes................................................................................................................................................... 95 3 4.3.1 Importance of Dialogue............................................................................................................... 96 4.3.2 Focus on Creative and Collaborative Process........................................................................ 123 4.3.3 Mutual respect and trust........................................................................................................... 129 4.3.4 Value of Conflict......................................................................................................................... 134 4.4 Conclusion......................................................................................................................................143 BIBLIOGRAPHY...........................................................................................148 APPENDIX A – RECORDED WORKS CREATED IN COLLABORATION DURING PHD................................................................................................155 APPENDIX B – RECORDINGS OF DIALOGUE REFERENCED IN PHD..156 APPENDIX C – PERFORMER AND COMPOSER BIOGRAPHIES............157 Heather Roche, clarinet...................................................................................................................... 157 Kate Ledger, piano.............................................................................................................................. 157 Sarah Watts, bass clarinet.................................................................................................................. 159 Elspeth Brooke.....................................................................................................................................160 John Hails............................................................................................................................................ 160 Alec Hall...............................................................................................................................................160 Ben Isaacs.............................................................................................................................................161 Timothy McCormack .........................................................................................................................161 Scott McLaughlin................................................................................................................................162 Pierre-Alexandre Tremblay................................................................................................................162 Daniel Vezza.........................................................................................................................................163 4 Acknowledgements I am grateful for the support of my supervisors, Dr. Philip Thomas, Dr. David Milsom and Elizabeth Dobson. Additionally, I am indebted to the support of the entire music department at the University of Huddersfield. I would also like to thank the composers involved in this project and the performers, Kate Ledger and Sarah Watts, for their fantastic playing and collaborative spirit. This thesis would not have been possible without the support of my family and friends. Especially my mother, who supported every move I made and passed away shortly before I finished writing. I further acknowledge the support of the Canada Council for the Arts, who generously contributed to the commissioning of Pierre-Alexandre Tremblay and to Alec Hall's travel to the premiere of his work. Finally, many thanks to those who assisted with proof-reading: Scott McLaughlin, Lisa Colton, Helen Clavering, Chris Swithinbank, Ingrid Pearson and Freya de Mink. Abstract This PhD thesis explores dialogue-based, “intimate” collaboration through the creation of new works for clarinet. It borrows from Grounded Theory in order to facilitate an analysis through which emergent themes within a dialogue-based collaboration are discovered. The aim has not been to insist on one model of collaboration, but to discover methods for improving one’s collaborative skills and to identify ways in which one benefits from a focus on dialogue in collaboration. Furthermore, it aims to suggest that through collaboration one can make discoveries about the instrument: original contributions to clarinet technique are made within this thesis. The literature from which the research
Recommended publications
  • © E Ugenie Brink
    © Eugenie Brinkema EVAN JOHNSON (*1980) 1 hyphen (2002) 01:51 1 Peter Neville, crotales 2 – 3 ELISION: Carl Rosman, bass clarinet Richard Haynes, bass clarinet 4 Graeme Jennings, violin Apostrophe 1 (All communication is a form of complaint) 5 Mieko Kanno, violin (2007 – 2008) EXAUDI: Juliet Fraser, soprano Amanda Morrison, soprano 2 I. 19:59 Christopher Field, countertenor Tom Williams, countertenor 3 II. 03:25 Stephen Jeffes, tenor Jonathan Bungard, tenor James Weeks, conductor 6 Mabel Kwan, toy pianos 4 clutch (2005) 01:32 5 Colophons (“That other that ich not whenne”) reflecting pool / monument (2006) 08:11 6 Positioning in Radiography (2007) 13:14 TT 48:16 2 3 A paradox lies at the heart of Evan Most of the notes in these two pieces on either side, which give it its function At first glance, Johnson appears tied to Johnson’s music. When composing he of- move at high speed, and long pauses are and meaning. Those words constitute a a heavy, European tradition of rich nota- ten begins with a structure of durational used to extend the music’s duration be- sort of white or negative space, whose tional determination, formal complexity containers, proportionally related. He then yond just a few seconds. In clutch these presence and influence can be inferred and hierarchy. His scores – almost always follows this by trying to squeeze in ma- pauses comprise two sustained notes of even if the words themselves are not spo- hand-engraved, in a beautiful, precise and terials that are too large for those spac- around 30 seconds’ duration each – played ken.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008).
    [Show full text]
  • Van Stam, 2017
    Tilburg University Reflections van Stam, Gertjan Publication date: 2017 Document Version Publisher's PDF, also known as Version of record Link to publication in Tilburg University Research Portal Citation for published version (APA): van Stam, G. (2017). Reflections: A Narrative on Displacement of Technology and Meaning in an African Place. [s.n.]. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. okt. 2021 Reflections A Narrative on Displacement of Technology and Meaning in an African Place Gertjan van Stam Harare/Masvingo, Zimbabwe Macha, Zambia Tilburg, the Netherlands 2017 Copyright free | 1 Reflections A Narrative on Displacement of Technology and Meaning in an African Place Proefschrift ter verkrijging van de graad van doctor aan Tilburg University op gezag van de rector magnificus, prof. dr. E.H.L. Aarts, in het openbaar te verdedigen ten overstaan van een door het college voor promoties aangewezen commissie in de aula van de Universiteit op vrijdag 15 september 2017 om 14.00 uur door Gertjan van Stam geboren te Rotterdam | 3 Promotores: prof.
    [Show full text]
  • The Historical Basset Clarinet in Creative Collaboration Emily Payne
    E. Payne Contemporary Music Review Repurposing the past? The historical basset clarinet in creative collaboration Emily Payne* School of Music, University of Leeds, Leeds, UK In this article I examine the role of the instrument in Evan Johnson and Carl Rosman’s collaboration on a new work for eighteenth-century basset clarinet, ‘indolentiae ars’, a medium to be kept (2015). Drawing on material collected over 30 months – including interviews; audio-visual footage; and correspondence containing sketches, fingering charts, and recordings – I consider the latent practices that lie within the instrument, and their role in the creative process. From the aesthetic discourses that pervaded the musicians’ discussions, to the transitional and sometimes ‘accidental’ moments of instrumental interaction during workshops, I trace the micro-processes within the broader creative trajectory, in order to understand how the instrument’s historical, social, and ergonomic affordances were enmeshed within the here-and-now of the collaboration. The article illustrates the dynamic character of collaborative work, shaped not solely by the knowledge of individuals, but through a close reciprocity between perception, action, and the discursive and material conditions of their surroundings. Keywords: clarinet, composer-performer collaboration, creativity, historical instrument, workshop * Email: [email protected] 1 E. Payne Contemporary Music Review Repurposing the past? The historical basset clarinet in creative collaboration In his dedication to ‘indolentiae
    [Show full text]
  • New Populisms and the European Right and Far Right Parties. the Challenge and the Perspectives for the Left
    NEW POPULISMS AND THE EUROPEAN RIGHT AND FAR RIGHT PARTIES. THE CHALLENGE AND THE PERSPECTIVES FOR THE LEFT NUOVI POPULISMI E LE DESTRE ESTREME IN EUROPA LE SFIDE E LE PROSPETTIVE PER LA SINISTRA 1 EDIZIONI PUNTO ROSSO Via G. Pepe 14 – 20159 Milano Telefoni e fax 02/87234046 [email protected]; www.puntorosso.it Redazione delle Edizioni Punto Rosso: Nunzia Augeri, Alessandra Balena, Eleonora Bonaccorsi, Laura Cantelmo, Loris Caruso, Serena Daniele, Dilva Giannelli, Roberto Mapelli, Stefano Nutini, Giorgio Riolo, Roberta Riolo, Nelly Rios Rios, Erica Rodari, Pietro Senigaglia, Domenico Scoglio, Franca Venesia. 2 Presentation Giorgio Riolo Introduction. Peril from the Right Walter Baier Why Populism? Ernesto Laclau The Populism of Precarity Andrea Fumagalli The extreme right and right-wing populism in Germany Gerd Wiegel (Translation: Susann Kamme-Davies) Italy: The Northern League and Berlusconi’s Populism Roberto Biorcio Nach Rechts! Demystifying the Rise of Populist and the Far-Right in Post-Transition Hungary Adam Fabry The Panorama of the European Extreme Right: Populisms and Extreme Rights, East and West Saverio Ferrari Right-wing political models for the future of Europe: What is the Political Right up to in the European Parliament? Thilo Janssen Confronting the Extreme Right: A Challenge for the Left Lessons Learned From the 2012 Elections in France Elisabeth Gauthier Beyond the Extreme Right: the European Populist Challenge Yannis Stavrakakis Why Ever Should the Working Class Vote for the Left? Mimmo Porcaro Conclusions Luciana Castellina Nicola Nicolosi Annex Karlsruhe’s Shortsightedness Luciana Castellina From “Il Manifesto”, 13 September 2012 3 WORKSHOP New populisms are haunting Europe. These populisms are shaping the European political Rights.
    [Show full text]
  • Group Research, Inc. Records, 1955-1996 MS# 0525 ©2007 Columbia University Library
    Group Research, Inc. Records, 1955-1996 MS# 0525 ©2007 Columbia University Library This document is converted from a legacy finding aid. We provide this Internet-accessible document in the hope that users interested in this collection will find this information useful. At some point in the future, should time and funds permit, this finding aid may be updated. SUMMARY INFORMATION Creator Group Research, Inc. Title and dates Group Research, Inc. Records, 1955-1996 Abstract Founded by Wesley McCune and based in Washington DC until ceasing operations in the mid-1990s, Group Research Inc. collected materials that focus on the right-wing and span four decades. The collection contains correspondence, memos, reports, card files, audio-visual material, printed matter, clippings, etc. Size 215 linear ft. (512 document boxes; Map Case 14/16/05 and flat box #727) Call number MS# 0525 Location Columbia University Butler Library, 6th Floor Rare Book and Manuscript Library 535 West 114th Street Page 1 of 142 Group Research Records Box New York, NY 10027 Language(s) of material English History of Group Research, Inc. A successful journalist for such magazines as Newsweek, Time, Life and Changing Times as well as a staff member of several government agencies and government-related organizations, Wesley McCune founded Group Research Inc. in 1962. Based in Washington DC until ceasing operations in the mid-1990s Group Research Inc. collected materials that focus on the right--wing and span four decades. The resulting Group Research archive includes information about and by right-wing organizations and activists in the form of publications correspondence pamphlets reports newspaper Congressional Record and magazine clippings and other ephemera.
    [Show full text]
  • The Nationalist Family Tree
    Taken from The Nationalist Movement's page: http://www.nationalist.org/docs/history/family.html The Nationalist Family Tree Spark and spirit Ba ckground G enealogy Root s and Branches of the Tree Root s in Patriotism and Anti- Communism Jeremy Erickson Holds forth at Morristown rally Dan McDermott Awarded for Dubuque rally Roots in patriotism and anti-communism Lifetime commitment and refusal to recant In a day when there seem to be few leaders, reformers and visionaries who will take a stand for their people, nation and way of life, it is refreshing to point to those who have never backed down. They have formed the basis of Nationalism in the modern age. Those listed have shown notable, even heroic, defiance in the face of their opposition. One shining moment of moral courage -- and sometimes more than one -- has marked their lives and inspired countless others, which is why they are listed here. Many of these men seem to have been piloted by destiny or, even, divine Providence, in their historic tasks. In particular, they all had some opportunity to cut and run, go over to their opposition or repudiate their own principles. But they chose to stand and fight. And, most important, they remained defiant, steadfast and unrepentant, to the very end. Even when others became turncoats and sellouts. Their mission and impact played out in full effect in Morristown, New Jersey, where Jeremy Erickson and his compatriots took the podium, the streets and the high-ground, turning back Communist Jared Schultz and his confederates, who ran, hid and were busted by police.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Bell, Jonathan (2016). Audio-scores, a resource for composition and computer- aided performance. (Unpublished Doctoral thesis, Guildhall School of Music and Drama) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17285/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Audio-Scores: A Resource for Composition and Computer-Aided Performance Jonathan Bell Final submission DMus February 2016 ii Abstract This submission investigates computer-aided performances in which musicians receive auditory information via earphones. The interaction between audio-scores (musical material sent through earpieces to performers) and visual input (musical notation) changes the traditional relationship between composer, conductor, performer and listener. Audio-scores intend to complement and transform the printed score. They enhance the accuracy of execution of difficult rhythmic or pitch relationships, increase the specificity of instructions given to the performer (for example, in the domain of timbre), and may elicit original and spontaneous responses from the performer in real-time.
    [Show full text]
  • Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941
    Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 ABSTRACT Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 Copyright by Elizabeth Crisenbery 2020 Abstract Roger Griffin notes that “there can be no term in the political lexicon which has generated more conflicting theories about its basic definition than ‘fascism’.” The difficulty articulating a singular definition of fascism is indicative of its complexities and ideological changes over time. This dissertation offers
    [Show full text]
  • Michael Finnissy Singular Voices
    Michael Finnissy Singular Voices 1 Lord Melbourne †* 15:40 2 Song 1 5:29 3 Song 16 4:57 4 Song 11 * 3:02 5 Song 14 3:11 6 Same as We 7:42 7 Song 15 7:15 Beuk o’ Newcassel Sangs †* 8 I. Up the Raw, maw bonny 2:21 9 II. I thought to marry a parson 1:39 10 III. Buy broom buzzems 3:18 11 IV. A’ the neet ower an’ ower 1:55 12 V. As me an’ me marra was gannin’ ta wark 1:54 13 VI. There’s Quayside fer sailors 1:19 14 VII. It’s O but aw ken weel 3:17 Total Duration including pauses 63:05 Clare Lesser soprano David Lesser piano † Carl Rosman clarinet * Michael Finnissy – A Singular Voice by David Lesser The works recorded here present an overview of Michael Finnissy’s continuing engagement with the expressive and lyrical possibilities of the solo soprano voice over a period of more than 20 years. It also explores the different ways that the composer has sought to ‘open-up’ the multiple tradition/s of both solo unaccompanied song, with its universal connotations of different folk and spiritual practices, and the ‘classical’ duo of voice and piano by introducing the clarinet, supremely Romantic in its lyrical shadowing of, and counterpoints to, the voice in Song 11 (1969-71) and Lord Melbourne (1980), and in an altogether more abrasive, even aggressive, way in the microtonal keenings and rantings of the rarely used and notoriously awkward C clarinet in Beuk O’ Newcassel Sangs (1988).
    [Show full text]
  • Download (227Kb)
    City Research Online City, University of London Institutional Repository Citation: Pace, I. and Bruce, D. (2005). Ian Pace Interview 528. Composition Today, This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6559/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Interview with Composition Today, posted April 19th, 2005 at http://www.compositiontoday.com/interviews/ian_pace.asp Ian Pace is one of the UKs leading performers of contemporary piano music. He is renowned for his ability to tackle the most demanding contemporary scores, including, in 2001, the first performance of Michael Finnissy's 5 1/2 hour long 'The History of Photography in Sound'. He has commissioned and premiered a huge number of new works by some of the worlds leading composers. He is also a writer and thinker on music and co-authored 'Uncommon Ground, the music of Michael Finnissy' (Ashgate Publishing, 1997) Tell us something about your background.
    [Show full text]
  • 2020 NASPA Annual Conference March 28–April 1, 2020 Austn, TX
    produced by 2020 NASPA Annual Conference March 28–April 1, 2020 Austn, TX The Annual Knowledge Community Conference Publicaton Copyright © 2020 by the Natonal Associaton of Student Personnel Administrators (NASPA), Inc. All rights reserved. Published by NASPA–Student Afairs Administrators in Higher Educaton 111 K Street, NE 10th Floor Washington, DC 20002 www.naspa.org No part of this publicaton may be reproduced, stored in a retrieval system, or transmited in any form or by any means, now known or hereafer invented, including electronic, mechanical, photocopying, recording, scanning, informaton storage and retrieval, or otherwise, except as permited under Secton 107 or 108 of the 1976 United States Copyright Act, without the prior writen permission of the Publisher. NASPA does not discriminate on the basis of race, color, natonal origin, religion, sex, age, gender identty, gender expression, afectonal or sexual orientaton, or disability in any of its policies, programs, and services. TABLE OF CONTENTS by Knowledge Community 5 | Knowledge Community Publicaton Welcome 62 | Of-Campus and Commuter Student Services 7 | Public Policy Feature 65 | Orientaton, Transiton, and Retenton 10 | Administrators in Graduate and 69 | Parent and Family Relatons Professional Student Services 72 | Sexual and Relatonship Violence Preventon, 13 | Adult Learners and Students with Children Educaton, and Response 16 | African American 76 | Socioeconomic and Class Issues in Higher Educaton 19 | Alcohol and Other Drugs 79 | Spirituality and Religion in Higher Educaton
    [Show full text]