The Florida State University DigiNole Commons Electronic Theses, Treatises and Dissertations The Graduate School 7-9-2013 Unifying Elements Of Paul Lansky's threads Gordon Benjamin Hicken The Florida State University Follow this and additional works at: http://diginole.lib.fsu.edu/etd Recommended Citation Hicken, Gordon Benjamin, "Unifying Elements Of Paul Lansky's threads" (2013). Electronic Theses, Treatises and Dissertations. Paper 7421. This Dissertation - Open Access is brought to you for free and open access by the The Graduate School at DigiNole Commons. It has been accepted for inclusion in Electronic Theses, Treatises and Dissertations by an authorized administrator of DigiNole Commons. For more information, please contact [email protected]. THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC UNIFYING ELEMENTS OF PAUL LANSKY’S THREADS By GORDON HICKEN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2013 Gordon Hicken defended this treatise on June 24, 2013. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Richard Clary University Representative John Drew Committee Member Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS This document, and this degree, would not have been possible without the help, guidance, and support of numerous remarkable individuals: Dr. John W. Parks IV, my major professor, for taking a chance on me and pushing me to be the best musician and teacher I can be. Professor Richard Clary, Dr. John Drew, and Dr. Christopher Moore, my committee members. Dr. Scott Herring, Dr. John Beckford, Professor Jim Hall, and Mr. Ron Schwartz, my major professors throughout my collegiate career. Dr. Scott Weiss, Dr. Rebecca Phillips, Mr. Jayme Taylor, Mrs. Andrea Pouncey, and Dr. Scott Herring, my colleagues at the University of South Carolina, for supporting me throughout my first year on the faculty at South Carolina. My friends and colleagues in the Florida State University Percussion Studio, for allowing me to get to know and learn from some of the best people and players in the percussion world today. My parents and sister, for their encouragement and love throughout my life. And most importantly, my wife Laura, for her unending love and support in this endeavor - even through four moves and three job changes. I love you! iii TABLE OF CONTENTS List of Figures................................................................................................................................ vi Abstract........................................................................................................................................ xiii 1. INTRODUCTION...................................................................................................................1 1.1 Paul Lansky....................................................................................................................1 1.2 Threads ..........................................................................................................................2 2. PRELUDES AND ARIAS ......................................................................................................6 2.1 Sounds Present in Movement Family ............................................................................6 2.2 Musical Analysis............................................................................................................6 2.2.1 Prelude (Aria I) ..................................................................................................6 2.2.2 Aria II...............................................................................................................11 2.2.3 Aria III .............................................................................................................15 2.2.4 Chorale Prelude (Aria IV)................................................................................19 2.3 Performance Considerations ........................................................................................24 3. RECITATIVES .....................................................................................................................29 3.1 Sounds Present in Movement Family ..........................................................................29 3.2 Musical Analysis..........................................................................................................29 3.2.1 Recitative I.......................................................................................................29 3.2.2 Recitative II......................................................................................................37 3.2.3 Recitative III ....................................................................................................42 3.3 Performance Considerations ........................................................................................50 4. CHORUSES ..........................................................................................................................54 4.1 Sounds Present in Movement Family ..........................................................................54 4.2 Musical Analysis..........................................................................................................54 4.2.1 Chorus I............................................................................................................54 4.2.2 Chorus II ..........................................................................................................64 4.2.3 Chorus III.........................................................................................................74 4.3 Performance Considerations ........................................................................................83 5. UNIFYING ELEMENTS OF THREADS .............................................................................87 5.1 Sounds from Different Movement Families ................................................................87 5.2 Rhythmic Ideas ............................................................................................................88 5.3 Musical Voices ............................................................................................................90 APPENDICES ...............................................................................................................................93 A. COPYRIGHT PERMISSION ...............................................................................................93 B. PROGRAM NOTES AND LANSKY BIOGRAPHY ..........................................................95 C. INSTRUMENT KEY ............................................................................................................96 iv D. METAL PIPE SIZES ............................................................................................................97 REFERENCES ..............................................................................................................................98 BIOGRAPHICAL SKETCH .......................................................................................................100 v LIST OF FIGURES 2.1 Prelude (Aria I), three musical “voices”..............................................................................7 2.2 Prelude (Aria I), high toms ostinato.....................................................................................8 2.3 Prelude (Aria I), measures one and two...............................................................................8 2.4 Prelude (Aria I), composite rhythm from measure two .......................................................9 2.5 Prelude (Aria I), unison motive with articulation ................................................................9 2.6 Prelude (Aria I), hemiola and canon between vibraphone and glockenspiel.....................10 2.7 Prelude (Aria I), sixteenth notes align with actual and perceived pulse............................11 2.8 Aria II, opening passage ....................................................................................................11 2.9 Aria II, canon between vibraphone parts ...........................................................................12 2.10 Aria II, canon between vibraphone parts (continued)........................................................13 2.11 Aria II, Tuned Pipes melody against D5 ............................................................................13 2.12 Aria II, Tuned Pipes melody against D5 (continued).........................................................13 2.13 Aria II, first voice in rhythmic canon ................................................................................14 2.14 Aria II, full note values for rhythmic canon ......................................................................14 2.15 Aria II, rhythmic canon at sixteenth note beginning in measure 21 ..................................14 2.16 Aria II, rhythmic canon on D with articulations................................................................14 2.17 Aria III, unison quarter note texture ..................................................................................16 2.18 Aria III, four voices of rhythmic activity...........................................................................17 2.19