The Avant-Garde Horn: A Select Annotated Bibliography with an Analysis and Comparison of Two Representative Works D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Benjamin Thomas Hottensmith Graduate Program in Music The Ohio State University 2020 D.M.A. Document Committee Professor Bruce Henniss, Advisor Dr. David Hedgecoth Professor Timothy Leasure Dr. Russell Mikkelson 1 Copyrighted by Benjamin Thomas Hottensmith 2020 2 Abstract The horn’s strong tradition of solo repertoire has led to shortcomings in unique and unusual works when compared to other instruments. Solo horn works associated with the avant-garde, in particular, are lacking, though not entirely non-existent. The term “avant-garde” itself is also varied in its usage. This document explores and proposes a definition of avant-garde works, noting philosophical, social, and musical characteristics common in works and composers associated with the term. The definition is then applied to solo works for the horn in order to label existing works and establish a sub-genre of avant-garde works within the larger solo horn repertoire. Works deemed avant-garde are displayed in the form of an annotated bibliography including information in regard to the composer, title, year composed, duration, publisher, present extended techniques and theatrical elements, and a brief overview of the work. Works included in the bibliography are able to be easily acquired through publishers, libraries, composers’ websites, and file sharing websites such as IMSLP. Also provided is a detailed analysis of the evident avant-garde considerations of two exemplary works: No. 36 (NONcerto for Horn) by Richard Ayres and Nebadon für Horn und Elektronische Musik by Karlheinz Stockhausen. The goal in the creation of this document is to provide a resource for horn players and teachers interested in performing works of this type and to show that the solo horn medium is and can be further explored in relation to the avant-garde genre as a ii whole. Composers may also benefit from this document by gaining insight to how the horn is incorporated and utilized in avant-garde music, perhaps spurring action to write more for the instrument in this setting. iii Dedication To Ashley, for all your love, support, and patience. I cannot thank you enough. iv Acknowledgments I would like to thank the many people who guided me during the creation and development of this document. My committee members Dr. Mikkelson, Dr. Hedgecoth, and Professor Leasure who provided edits and suggestions to this document. The Ohio State University Music and Dance librarians Gretchen Atkinson, Jared Ogier, and Sean Ferguson for assistance with research and the many scores I had sent to their desk. Amanda Midkiff and Michael Rueda for their assistance in the acquisition of scores. And most importantly, I would like to thank Mr. Bruce Henniss for his mentorship, support, and constant positive image over the past three years. I feel extremely fortunate to have been provided the opportunity to be your Graduate Associate and I am forever grateful for your musical and academic guidance. v Vita Bachelor of Music – Horn Performance, Kent State University, 2014 Master of Music – Brass Performance, The University of Akron, 2016 Doctor of Musical Arts – Performance and Pedagogy, The Ohio State University, 2020 Fields of Study Major Field: Music vi Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments ............................................................................................................... v Vita ..................................................................................................................................... vi List of Figures .................................................................................................................. viii Chapter 1. Introduction ....................................................................................................... 1 Purpose ............................................................................................................................ 1 Literature Review ............................................................................................................ 3 Definition of Terms ......................................................................................................... 5 Limitations ...................................................................................................................... 6 Organization .................................................................................................................... 7 Chapter 2. A Definition of Avant-Garde Music ................................................................ 9 Chapter 3. Annotated Bibliography of Avant-Garde Works for Solo Horn .................... 17 Works for Solo Horn or with Electronic Accompaniment (one performer) ................. 17 Works for Horn with Keyboard Accompaniment (two performers) ............................ 42 Works for Horn with Ensemble Accompaniment ......................................................... 48 Chapter 4. Analysis of Two Representative Works .......................................................... 54 Richard Ayres – No. 36 (NONcerto for Horn) ............................................................. 55 Karlheinz Stockhausen – Nebadon für Horn und Electronische Musik ....................... 66 Chapter 5. Conclusion ....................................................................................................... 76 Bibliography ..................................................................................................................... 82 Appendix A. List of Works .............................................................................................. 85 vii List of Figures Figure 1 – Ayres: No. 36, Movement 1, m. 9, Solo Horn (concert pitch). ....................... 57 Figure 2 – Ayres: No. 36, Movement 3, m. 231-232, Solo horn (concert pitch). ............. 58 Figure 3 – Ayres: No. 36, Movement 3, m. 35-36, Clarinets and Bassoon. ..................... 59 Figure 4 – Ayres: No. 36, Movement 1, m. 48, Solo horn. ............................................... 60 Figure 5 – Ayres: No. 36, Movement 1, m. 28, Solo horn. ............................................... 60 Figure 6 – Ayres: No. 36, Movement 1, m. 36, Solo horn. ............................................... 61 Figure 7 – Ayres: No. 36, Movement 2, m. 1. .................................................................. 62 Figure 8 – Ayres: No. 36, Movement 2, m. 26. ................................................................ 64 Figure 9 – Stockhausen: Nebadon, minute 12:10-12:20, Horn in F. ................................ 68 Figure 10 – Stockhausen: Nebadon, minute 8:30-8:40. .................................................... 69 Figure 11 – Stockhausen: Nebadon, minute10:00-10:15. ................................................. 69 Figure 12 – Stockhausen: Nebadon, Performance Practice Notes .................................... 72 Figure 13 – Stockhausen: Nebadon, minute 8:40-10:00. .................................................. 73 viii Chapter 1. Introduction Since the turn of the twentieth century, new and varied schools of composition have formed, leading music into unexplored territories. The dawn of the 20th century brought about the proliferation of various “strands” of musical composition, expanding tonal landscapes and bringing a challenge to what might be possible in the realm of music performance.1Along with the compositional approaches, labels have been attributed to the music to classify unique types of composers and their works into unique groups. These categories, such as atonal, serial, modernist, and neo-romantic, among others, have led to their own styles and movements within the sphere of western art music. One label in particular has been applied to a genre of compositions pushing the boundaries of what is possible and acceptable in musical composition. The term avant-garde has its roots with the French Revolution and has been applied to the arts denoting those composers and compositions that are “outside-the-box” of their respective art form. Purpose The purpose of this document is to identify and investigate works within the solo horn repertoire that can be considered avant-garde. String instruments, piano, percussion, and the trombone have largely been associated with the avant-garde through their many compositions by understandably avant-garde composers, yet the horn is not as readily 1 The “strands” as outlined by Leon Botstein are the Second Viennese School, French-Russian axis, German Expressionism, Indigenous Modernism, and Experimentalism. 1 associated with this compositional genre. Still, composers have long experimented with the many sounds and features unique to the horn, and many works to incorporate and expand upon these features have resulted. As horn players around the world seek new tonal palettes and approaches to performance, this document will serve as an important and timely source of data and information. The following questions will be explored in the document: 1. What are the characteristics of avant-garde