PhD-FLSHASE-2018-21 The Faculty of Language and Literature, Humanities, Arts and Education DISSERTATION Defense held on 16/07/2018 in Esch-sur-Alzette, Luxembourg to obtain the degree of DOCTEUR DE L’UNIVERSITÉ DU LUXEMBOURG EN SCIENCES DE L’EDUCATION by Demosthenes DIMITRAKOULAKOS Born on 25 May 1979 in New York, USA AN INVESTIGATION INTO THE LIFE AND WORKS OF RICHARD LANE, MEMBER OF THE YOUNG COMPOSERS PROJECT: A COMPARATIVE STYLISTIC ANALYSIS OF CHORAL, CHAMBER ENSEMBLE, STRING ORCHESTRA, AND WIND BAND WORKS Dissertation Defense Committee Dr. Damien François Sagrillo, Dissertation Supervisor Assistant-Professor, Université du Luxembourg Dr. Claudine Kirsch, Dissertation Co-Supervisor Assistant-Professor, Université du Luxembourg Dr. Jon Mitchell, Dissertation Co-Supervisor Professor Emeritus, University of Massachusetts-Boston Dr. Nigel Marshall, External Member Senior Lecturer, University of Sussex Dr. Martin Uhrmacher, Chairperson Assistant-Professor, Université du Luxembourg ii ABSTRACT Richard Lane (1933-2004) was a prolific American composer from Paterson, New Jersey with approximately five-hundred pieces in his oeuvre. The primary research contribution of this study was to stylistically analyze, compare and contrast eight pieces composed by Lane during his career, with a focus on discovering the extent to which Lane developed his stylistic features as an adaptable and eclectic composer. Four of these works were completed early in his career during his two-year residency (1959-1961) in Rochester, New York and Lexington, Kentucky as a member of the Young Composers Project (YCP), while the other four works were completed during the last decade of his life (1994-2004). Choral, chamber ensemble, string orchestra and wind band works were selected to represent a broad overview of Lane’s repertoire for each of these four genres, across educational, community, and professional levels. The theoretical analysis of Lane’s pieces was conducted according to the processes detailed in Jan LaRue’s (1918-2004) Guidelines for Style Analysis, which revolve around five musical elements: sound, harmony, melody, rhythm, and growth.1 In order to introduce, complement and contextualize the style analysis and the development of Lane as a composer, the secondary and tertiary contributions of this study were conducted to produce the first complete biography of Lane, along with the first complete annotated work index of his compositional output. Although one other research study has been conducted relating to Lane’s solo vocal compositional techniques, no other analytical research has been conducted on Lane’s music from other genres, and there is currently no complete biography or complete work index of Lane’s music.2 Therefore, the current study on Lane provides three new research contributions to the literature: 1) stylistic analysis across four genres 2) a complete biography which situates Lane’s entire life’s work, complemented by 3) a complete annotated work index. The current study revealed that Lane wrote from educational through professional levels, combining aspects of Renaissance, Baroque, Classical and Romantic characteristics, alongside other twentieth century tonal compositional styles, including, but not limited to jazz and popular-oriented music. One implication of this study indicates that further research into Lane’s compositional style deserves attention as only eight of his nearly five-hundred pieces are analyzed in detail in this study. The author aims for this study to be a valuable resource for future conductors and performers of Lane’s music. 1 LaRue, Guidelines for Style Analysis (2011). 2 Bender, “Three American Composers from the Young Composers Project: Style Analysis of Selected Works by Emma Lou Diemer, Donald Martin Jenni and Richard Lane” (PhD diss., New York University, 1988). iii Dedicated to the memory of Richard Lane 3 3 Klingenschmid, Richard Lane (1995). iv ACKNOWLEDGMENTS I would like to express my gratitude to Richard Lane. Without his profound influence on my life, I most likely would not have had the opportunity to be exposed to such an inspirational person and talented composer who merits further study. I want to thank Richard Lane for not only inspiring me to love music, but life as well. Richard Lane was not only my teacher, not only my mentor, but family, and I will always remember him as my “Uncle,” which is what I called him. I want to thank publisher Jean-Pierre Mathez and Editions Bim for their continued sincere support in promoting Richard Lane’s music. Jean-Pierre has been one of Lane’s strongest supporters, although he never met him. Jean-Pierre has encountered Lane only through his music and I am indebted to him for his continuous pursuit in sharing Lane’s music and legacy. Jean- Pierre’s guidance and wisdom has assisted me immensely. Credit is given to Editions Bim, Carl Fischer, and Mills Music for the use of score extracts. I would also like to thank Bob Rheinhardt, the executor of Richard Lane’s estate, who has supported me in my research relating to Lane. My sincere gratitude goes to my dissertation committee, Damien François Sagrillo, Claudine Kirsch, and Jon Mitchell. I am very thankful and appreciative to them for their continued support and guidance throughout the dissertation process. I must thank my dear friend and former colleague Pat Ebhohimen at the International School of Luxembourg for her proofreading, and acute sense of detecting errors and offering suggestions to improve my writing. I must also sincerely thank Adam Fontana (Bethel College), Douglas Reeves (Creative Leadership Solutions) and Vincent Cee (International School of Kuala Lumpur/Boston University) for the constructive feedback they provided for me to improve my study. I want to take this opportunity to acknowledge my family, especially my parents for instilling in me a passion for music and for supporting my musical endeavors. I vividly remember my first concert at Carnegie Hall with my father as well as my first rock concert with my mother! My deepest gratitude goes to my wife who has offered her support, understanding, patience and encouragement throughout my doctoral studies and the dissertation process. I acknowledge that the use of American English was deliberately chosen for this study as an overwhelming majority of the sources and original quoted material were American in nature. v TABLE OF CONTENTS PREFACE: PERSONAL LINK .................................................................................................... 1 Contextualization .................................................................................................................... 1 Importance ............................................................................................................................. 3 Objectivity ............................................................................................................................... 4 CHAPTER 1: INTRODUCTION .................................................................................................. 5 Contributions of Study ............................................................................................................ 5 Need for Study ....................................................................................................................... 5 Related Literature Review .....................................................................................................11 Methodology ..........................................................................................................................22 Selection of Pieces ................................................................................................................24 Style Analysis ........................................................................................................................28 Biography ..............................................................................................................................33 Work Index ............................................................................................................................34 Limitations .............................................................................................................................37 Summary ...............................................................................................................................38 CHAPTER 2: BIOGRAPHY .......................................................................................................39 Childhood and Early Music Training ......................................................................................39 The Eastman Years and Connections ...................................................................................41 The Viola and the Impact of the Army ....................................................................................52 Young Composers Project: 1959-1961 ..................................................................................59 Post-YCP ..............................................................................................................................68 Educational Music .................................................................................................................69 Community Music ..................................................................................................................76 Professional and Semi-professional Music ............................................................................80