Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 A model for evaluation of selected compositions for unaccompanied solo trumpet according to criteria of serious artistic merit Michael Craig Bellinger Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Bellinger, Michael Craig, "A model for evaluation of selected compositions for unaccompanied solo trumpet according to criteria of serious artistic merit" (2002). LSU Doctoral Dissertations. 751. https://digitalcommons.lsu.edu/gradschool_dissertations/751 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A MODEL FOR EVALUATION OF SELECTED COMPOSITIONS FOR UNACCOMPANIED SOLO TRUMPET ACCORDING TO CRITERIA OF SERIOUS ARTISTIC MERIT A Written Document 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 Musical Arts in The School of Music by Michael Craig Bellinger B.M., East Carolina University, 1983 M.M. Northwestern University, 1988 May, 2002 Copywrite © 2002 Michael Craig Bellinger All rights reserved ii ACKNOWLEDGEMENTS I am deeply indebted to those whose assistance made this project possible. Thank you to James West, my primary advisor, for supporting the ideas that became this document. Thank you to Frank Wickes, my secondary advisor for his inspiration and guidance. Thank you to the members of my committee, especially Ronald Ross, whose comments and constructive criticism were invaluable to the successful completion of this project. Thank you to my family for keeping faith in my efforts and especially to my brother Mark for designing the survey web site and to Wall and Associates for providing the computer space for the web site. I am grateful to the following publishers for granting permission for use of their publications in this research project. What is Good Music? From Perspectives in Music Education, Source Book III. Copyright © 1966 by Music Educators National Conference. Reprinted with permission from MENC. What is Quality in Music? by James Neilson, Educational Director, G. LeBlanc Corporation Reproduced with the permission of the LeBlanc Corporation Du Style from 36 Transcendental Etudes Editions BIM & The Brass Press - P.O.Box - CH-1674 VUARMARENS (Switzerland). Used with permission. Parable XIV ©1975 Elkan-Vogel, Inc., Used by Permission of the Publisher Solus Stanley Friedman, "Solus" (1975 - ca 12 minutes) for trumpet unaccompanied, by The Brass Press (1978 - a division of Editions Bim), CH-1674 Vuarmarens, Switzerland (www.editions-bim.com). Used with permission. iii TABLE OF CONTENTS Acknowledgements ………………………………….…………………………… iii List of Tables ………………………….……………….…………………………. vi List of Musical Illustrations ……………….…………….……….…………………. ix Abstract …………………………………………………………..……...…….…… xiv Chapter One - Introduction ……………………………………………………..… 1 Introduction ……………….………………………………………...…… 1 Statement of Problem ………………………………….………………… 2 Limits of Study ……………….………………………………….……… 8 Need for Study ……………….…………………………………………… 9 Expected Results ……………….………………………………………… 9 Chapter Two - Procedures ………………………………………………………. 11 Types of Compositions ……………….………………………………… 11 Criteria for Determining Serious Artistic Merit ……………….………… 12 Development of List of Compositions ……………….…………………… 18 Rating Scale ……………….……………………………………….……… 19 Selection of Evaluators ……………….…………………..……………… 20 Evaluator Biographies ……….……………………………………………. 34 Analysis of Data ……………….………………………………………….. 49 Chapter Three - Related Literature …………………………………………… 51 Literature Containing Selected Music Lists ……………….……………… 51 Literature on the Subject of Music Criticism and Aesthetic Judgments … 55 Chapter Four - Results ………………………………………………………………. 68 Development of Internet Research Tools ……………….……………….. 68 Deletion of Titles ……………….…………………………………………. 70 Number of Compositions Rated and Value Judgments ……………….… 71 Ratings for Each Composition ……………….……………………………. 76 Works Not Known to Any Evaluator ……….…………………………… 84 Chapter Five - Summary and Conclusions ……………….………………………. 89 Summary ……………….…………………………………………………… 89 Conclusions ……………….………………………………………………… 90 Study Structure ……………….…………………………………………….. 90 Discussion ……………….…………………………………………………. 91 Recommendations ……………….…………………………………………. 92 Chapter Six – Analysis of Three Selected Works….……………………………… 94 Etude #2 - Du Style by Théo Charlier….………………………………… 95 iv Parable XIV, Op. 127 by Vincent Persichetti….…………………………… 114 Solus by Stanley Friedman….…………………………………….………… 126 Endnotes ……………………………………………………………………………. 159 Selected Bibliography …………………………………………………………….. 165 Appendix A – Ostling - Gilbert Sources Reviewed ….…………………………….. 173 Appendix B - Neilson and Ormandy Articles .…….…………………………….. 176 Appendix C - Evaluator Nomination Instructions ..……………………………… 182 Appendix D - Reproductions of Computer Survey Pages ………………………. 183 Appendix E - Letters of Article Reproduction Permission ……………………… 230 Appendix F - Biographies …………………………………………………………. 234 Appendix G - Bibliographic Information on Works of Serious Artistic Merit …. 239 Vita …………………………………………………………………………….……. 251 v LIST OF TABLES Table Description Page 1 Number of points and percentage of points required for a composition to meet the criteria of serious artistic merit ………… 20 2 Comparison of nominations forms sent, nomination forms received, nominations, and evaluators ………………………………………… 22 3 Geographic distribution of 1,104 trumpet instructors by state or province ……………………………………………………...……… 24 4 Geographic distribution of 583 trumpet instructors by state or province who received emails ……………………………………… 25 5 Geographic distribution of 223 trumpet instructors by state or province who returned emails ……………………………………… 26 6 Geographic distribution of evaluators listed by region …………… 28 7 Chart distribution of evaluators by region …………………. 28 8 Most discriminating evaluators …………………………….……… 33 9 Comparison of Pearson Product Moment Correlation Coefficient between Ostling, Gilbert and Bellinger …………………………… 34 10 Works evaluated but eliminated …………………………………… 70 11 Works added but not evaluated …………………………….……… 71 12 Number and percentage of works rated and value judgement of evaluators …………………………………………………………… 72 13 Comparison of works rated in Ostling, Gilbert and Bellinger …. 73 14 Number and percentage of compositions rated and value judgement by individual evaluators …………………………………………… 74 15 Comparison of Ostling, Gilbert and Bellinger survey range and spread of percentages of ratings according to specific rating values and range and spread of percentages below and above rating ‘3’ 74 16 Line graph showing average point spread ………………………… 75 vi Table Description Page 17 Average rating values compared …………………………………. 76 18 Line graph of average values compared …………………………. 76 19 Complete list of works evaluated in this study, number of evaluators rating each composition, average rating value received ………… 77 20 Works not known …………………………………………………… 84 21 Works known to 16 evaluators …………………………………….. 86 22 Works known to 12-15 evaluators ………………………………… 86 23 Works known to 8-11 evaluators …………………………………. 87 24 Works known to 4-7 evaluators …………………………………… 87 25 Works known to 2-3 evaluators …………………………………… 87 26 Works known to 1 evaluator ………………………………………. 88 27 Design structure of Du Style, A section…………………………… 96 28 Design structure of Du Style, B section……………………………… 97 29 Design structure of Du Style, A' section…………………………… 98 30 Schematic of design structure of Du Style………………………… 99 31 Large form proportions in Du Style……………………………… 107 32 Form summary of Parable XIV……………………………………… 116 33 Some proportions in Parable XIV…………………………………… 117 34 Schematic of design structure in Parable XIV……………………… 118 35 Form summary of Solus - I………………………………………. 129 36 Proportions in section 1 of Solus – movement I ……………………. 130 37 Proportions in section 2 of Solus – movement I…………………….. 131 vii Table Description Page 38 Proportions in section 3 of Solus – movement I……………… 131 39 Tone row matrix for Solus – movement I…………………………… 132 40 Form summary of Solus - II…………………………………………. 138 41 Tone row matrix for Solus – movement II………………………… 139 42 Form summary of Solus - III………………………………………. 141 43 Tone row matrix for Solus – movement III………………………… 143 44 Phrase groupings of the Waltz………………………………………. 144 45 Form summary of Solus - IV………………………………………… 151 viii LIST OF MUSICAL ILLUSTRATIONS Illustration Description Page 1 Overtone series based on a fundamental of C …………….. 4 2 Sample trumpet parts from Haydn Symphony No. 48 "Maria Theresa" ……………………………………………………….. 4 3 Beethoven Symphony No. 3 - I, original trumpet parts ……. 6 4 Beethoven Symphony No. 3 - I, corrected trumpet parts ……. 6 5 Beethoven Symphony No. 3 - I, original trumpet parts ……. 6 6 Beethoven Symphony No. 3 - I, corrected trumpet parts ……. 6 7 Du Style – primary melody…….…….…….…….…….…….… 100 8 Du Style – secondary melody…….…….…….…….…….……. 100 9 Du Style – tertiary melody…….…….…….…….…….…….… 100 10 Du Style – Original and retrograde inversion in measures 1-4… 101 11 Du Style – Original and retrograde in phrase c…….…….……. 101 12 Du Style – Motivic