Job for Organ: Programmatic Implications Drawn From Petr Eben's Musical Language Item Type text; Electronic Dissertation Authors Vinyard, Lawrence Marvin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 17:33:52 Link to Item http://hdl.handle.net/10150/195067 JOB FOR ORGAN: PROGRAMMATIC IMPLICATIONS DRAWN FROM PETR EBEN’S MUSICAL LANGUAGE by Lawrence M. Vinyard ________________________ Copyright © Lawrence M. Vinyard, 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Lawrence M. Vinyard entitled: Job for Organ: Programmatic Implications Drawn From Petr Eben’s Musical Language, and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _________________________________________________________ Date: 9/9/2010 Pamela A. Decker _________________________________________________________ Date: 9/9/2010 John T. Brobeck _________________________________________________________ Date: 9/9/2010 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. _________________________________________________________ Date: 9/9/2010 Document Director: Pamela A. Decker 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Lawrence M. Vinyard 4 ACKNOWLEDGMENTS I would like to thank my major professor and chair of my committee, Dr. Pamela Decker (Professor of Organ). This process has taken several years, and her consistent encouragement has meant much to me. I would like to thank the other committee members who made significant contributions to my degree experience: Dr. John Brobeck (Professor of Musicology) and Dr. Rex Woods (Vice Director in the School of Music). Their time and expertise have been an inspiration to me. I would like to thank Lyneen Elmore (Assistant to the Vice Director in the School of Music) for her continual guidance from the beginning to end of the degree program. 5 TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................10 ABSTRACT..............................................................................................................13 CHAPTER I: PETR EBEN......................................................................................15 Biography............................................................................................................15 His Musical Language........................................................................................17 Harmony .......................................................................................................17 Melody ..........................................................................................................19 Rhythm..........................................................................................................20 Sound ............................................................................................................20 Form..............................................................................................................21 Program.........................................................................................................22 Influences Upon His Composing........................................................................23 Buchenwald...................................................................................................24 Contemporaries.............................................................................................25 Folksong........................................................................................................26 Improvisation ................................................................................................27 CHAPTER II: JOB FOR ORGAN ...........................................................................29 The Biblical Story...............................................................................................30 Organization of the Cycle ...................................................................................31 CHAPTER III: FOUNDATIONS FOR PROGRAMMATIC INTENT..................34 Musical Quotations.............................................................................................34 6 TABLE OF CONTENTS – Continued Associative Themes ............................................................................................35 Dramatic Musical Contrasts................................................................................35 CHAPTER IV: MOVEMENT I (DESTINY) ...........................................................37 Associative Themes ............................................................................................37 Dramatic Musical Contrasts................................................................................44 Programmatic Summary .....................................................................................46 CHAPTER V: MOVEMENT II (FAITH)................................................................48 Musical Quotations.............................................................................................48 Associative Themes ............................................................................................54 Dramatic Musical Contrasts................................................................................56 Programmatic Summary .....................................................................................58 CHAPTER VI: MOVEMENT III (ACCEPTANCE OF SUFFERING) ..................60 Musical Quotations.............................................................................................61 Associative Themes ............................................................................................66 Dramatic Musical Contrasts................................................................................69 Programmatic Summary .....................................................................................71 CHAPTER VII: MOVEMENT IV (LONGING FOR DEATH) ..............................73 Associative Themes ............................................................................................73 Dramatic Musical Contrasts................................................................................82 Programmatic Summary .....................................................................................84 CHAPTER VIII: MOVEMENT V (DESPAIR AND RESIGNATION) ...................86 7 TABLE OF CONTENTS – Continued Associative Themes ............................................................................................87 Dramatic Musical Contrasts................................................................................94 Programmatic Summary .....................................................................................96 CHAPTER IX: MOVEMENT VI (MYSTERY OF CREATION).............................98 Musical Quotations.............................................................................................99 Associative Themes ..........................................................................................101 Dramatic Musical Contrasts..............................................................................110 Programmatic Summary ...................................................................................111 CHAPTER X: MOVEMENT VII (PENITENCE AND REALISATION) ..............113 Associative Themes ..........................................................................................113 Dramatic Musical Contrasts..............................................................................119 Musical Quotations...........................................................................................123 Programmatic Summary ...................................................................................125 CHAPTER XI: MOVEMENT VIII (GOD’S REWARD) ......................................127 Musical Quotations...........................................................................................127 Associative Themes ..........................................................................................135 Dramatic Musical Contrasts..............................................................................136