David Lang's The So-Called Laws of Nature: An Analysis with an Emphasis On Compositional Processes Item Type text; Electronic Dissertation Authors Shinbara, Scott 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 14:03:35 Link to Item http://hdl.handle.net/10150/301687 1 DAVID LANG’S THE SO-CALLED LAWS OF NATURE: AN ANALYSIS WITH AN EMPHASIS ON COMPOSITIONAL PROCESSES by Scott Shinbara __________________________ Copyright © Scott Shinbara 2013 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 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Scott Shinbara, title David Lang’s The So-Called Laws of Nature: An Analysis with Emphasis on Compositional Processes and recommend that it be accepted as fulfilLing the document requirement for the Degree of Doctor of MusicaL Arts. _______________________________________________________________________ Date: June 25, 2013 Norman Weinberg _______________________________________________________________________ Date: June 25, 2013 Jerry Kirkbride _______________________________________________________________________ Date: June 25, 2013 Kelland Thomas 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: June 25, 2013 Document Director: Norman Weinberg 3 STATEMENT BY AUTHOR This document has been submitted in partiaL fuLfiLLment of the 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 an accurate acknowLedgement of the 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: Scott Shinbara 4 ACKNOWLEDGEMENTS This document, my education, and my musicaL experiences wouLd not be possibLe if not for aLL of my teachers, friends, and famiLy. SpeciaL thanks goes out to my professors Gary Cook, Jerry Kirkbride, Tomm RoLand, Janet Sturman, Kelland Thomas, and Norman Weinberg. The dedication goes to my parents, David and Patty Shinbara, for their support— both emotionaL and financiaL—through aLL of my musicaL endeavors, and to my wife, Mackenzie Pickard, who is my toughest critic. 5 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES .............................................................................................................. 8 LIST OF TABLES ......................................................................................................................................... 9 ABSTRACT .................................................................................................................................................. 10 CHAPTER ONE: INTRODUCTION ...................................................................................................... 11 David Lang ............................................................................................................................................. 14 CompositionaL StyLe for Percussion ............................................................................................ 16 The So-CaLLed Laws of Nature ....................................................................................................... 19 CHAPTER TWO: ANALYSIS OF PART ONE ................................................................................... 22 Section A ................................................................................................................................................. 22 Melody One ............................................................................................................................................ 23 Melody Two ........................................................................................................................................... 24 Rest Processes ...................................................................................................................................... 25 Rest Process One ................................................................................................................................. 25 Rest Process Two ................................................................................................................................ 27 Section B ................................................................................................................................................. 28 Melody Processes ............................................................................................................................... 28 Accompaniment Process ................................................................................................................. 29 Bass Process .......................................................................................................................................... 30 Overlapping Processes ..................................................................................................................... 31 Section A’ ................................................................................................................................................ 31 6 TABLE OF CONTENTS - Continued CHAPTER THREE: ANALYSIS OF PART TWO .............................................................................. 33 Tuned MetaLs One (TM1) ................................................................................................................. 34 Attack Duration Two ......................................................................................................................... 38 Attack Duration Three A .................................................................................................................. 38 Attack Duration Four ........................................................................................................................ 39 Attack Duration Three B .................................................................................................................. 40 Tuned MetaLs Two .............................................................................................................................. 42 Tom Tom ................................................................................................................................................ 43 Tom Tom Process One ...................................................................................................................... 44 Tom Tom Process Two ..................................................................................................................... 46 Nasty MetaL ............................................................................................................................................ 48 Bass Drum .............................................................................................................................................. 48 CHAPTER FOUR: ANALYSIS OF PART THREE ............................................................................. 49 Flowerpots ………………………………………………………………………………………………….…50 Teacups ................................................................................................................................................... 51 Teacup Process One ........................................................................................................................... 51 Teacup Process Two .......................................................................................................................... 52 Tuned BelLs ............................................................................................................................................ 56 SmaLL Guiro ............................................................................................................................................ 59 Tiny WoodbLock .................................................................................................................................. 59 7 TABLE OF CONTENTS - Continued CHAPTER FIVE: CONCLUSIONS ......................................................................................................... 62 Macro Level Observations ............................................................................................................... 63 Micro Level Observations ................................................................................................................ 66 Future Research .................................................................................................................................. 68 Conclusion .............................................................................................................................................