ABSTRACT OF MUSICAL ARTS PROJECT Andrew Michael Bliss The Graduate School University of Kentucky 2008 DAVID LANG: DECONSTRUCTING A CONSTRUCTIVIST COMPOSER ______________________________________________________________ ABSTRACT OF MUSICAL ARTS PROJECT ______________________________________________________________ A musical arts project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Andrew Michael Bliss Lexington, Kentucky Director: James B. Campbell, Professor of Music Lexington, Kentucky 2008 Copyright © Andrew Michael Bliss 2008 ABSTRACT OF MUSICAL ARTS PROJECT DAVID LANG: DECONSTRUCTING A CONSTRUCTIVIST COMPOSER The percussion compositions of David Lang hold a prominent place within the percussion solo repertoire. Lang’s constructivist approach to composition, as well as his resistance to tradition, has secured him a highly respected position among performers and composers alike. Percussion repertoire is yet to receive the in-depth scholarship that it currently warrants. Considering the relative youth of the genre, a Pulitzer Prize winning composer such as Lang’s interest in percussion writing should not be overlooked. Furthermore, the logistical nature of dealing with percussion notation, orchestration, and performance requires a specialist, making it difficult for most musicologists to offer the proper insight and observations. This monograph exposes the complex and multi-dimensional solo percussion works of David Lang, specifically The Anvil Chorus, Scraping Song, and Unchained Melody. The document provides insight into the composer’s intentions while offering strategies to confront the physical and psychological issues that arise when preparing these works for performance. It also deconstructs Lang’s compositional processes and reveals the similarities in his approach from piece to piece, thus clarifying his style. Currently, no resources exist that discuss Lang’s percussion writing in-depth. The availability of this monograph elucidates Lang’s prominence in the solo percussion genre while also contributing to the performance practice and understanding of his percussion compositions. KEYWORDS: David Lang, Music, Percussion, Multi-percussion, Bang on a Can ________________________ Student’s Signature ________________________ Date DAVID LANG: DECONSTRUCTING A CONSTRUCTIVIST COMPOSER By Andrew M. Bliss ________________________________ Director of Dissertation ________________________________ Director of Graduate Studies ________________________________ Date RULES FOR THE USE OF DISSERTATIONS Unpublished dissertations submitted for the Doctor's degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. Bibliographical references may be noted, but quotations or summaries of parts may be published only with the permission of the author, and with the usual scholarly acknowledgments. Extensive copying or publication of the dissertation in whole or in part also requires the consent of the Dean of the Graduate School of the University of Kentucky. A library that borrows this dissertation for use by its patrons is expected to secure the signature of each user. Name Date __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ MUSICAL ARTS PROJECT Andrew Michael Bliss The Graduate School University of Kentucky 2008 DAVID LANG: DECONSTRUCTING A CONSTRUCTIVIST COMPOSER _______________________________________ MUSICAL ARTS PROJECT ________________________________________ A musical arts project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Andrew Michael Bliss Lexington, Kentucky Director: James B. Campbell, Professor of Music Lexington, Kentucky 2008 Copyright © Andrew Michael Bliss 2008 To Dad, for teaching me how to spell and to Ruby, for teaching me how to read. ACKNOWLEDGMENTS There are many individuals in my life whose support has been indispensable. First and foremost, my committee chair, James B. Campbell, has exceeded anything I could have ever expected from a graduate professor. His availability for personal and professional advice has been vital, and he has taught me how to organize my thoughts more clearly. Over four years at UK, I have spent countless hours with Jim in his office; brainstorming aloud with him has allowed me to see the important process behind being a successful percussion professor, rather than only seeing the results. I will always be appreciative of the family environment he has offered to my wife and me, and I have very fond memories of our times together while completing my Masters and Doctorate with him at the University of Kentucky. I would also like to thank Dr. Lance Brunner for all of his insight and support. As a longtime supporter of new and cutting-edge music, Lance has always been enthusiastic about my ideas and our conversations have always challenged my thinking. His classes have reinforced the importance of reading and writing about music, for which I will always be grateful. I also appreciate the support of the complete Dissertation Committee: Dr. John Cody Birdwell, Dr. Kate Covington, and Dr. James Norton. Dr. Birdwell and Dr. Covington have made themselves readily available throughout my graduate career and have helped provide me with opportunities outside of school as well. Dr. Norton has been unfailing in attending my performances, and as my “outside committee member” has made me feel as comfortable with him and his advice as any of the other music faculty at UK. iii Outside of my committee, there are several people who have made this project possible. That said, I cannot consider anyone else before thanking my wife Erin. This project simply would not be complete with out her love and support; she is my editor-in- chief and has been helping me put coherent thoughts on paper since we began dating. Her assistance with my writing has been invaluable, and moreover, as we have gone through graduate school, her emotional support has helped me through the toughest times during two graduate degrees. I am also greatly indebted to my friendship with my partner-in-crime, Kerry O’Brien. She and I share a passion for contemporary music and specifically much of the music that has grown out of the minimalist tradition. Her understanding and insight into the content of this document has allowed me to come to conclusions I could not have reached without her. Our friendship has grown tremendously as a direct result of much of this material, and I look forward to future studies together. I also owe a great deal of gratitude to David Lang and Steven Schick. Their availability throughout this project has allowed me to gain the necessary insight to complete this study. I am honored to have developed such personable relationships with professionals whom I admire so greatly. Finally, I would like to my Mom, Dianne, and sister, Emily, for their understanding and constant support. Family has always been the most important thing to me, though graduate school has restricted my availability to visit at times. It is my hope that as I near the completion of graduate school, I will be able to see a lot more of both of them. I love you both. iv TABLE OF CONTENTS Acknowledgments.............................................................................................................. iii List of Tables..................................................................................................................... vii List of Figures.................................................................................................................. viii PART ONE Chapter One: Overview and Impetus................................................................................... 1 Chapter Two: Background of David Lang Upbringing............................................................................................................... 5 University Education................................................................................................ 6 Bang on a Can.......................................................................................................... 9 Steven Schick and the Bang on a Can All-Stars.................................................. ..12 Chapter Three: Style and Techniques Influences.......................................... .....................................................................14 Compositional Aesthetic........................................................................................ 21 Lang’s Percussion Writing..................................................................................... 23 Lang’s Compositional Techniques........................................................................