Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 6-4-2020 A Conductor's Guide to Dale Trumbore's How To Go On Stuart Dameron Louisiana State University at Baton Rouge Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Dameron, Stuart, "A Conductor's Guide to Dale Trumbore's How To Go On" (2020). LSU Doctoral Dissertations. 5282. https://digitalcommons.lsu.edu/gradschool_dissertations/5282 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 CONDUCTOR’S GUIDE TO DALE TRUMBORE’S HOW TO GO ON A Dissertation 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 Stuart Dameron B.M. Colorado State University, 2009 M.M, Colorado State University, 2011 August 2020 For my wife. ii Acknowledgements The author wishes to express his gratitude for the following people: Dr. John Dickson, for guiding me through this project with wisdom, grace, inspiration and friendship. The members of the committee, Dr. Loraine Sims, Dr. Alison McFarland, and Dr. Aaron Sheehan-Dean, for devoting their valuable time and energy to help bring this project into fruition. Dale Trumbore, for sharing her beautiful work with the world and for giving generously of her time and energy to discuss it. Barbara Crooker, Amy Fleury and Laura Foley, for their eloquent poetry, profound personal stories and generous spirit of collaboration. Brandon Elliot, for commissioning and recording this work, and for his generous time and insight. Dr. Eric Banks, Dr. Andrew Clark, Dr. Matthew Culloton, Dr. Stuart Hill, Dr. Michael McGaghie, and Dr. Jenny Wong, for their generous time, astute insights, and invaluable wisdom. Dr. James Kim, for first inspiring me to look at a score of music and seek out the beauty within. My grandparents Ed and Niki Smith, for their overflowing support and abiding wisdom and guidance. My parents Gregg and Sharon, for their boundless love, encouragement and discernment. My wife Lisa, for unwaveringly standing shoulder to shoulder with me. My daughters Lillian and Brielle, for reminding me what life is all about. iii Table of Contents Acknowledgements ....................................................................................................................... iii List of Tables .................................................................................................................................. vi List of Examples ........................................................................................................................... vii Abstract ........................................................................................................................................ viii Introduction ..................................................................................................................................... 1 Background and Origins ...................................................................................................... 1 Need for the Study ............................................................................................................... 1 Delimitations ....................................................................................................................... 2 Sources ................................................................................................................................ 3 Textual Analysis .................................................................................................................. 4 Musical Analysis ................................................................................................................. 4 Performance Considerations ................................................................................................ 4 Chapter 1. Textual Analysis ............................................................................................................ 5 How/Knowing the End ........................................................................................................ 5 However Difficult ................................................................................................................ 8 To See It ............................................................................................................................ 10 Relinquishment .................................................................................................................. 11 Requiescat .......................................................................................................................... 13 Sometimes Peace Comes ................................................................................................... 16 When At Last ..................................................................................................................... 19 Chapter 2. Musical Analysis .......................................................................................................... 22 Overall Style ...................................................................................................................... 22 Musical Analysis of the Movements ................................................................................. 26 Chapter 3. Performance Guide for the Conductor ......................................................................... 70 Considerations of Rhythm ................................................................................................. 70 Considerations of Tempo .................................................................................................. 74 Considerations of Ensemble .............................................................................................. 75 Suggestions for Preparation ............................................................................................... 80 Suggestions for Performance ............................................................................................. 83 Considerations of Movement Order .................................................................................. 84 A Comparison of Three Movement Orders ....................................................................... 88 Conclusion ................................................................................................................................... 101 Appendix A. Interview with Dale Trumbore and Brandon Elliot ............................................... 103 Appendix B. IRB Exemption ...................................................................................................... 112 iv Appendix C. Requests and Permissions ...................................................................................... 113 Bibliography ................................................................................................................................ 117 Vita .............................................................................................................................................. 119 v List of Tables Table 2.1. "How" Herford Bar Analysis ........................................................................................ 32 Table 2.2. "However Difficult" Herford Bar Analysis .................................................................. 34 Table 2.3. "To See It" Herford Bar Analysis ................................................................................. 39 Table 2.5. "Relinquishment" Herford Bar Analysis ...................................................................... 44 Table 2.6. "Requiescat" Herford Bar Analysis .............................................................................. 53 Table 2.7. "Knowing the End" Herford Bar Analysis ................................................................... 58 Table 2.8. "Sometimes Peace Comes" Herford Bar Analysis ....................................................... 63 Table 2.9. "When at Last" Herford Bar Analysis .......................................................................... 69 Table 3.1. Matt Culloton divisi assignment, "Knowing the End," mm. 15-28 .............................. 77 Table 3.2. Andrew Clark divisi assignment, "Knowing the End," mm. 15-28 ............................. 78 Table 3.3. Breakdown of solos in How To Go On ........................................................................ 79 Table 3.4. Brandon Elliot Movement Order .................................................................................. 89 Table 3.5. Jenny Wong Movement Order ..................................................................................... 93 Table 3.6. Stuart Dameron Movement Order ................................................................................ 97 vi List of Examples Example 2.1. Wedge texture in opening measures of "How," mm. 1-5 ........................................ 26 Example 2.2. Micro and macro wedge texture variations in "How," mm. 20-24 ......................... 28 Example 2.3. Climax point of "How," mm. 25-28 .......................................................................