Florida State University Libraries 2015 Association and Interpretation in Recent Chamber Music: Gesture and Dialogue in Three Compositions by Franco Donatoni Kimberly Goddard Loeffert Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ASSOCIATION AND INTERPRETATION IN RECENT CHAMBER MUSIC: GESTURE AND DIALOGUE IN THREE COMPOSITIONS BY FRANCO DONATONI By KIMBERLY GODDARD LOEFFERT A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Kimberly Goddard Loeffert defended this dissertation on December 3, 2015. The members of the supervisory committee were Evan Jones Professor Directing Dissertation Patrick Meighan University Representative Michael Buchler Committee Member Jane Piper Clendinning Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii TABLE OF CONTENTS List of Examples.............................................................................................................................iv List of Figures.................................................................................................................................vi List of Tables................................................................................................................................viii Abstract...........................................................................................................................................ix 1. LITERATURE REVIEW ............................................................................................................ 1 2. METHODOLOGY .................................................................................................................... 28 3. ANALYSIS OF LUCI II FOR BASSOON AND HORN (1996) ............................................. 45 4. ANALYSIS OF RASCH FOR SAXOPHONE QUARTET (1990) ........................................... 60 5. ANALYSIS OF ARPEGE FOR SIX INSTRUMENTS (1986) ............................................... 90 6. CONCLUSION ....................................................................................................................... 106 APPENDICES ............................................................................................................................. 111 A. SELECTIVE LIST OF CHAMBER WORKS BY FRANCO DONATONI ......................... 111 B. COPYRIGHT PERMISSION LETTERS ............................................................................... 114 Bibliography ................................................................................................................................ 117 Biographical Sketch ..................................................................................................................... 123 iii LIST OF EXAMPLES 1 Ligeti, Sechs Bagatellen, I. Allegro con spirito, mm. 1-4 ................................................. 37 2 Ligeti, Sechs Bagatellen, II. Rubato. Lamentoso, mm. 9-18 ............................................. 38 3 Ligeti, Sechs Bagatellen, III. Allegro grazioso, mm. 1-6 .................................................. 39 4 Ligeti, Sechs Bagatellen, VI. Molto vivace. Capriccioso, mm. 28-42 .............................. 41 5 Ligeti, Sechs Bagatellen, VI. Molto vivace. Capriccioso, mm. 75-89 .............................. 42 6 Donatoni, Luci II, mm. 9-12. Potential 4- and 8-note groupings ...................................... 48 7 Donatoni, Luci II, mm. 21-22. Potential groupings of individual notes ............................ 49 8 Donatoni, Luci II, mm. 28-30. Horn gestures Overlap the longer bassoon gestures ......... 50 9 Donatoni, Luci II, mm. 41-42. Horn gestures could Connect bassoon gestures (diagonal arrows) or could Punctuate bassoon gestures (horizontal arrows) .................................... 50 10 Donatoni, Luci II, mm. 52-54 ............................................................................................ 51 11 Donatoni, Rasch, mm. 1-2 bracketed to show potential segmentations ............................ 61 12 Donatoni, Rasch, mm. 60-61 with gestures segmented by rests/slurs ............................... 64 13 Donatoni, Rasch, soprano saxophone, mm. 66-67 with gestures segmented by rests/slurs ........................................................................................................................... 65 14 Donatoni, Rasch, m. 15 where blocked segment shows interjection of associative set C ......................................................................................................................................... 66 15 Donatoni, Rasch, m. 32 where circled segments show interjections of associative set C ......................................................................................................................................... 67 16 Donatoni, Rasch, m. 1 with motivic relationships ............................................................. 76 17 Donatoni, Rasch, mm. 15-16 ............................................................................................. 78 18 Donatoni, Rasch, m. 29 ..................................................................................................... 79 19 Donatoni, Rasch, mm. 38-39 ............................................................................................. 80 20 Donatoni, Rasch, mm. 40-42 ............................................................................................. 81 iv 21 Donatoni, Rasch, mm. 45-46 ............................................................................................. 84 22 Donatoni, Rasch, m. 50 ..................................................................................................... 85 23 Donatoni, Rasch, mm. 55-57 ............................................................................................. 85 24 Donatoni, Rasch, mm. 62-63 ............................................................................................. 88 25 Donatoni, Arpège, m. 43, cello Mirrors violin, string duo Overlaps/Imitates wind duo ... 97 26 Donatoni, Arpège, mm. 48-49 ........................................................................................... 98 27 Donatoni, Arpège, m. 60 .................................................................................................... 99 28 Donatoni, Arpège, vibraphone and piano, mm. 5-6, Mirrored relationship with boxed Connective piano gesture ................................................................................................. 101 29 Donatoni, Arpège, m. 15, Mirrored full ensemble with boxed Connective piano gestures ............................................................................................................................ 101 30 Donatoni, Arpège, mm. 22-23, role shift: solo pianist and boxed full ensemble Hits/Punctuations/Connections ........................................................................................ 102 v LIST OF FIGURES 1 Tenney’s parametric profile of an element .......................................................................... 9 2 Schematic representation of the general theory of segmentation ...................................... 13 3 Hanninen’s association graph of Feldman, Piano and Orchestra, mm. 135-40, right hand ................................................................................................................................... 15 4 Hanninen’s association map of sets J-M, Schoenberg, Klavierstück op. 23, no. 3, mm. 1-4 .............................................................................................................................. 16 5 Associative map for Ligeti’s Sechs Bagatellen ................................................................. 43 6 Outline of Luci II ............................................................................................................... 46 7 Associative map for Luci II ............................................................................................... 47 8 Association graph for associative set A, Luci II ................................................................ 51 9 Pitch-time graph for Luci II, mm. 1-2, where green (top segment) represents horn pitches and red (bottom segment) represents bassoon pitches ....................................................... 53 10 Pitch-time graph for Luci II, mm. 21-22 where green (top segment) represents horn pitches and red (bottom segment) represents bassoon pitches .......................................... 54 11 Pitch-time graph for Luci II, m. 47, where green (top segment) represents horn pitches and red (bottom segment) represents bassoon pitches ....................................................... 55 12 Pitch-time graph for Luci II, mm. 66-69, where green (top segment) represents horn pitches and red (bottom segment) represents bassoon pitches .......................................... 56 13 Pitch-time graph for Luci II, m. 76, where green (top segment) represents horn pitches and red (bottom segment) represents bassoon pitches ....................................................... 57 14 Pitch-time graph for Luci II, mm. 94-95, where green (first segment) represents horn pitches and red (second segment) represents bassoon pitches .......................................... 58 15 Association