The Exploration of Selected Cross-Genre Compositions for Clarinet and Saxophone Author Carbon, Luke Capell Published 2016 Thesis Type Thesis (Masters) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1376 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366846 Griffith Research Online https://research-repository.griffith.edu.au QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY AUSTRALIAN NATIONAL ACADEMY OF MUSIC The exploration of selected cross-genre compositions for clarinet and saxophone Luke Capell Carbon, BMus(Hons), LMusA(Dist), LMusA Submitted in partial fulfillment of the requirements for the degree of Master of Music (Research) March 2016 ABSTRACT This thesis explores specific aspects of the broad subgenre of classical/jazz cross-genre music through the performative examination of selected compositions that feature or include the clarinet or saxophone. Several mid-20th century works by American composers Gunther Schuller and William Russo, and several 21st century works by contemporary Australian composers Steve Newcomb and Yitzhak Yedid are explored through preparation, performance, and reflection. Through a performance-centric perspective, these works are contextualised through historical overviews of the third stream and cross- genre music, examinations of cross-genre performance considerations, and individual case studies of the key repertoire performed. ii Just listen to the best in jazz and the best in serious American music, and enjoy it. For analyses and diagnoses notwithstanding, the great synthesis goes irrevocably on. Leonard Bernstein iii CERTIFICATION I hereby certify this work is original and has not been previously submitted in whole or part by me or any other person for any qualification or award in any university. I further certify that to the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself to the source of such material. Name………………………………. Signed……………………………… Date………………………………… iv ACKNOWLEDGMENTS I wish to acknowledge the support given to me by my supervisor, Dr Louise Denson. I also wish to thank Dr Stephen Emmerson for his guidance, patience, and wisdom. My thanks to Dr Steve Newcomb for his assistance with his composition Flying and Floating. Special thanks to all the wonderful musicians from ANAM and further afield who joined me in performance during this research, particularly to Dr Yitzhak Yedid who has much to say indeed, and to James Ball, who knows an awful lot. v TABLE OF CONTENTS Abstract…………………………………………………………………………………...…ii Certification………………………………………………………….…………………..…iv Acknowledgements……………………………………………….……………………….v Table of contents……………………………………………………………………..…...vi Table of figures……………………………………………………..…………………….viii 1 Introduction………………………………………………………………………….………1 1.1 Rationale…………………………………………………………………….………2 1.2 Research questions…………………………………………………………..…….2 1.3 Methodology…………………………………………………………….………..…3 1.4 On definitions……………………………………………………………….…….…5 1.5 Literature review…………………………………………………………….………7 1.5a Textual sources……………………………………………………………7 1.5b Recordings………………………………………………………………..10 2 On the performance of third stream and cross-genre music…………………......12 2.1 Ensemble and instrumentation………………………………………………..…12 2.2 Notation……………………………………………………………………….……13 2.3 Ideal, score, and recording…………………………………………………….…15 2.4 Improvisation…………………………………………………………….…………16 2.4a Composer and performer/improviser role…………………….….……16 2.4b Improvisation as compositional tool……………………………………18 3 Repertoire case studies…………………………………………………………….……20 3.1 Schuller Transformation………………………………………………………..…21 3.2 Schuller Abstraction…………………………………………………………….…27 3.3 Schuller Densities I……………………………………………………………..…32 3.4 Russo An Image of Man…………………………………………….……………36 3.5 Russo Music for Alto Saxophone and Strings……………………….…………40 3.6 Newcomb Flying and Floating……………………………………………………44 3.7 Yedid Myth of the Cave…………………………...………………………………50 4 Conclusion……………………………………………………………….…………………55 List of references……………………………………………………….…………………57 vi Appendices A Links to recital and concert performances……………………………...………63 B Program notes from June 5th recital…………………………………….………65 C Program notes from October 30th recital…………………………………….…68 D Interview with Steve Newcomb - transcript………………………………..……71 E Interview with Yitzhak Yedid - transcript …………………………………….…84 F Focus group - transcript………………………………………………………..…95 G Interview with James Ball - transcript…………………………………….……102 vii TABLE OF FIGURES Fig. 1. Schuller - Abstraction rehearsal figure F…………………………………………………….………15 Fig. 2. Schuller - Transformation rehearsal figure E…………………………………………………..……23 Fig. 3. Schuller - Transformation rehearsal figure L……………………………………………………..…26 Fig. 4. Schuller - Abstraction saxophone part………………………………………………………………28 Fig. 5. Schuller - Abstraction rehearsal figure J…………………………………………………………….30 Fig. 6. Schuller - Abstraction rehearsal figure E1………………………………………………………..…31 Fig. 7. Schuller - Densities I “Much faster” before rehearsal figure H………………………………….…33 Fig. 8. Schuller - Densities I rehearsal figure A…………………………………………………………..…35 Fig. 9. Russo - Music for Alto Saxophone and Strings III saxophone part rehearsal figure B….……..41 Fig. 10. Russo - Music for Alto Saxophone and Strings II rehearsal figure A…………………..…….....42 Fig. 11. Newcomb - Flying and Floating rehearsal figure A trio only……………………………………..45 Fig. 12. Newcomb - Flying and Floating rehearsal figure F without strings……………………………...47 Fig. 13. Newcomb - Flying and Floating rehearsal figure G without strings ……………………………..48 Fig. 14. Newcomb - Flying and Floating one bar before rehearsal figure G strings only………………49 Fig. 15. Yedid - Myth of the Cave clarinet and bass part, page 8……………………………...…………52 viii 1 Introduction The initial use of the term ‘third stream’ in a public lecture in 1957 by hornist and composer Gunther Schuller attempted to give generic definition to the practice of combining elements of classical music and jazz to create a new field of artistic practice. Though this method of musical integration was by no means an inceptive practice by 1957, the very act of labeling it resulted in the creation of a new genre of music. This act of genre creation drew considerable condemnation from both jazz and classical critics. Equally fuelled by the racially charged atmosphere of the late 1950s as it was by the artistic conventions of the movement, this proscription was an ongoing feature of third stream music that coloured its practice as well as the efforts of its practitioners. The third stream movement, whether as a contributing influence or otherwise, preceded many subsequent explorations of the combination of classical music with jazz and improvised musics. This ongoing field of confluent, or cross-genre, practice is closely related to the third stream in several significant aspects, including the incorporation of improvised elements and the practical assumptions required for informed performance by its practitioners. Following on from this introductory chapter, chapter 2 will examine several aspects of third stream and cross-genre performance that will help contextualise issues encountered during the performance stage of this research. Chapter 3 will examine in-depth seven key compositions performed during this research. Chapter 4 will summarise the findings of this research and provide an impetus for future research in this field through suggestions concerning the more thorough analysis of individual compositions and their performative features. This thesis is accompanied by audio and audiovisual recordings that will be referred to in the body of the text. The recordings are not, however, an assessable component of this submission. 1 1.1 Rationale The contemporary practice of actively combining elements of classical music and jazz is more commonplace than ever before and often occurs without consideration or acknowledgement, and yet the third stream - an important movement in the history of this confluence - remains largely unknown to many classical and jazz practitioners. The holistic skillset required by performers of third stream and cross-genre music challenges musicians to expand their capabilities in terms of interpretation, improvisation, and historical awareness of various traditions. The rationale behind this research is dually performative and explorative in that it aims to lend privilege to the performance of cross-genre music in Australia, and to explore the specific requirements for the informed and effective performance of cross- genre music. The academic benefits of this research include the further legitimisation of the embodied knowledge of cross-genre performers, the further contemporary privileging of third stream confluent practice, and the further knowledge of the specific issues encountered during the informed performance of cross-genre music. 1.2 Research questions The primary question that has guided this project has been performative at its core: What are the considerations for the contemporary performance practice of third stream and cross-genre music? In order to more efficiently explore multiple aspects of the subject area, the following sub-questions have also been addressed: a. What is the nature of the relationship between the composer and performer of third stream and cross-genre music, and how is this relationship different from that in