MUSIC FOR HARP BY CANADIAN COMPOSERS AFTER 1980: SELECTED WORKS IN ETUDES, SOLO AND CHAMBER REPERTOIRE by Joy Shih-Yun Yeh Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2016 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Susann McDonald, Research Director/Chair ______________________________________ Don Freund ______________________________________ Blair Johnston ______________________________________ Elzbieta M. Szmyt April 15, 2016 ii Copyright © 2016 Shih Yun Joy Yeh iii This dissertation is dedicated to my family dog, Lucky, who passed away on January 2nd, 2016, two months before the completion of this work and 3 months before I moved to my new home. His departure ignited me to pour my soul into finishing the long marathon of my doctoral degree. Lucky was my best loyal friend with unconditional love and was the best partner for exercise, afternoon naps, music practice, home-cooked meal, cuddling, swimming and camping. From Baroque to contemporary, he also could recognize more harp music than any human being on average. He found harp music calming and relaxing before he fell asleep next to my pedal- changing feet. Lucky (2004-2016) iv Acknowledgements I would like to thank my dear parents for their endless support and love towards my harp education from the minute I decided to become a musician at age of four. Although there have been numerous obstacles in the journey, it is family love that bonds us together. Moreover, this is a special thank-you to all my professors at schools, especially my harp teacher, Miss. Susann McDonald, and my research committee members, Ms. Elzbieta Szmyt, Dr. Blair Johnston, and Dr. Don Freund at Indiana University; I also thank Dr. June Han at Yale University and Ms. Rita Costanzi at University of British Columbia with whom I studied during my teenage and college years. They have shared so much of their time, wisdom, and experience with me, nurturing me to become a professional harpist. I can only share my passion and artistry on the stage and pass on my knowledge to my students in order to extend my gratitude to these angels. v Table of Contents Acknowledgements ............................................................................................................. v Table of Contents ............................................................................................................... vi List of Example ................................................................................................................. vii List of Figures .................................................................................................................... xi Introduction ......................................................................................................................... 1 Chapter 1: Six Etudes by Rodney Sharman ........................................................................ 4 Chapter 2: Creatures of Earth and Sky by Stephen Chatman ........................................... 30 Chapter 3: Theseus by Murray Schafer ............................................................................ 46 Conclusion: The Identity of Canadian Music through the Eyes of Canadian Composers................................................................................................. 86 Bibliography ..................................................................................................................... 90 vi List of Examples Example 1.1. Motive (a) from Six Etudes by Sharman ....................................................... 9 Example 1.2. Derivation of Variation (b) .......................................................................... 9 Example 1.3. (c) retrograde of (a) in variation ................................................................. 10 Example 1.4. mm. 29-30 ................................................................................................... 11 Example 1.5. mm. 45-46 ................................................................................................... 11 Example 1.6. mm. 53-56 ................................................................................................... 11 Example 1.7. mm. 1-2 ....................................................................................................... 13 Example 1.8. mm. 5-6 ....................................................................................................... 13 Example 1.9. Study III, Pathfinder to the Harp, p. 17, mm. 1-11 .................................... 18 Example 1.10. Four-finger arpeggio practice from Harp for Today by McDonald and Rollo, mm. 5-12 on p. 110 ................................................................................................ 20 Example 1.11. mm. 6-7 of March by Sharman ................................................................. 27 Example 1.12. Excerpt of page 189 From Renie’s Complete Method for Harp, V. 2 ...... 27 Example 2.1. Form of the second movement from Creatures of Earth and Sky by Chatman ............................................................................................................................ 36 Example 2.2. Beginning of the second movement, pyramid-like shape of expansion ..... 37 Example 2.3. Form of the third movement ....................................................................... 38 Example 2.4. Form of the first movement ........................................................................ 39 Example 2.5. Contrary motion in mm. 18-19 ................................................................... 40 Example 2.6. Form of the forth movement ....................................................................... 42 Example 2.7. Form of the fifth movement ........................................................................ 43 vii Example 3.1. Schafer, Theseus, intro ............................................................................... 63 Example 3.2. Ending of rehearsal B ................................................................................. 63 Example 3.3. Rehearsal F ................................................................................................. 66 Example 3.4. Rehearsal G ................................................................................................. 67 Example 3.5. Rehearsal H ................................................................................................. 68 Example 3.6. Rehearsal H, first system ............................................................................ 68 Example 3.7. Rehearsal H, second system ....................................................................... 68 Example 3.8. Beginning of rehearsal E ............................................................................ 70 Example 3.9. Beginning of rehearsal H ............................................................................ 70 Example 3.10. Theseus, introduction ................................................................................ 71 Example 3.11. Rehearsal N ............................................................................................... 71 Example 3.12. Rehearsal H ............................................................................................... 71 Example 3.13. Rehearsal A ............................................................................................... 72 Example 3.14. Rehearsal O ............................................................................................... 72 Example 3.15. Rehearsal E ............................................................................................... 74 Example 3.16. Rehearsal F ............................................................................................... 74 Example 3.17. Rehearsal F ............................................................................................... 75 Example 3.18. Rehearsal J ................................................................................................ 75 Example 3.19. Rehearsal P Ariadne’s theme .................................................................... 75 Example 3.20. Rehearsal P ............................................................................................... 76 Example 3.21. Rehearsal P, cello part .............................................................................. 76 Example 3.22 Rehearsal P, viola part ............................................................................... 76 Example 3.23 Rehearsal P, violin II ................................................................................. 76 viii Example 3.24. Rehearsal A ............................................................................................... 77 Example 3.25. m.10 in Rehearsal P .................................................................................. 77 Example 3.26. Rehearsal F ............................................................................................... 77 Example 3.27. Rehearsal P ............................................................................................... 77 Example 3.28. Rehearsal F ............................................................................................... 78 Example 3.29. Rehearsal R, violin II and viola part ........................................................