University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2001 Composing for the big ones: a study of scoring and structure in slow movements from Karel Husa's concerto for wind ensemble and concerto for orchestra Karlin Greenstreet Love University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. 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Recommended Citation Love, Karlin Greenstreet, Composing for the big ones: a study of scoring and structure in slow movements from Karel Husa's concerto for wind ensemble and concerto for orchestra, Master of Arts (Hons.) thesis, Faculty of Creative Arts, University of Wollongong, 2001. https://ro.uow.edu.au/theses/2244 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] COMPOSING FOR THE BIG ONES: a study of scoring and structure in slow movements from Karel Husa’s Concerto for Wind Ensemble and Concerto for Orchestra A thesis submitted in fulfillment of the requirements for the award of the degree MASTER of ARTS (Honours) from UNIVERSITY OF WOLLONGONG by KARLIN GREENSTREET LOVE, B.A, B.Mus. CREATIVE ARTS 2001 Table of Contents Table of contents................................................................................................................. iii List of figures and charts..................................................................................................... vi List of musical examples....................................................................................................vii Acknowledgments.............................................................................................................viii Abstract................................................................................................................................ix Introduction...........................................................................................................................x Chapter 1 The Ensembles and Scoring...............................................................................1 Developments in orchestral scoring.........................................................................1 Scoring for band and development of the wind ensemble..................................... 6 The present state of the two ensembles................................................................. 10 Chapter 2 Overview of literature on scoring and analysis, Part 1................................... 13 Orchestration/instrumentation texts...................................................................... 13 Histories of the orchestra and orchestration..........................................................15 Composer interviews and biographies.................................................................. 17 Conductors’ resources............................................................................................17 Quantitative studies on related large ensemble works..........................................18 Multiple-mode analysis models............................................................................ 19 Writings considering scoring concerns and form or structure..............................21 Chapter 3 Overview of literature on scoring and analysis, Part 2 ................................... 25 Models and concepts..............................................................................................25 Jan LaRue...............................................................................................................26 Wallace Berry.........................................................................................................27 Robert Erickson......................................................................................................28 Chapter 4 Analysis method and procedures.....................................................................30 Concepts of structure..............................................................................................30 Terminology...........................................................................................................31 Scale of analysis.....................................................................................................32 Listening as data source........................................................................................ 33 Assumptions...........................................................................................................34 Analysis process.....................................................................................................35 Limitations of the study..........................................................................................37 Chapter 5 Karel Husa: Background and overview of literature...................................... 39 The two concerti: Introduction.............................................................................. 42 Chapter 6 Concerto for Wind Ensemble: ‘Elegy’ ............................................................47 Overview................................................................................................................ 47 Junctions between movements: structural pitches................................................50 Analysis process..................................................................................................... 51 Large-scale: listening perceptions......................................................................... 51 Characteristic melodic and harmonic materials: sectional structure....................52 Element use: process structure...............................................................................64 ‘t’ section observations...........................................................................................66 Small-scale: instrument usage. Overview of forces used..................................... 67 Spatial arrangement.............. 68 Woodwinds........................ 69 Brass........................................................................................................................71 Percussion.............................................................................................................. 72 Timbrai contribution to structure.......................................................................... 78 ‘Saturation’: solo-section-choir-iwm..................................................................... 79 Clarity-diffusion processes.....................................................................................81 Scoring contribution to structure........................................................................... 81 Chapter 7 Concerto for Orchestra: Tn Memoriam’ ........................................................83 Introduction............................................................................................................ 83 Large-scale: listening perceptions......................................................................... 84 Characteristic pitch and rhythmic materials: Pitch............................................... 86 Rhythm................................................................................................................... 89 Priority of elements................................................................................................94 Inter-movement junctions and transitions...........................................................100 Instrument usage................................................................................................... 100 Strings...................................................................................................................101 Woodwinds.......................................................................................................... 105 Brass......................................................................................................................106 Percussion............................................................................................................ 109 Summary of scoring characteristics..................................................................... 114 Chapter 8 Comparison of Husa’s Concerto for Orchestra and Concerto