Music Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/2796
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Item What's the Matter with Extended Techniques? Getting Beyond the Stigma in the Horn and Percussion Repertoire(2016) Pettigrew, Lauren Avery; Miller, Gregory; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)For this project I prepared a series of recitals featuring music for horn and percussion, in which the horn part featured extended horn techniques. For this project, I considered anything beyond the open or muted horn an extended technique. These techniques range from the common hand-stopped note passages to complex new techniques involving half-valves, multi-phonics, and more, for new sounds desired by the composer. There are several pieces written for solo horn and percussion, with ensembles ranging from simple duets to solo horn with a full percussion ensemble. However, few include extended techniques for the horn. All of these select pieces are lesser known because of their difficulty, primarily because of the challenge of the extended techniques requested by the composer. In the introduction to this paper I give a brief background to the project, where the current repertoire stands, and my experiences with commissioning works for this genre. I then give a brief history and how-to on the more common extended techniques, which were found in almost every piece. I separated these techniques so that they could be referenced in the performance notes without being extremely repetitive in their description. Then follows the main performance notes of the repertoire chosen, which includes a brief description of the piece itself and a longer discussion for performers and composers who wish to learn more about these techniques. In this section my primary focus is the extended techniques used and I provide score samples with permission to further the education of the next musicians to tackle this genre. All works performed for this project were recorded and accompany this paper in the Digital Repository at the University of Maryland (DRUM). The following works were included in this project: o Howard J. Buss, Dreams from the Shadows (2015) o Howard J. Buss, Night Tide (1995) o George Crumb, An Idyll for the Misbegotten, trans. Robert Patterson (1986/1997) o Charles Fernandez, Metamorphosis: A Horn’s Life, “Prenatal and Toddler” (2016, unfinished) o Helen Gifford, Of Old Angkor (1995) o Douglas Hill, Thoughtful Wanderings… (1990) o Pierre-Yves Level, Duetto pour Cor en Fa et Percussion (1999) o David Macbride, Elegy for Horn and Timpani (2009) o Brian Prechtl, A Song of David (1995) o Verne Reynolds, HornVibes (1986) o Pablo Salazar, Cincontar (2016) o Mark Schultz, Dragons in the Sky (1989) o Faye-Ellen Silverman, Protected Sleep (2007) o Charles Taylor, Sonata for Horn and Marimba (1991) o Robert Wolk, Tessellations (2016) With this project, I intend to promote these pieces and the techniques used to encourage more works written in this style, and reveal to fellow horn players that the techniques should not prevent these great works from being performed. Due to the lack of repertoire, I successfully commissioned new pieces featuring extended techniques, which were featured in the final recital.Item The Ford Foundation-MENC Contemporary Music Project (1959-1973): A View of Contemporary Music in America(2013) Covey, Paul Michael; Davis, Shelley G; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Challenging the widespread belief that serial or otherwise atonal composers dominated the United States' contemporary music scene of the 1950s and '60s (a situation named the “serial tyranny” by Joseph Straus), this study of the Ford Foundation-funded Contemporary Music Project (CMP) concludes that tonality was prevailingly considered an acceptably “contemporary” compositional orientation at the time (1959-1973). The evidence examined includes music by the 73 composers-in-residence the CMP placed in public school systems and communities nationwide, as well as syllabi and lesson plans for 90 Project-sponsored courses on purportedly “contemporary” music, also spread throughout the country, most at college level. Both the former and the content of the latter are placed in tonal or atonal categories, and the result tabulated. The study is in four main parts: Part 1 gives a working definition of tonality and discusses the Project's early stages (1959-63), when it was called the Young Composers Project and featured only composer residencies. Throughout discussion of these residencies, the Project's absence of bias with regard to style is highlighted. Part 2 details its expansion, as the CMP, to include educational programs such as Seminars and Workshops (1964-1966). Part 3 concerns the Institutes for Music in Contemporary Education (IMCE)--which included experimental musicianship courses at 33 universities--and the final years of school system residencies. Part 4 outlines the Project's final years, which continued workshops and moved composer residencies from schools to communities. The study's account of the content of the CMP's educational programs provides a statistical image of the contemporary canon as of the mid-to-late 1960s: the works and composers from within then-living memory that were considered most significant. Tonal music forms unambiguously the greater portion of this canon, and is also prevalent within the output of the resident composers, a group including many later well-known names. In addition to these findings, the study documents the remarkable collaboration of numerous significant composers and other musical figures, with various individual proclivities, on a massive undertaking that had both the goal and effect of cultivating and promoting contemporary music in a full and open-minded range of styles.