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IN MEMORIAM
by
2000
UMI Number 9972074
Copyright 2000 by
Breiling, Roy Edward
UMI^
UMI Microform9972074
Copyright 2000 by Bell & Howell Information and Learning Company.
Ail rights reserved. This microform edition is protected against
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Date
Date
Final approval and acceptance of this document is contingent upon the candidate's
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I hereby certify that I have read this docimient prepared under my direction and
recommend th^ it be accepted as fulfilling the requirement.
0 y/
> ^V /// _
3/29/2000
G r e ^ I . Hanson
3
STATEMENT BY AUTHOR
SIGNED: 4:22.
4
ACKNOWLEDGMENTS
of such high quality music for the wind band and for his
compositional process.
ABSTRACT h
COMPOSITIONAL STYLE •!
His Life »
Form. 19
Melody 25
I-[arniony 32
RhyLlun. 39
Texture 56
REFERENCES 69
6
ABSTRACT
Chapter 1
DAVID MASLANKA:
His Life
David Maslanka is recognized as a significant composer
biography.
states:
^ Ibid.
minor tonality. There are usually simple modulations, with
® Ibid.
music.
state of mind:
Carl Jung, Man and His Symbols (Garden City, New York:
Doubleday, 1964), 14.
in his compositions.
in a two-way service:
Carl Jung, Man and His Symbols (Garden City, New York:
Doubleday, 1964), 13.
Memoriam in Chapter 2.
universal.
percussive objects.
In the piece selected for this study, namely. In
emotional responses.
" Ibid.
18
Chapter 2
AN EXAMINATION OF IN MEMORXAM
Form
equilibrium is restored."^*
sent me."^^
Maslanka's words:
Maslanka reasoned:
Ibid., 4.
" Ibid.
22
anguish.
Ibid.
over; it is done."^^
" See page 26 for the text associated with the original chorale
tune.
Melody
that Maslanka selected the chorale tune Wer nur den lieben
Gott lasst walten ("If you but trust in God to guide you")
associated with this chorale tune.^^ Both the text and the
" Ibid.
example 1).
" Ibid.
0
Cjr r ITT
"J iJ J
J=;i
r r r^r A
One of the melodic characteristics of Maslanka's Xn
4'^ J r r r
In measures 1-7 of In Memoriam, the first phrase of the
the last four main notes of the first phrase are compressed
Xylophone
m fr
I r I r f Py.ialggTm
no dim. ff
aa.
Vibe
f I r I r
no dim. Jf
ff
1 J _n=^ ]
a- 11
{|
^ J #
•1. fA — W I i
O" ]
4 1
30
accent each note of the phrase on beat one, and the upper
Upper Woodwinds
m. 280
$
V ^
M
A
Brass
$ Jf
m
The following example illustrates a homophonic treatment
Organ <
Vibe
32
Harmony
Maslanka has patterned the tonality of In Memoriam to be
Piano<
9*-
A'i r f Tr r ^
b. Oboe, Measures 92-94
i [ j r 1° i
c. Flute, Measures 310-312
34
^Trumpets m.26 ^
.2.
LP,.- fp f =L
\\s-\
^
m ^T^''
J — -— *
*^j3rx—3—. ^
i. : j 1 J -j—^
LI ^ 4 J —J^l—J
13)
Bass Trombone
©grz p
Tuba
Tmmpci I. 2
m
no dim.
itP i#
Trumpet 3
BassTrombone
>
P
m
Example 15
Measures 265-273
Tuba
to example 11-b).
the sudden mood swings that can occur during the process of
preludes:
Bach converts into tone not only the body but the soul of
the verbal passage. The greatest masters of the chorale-
piece harmonized the melody; Bach harmonized the words.
For him the chorale-melody by itself is indefinite in
character; it only acquires a personality when allied
with a definite text (30).
PEDAL
uppermost voice.
mpj
-j-i
J J
m
m pm
Cl. 1
mp 3 3 3
Cl. 2
* jlJ
mp
pa p f
and 2nd Bb clarinet, and 1st and 2nd flute cind piccolo
pedal tone on the note F, which ends before the last three
measures and the last three notes of the chorale tune. This
present.
19).
ft ^ p 'U
In measures 209-240 Maslanka uses the '^step" motive as
example 20).
mf mf
7
A. Sax.
yWVrrrr 'PD'crtOfl-i
mf •
mf ^
4'' ^ ^ ^ ^ ^ I ^ r r I
Example 22b: Maslanka's statement of Jesu Leiden, Pein und
Tod
4 J ]J -
f
this section.
play the chorale tune in half notes, and the clarinets and
the 1^^ flute, oboe and xylophone give energy and forward
Ob. I
Cl. 1
Tpt. 1.2
mf no. dim.
Tbn. 1.2
forward thrust.
example 24).
Picc.
Fl. 1
R. 2
EbCl.
Bb CI. 1
Bb CI. 2
B. CI.
Bsn. 1 & 2
^ Sim.
indicates that the quarter note equals M.M, 84; for the
Main Body the quarter note equals M.M. 168; and, for the
Conclusion the quarter note equals M.M. 72. There are few
words and phrases such as "hold back _ _ " "in tempo, "
3 4
sections in 4 and 4 time. Maslanka uses metric expansions
Hn. I & 2
A A A A
Hn. 3 & 4
J
Tpt. 1 & 2
A A A A
Tpt 3
*
"8^
" Ibid.
55
2 3 4
other than 4,4. and 4 time, and that is found in measure
5
85 where he uses an asymmetrical 8 time signature. It seems
I. 2, 3 Trombone
a;
\f2 P ^P
A A AA
Bass Trombone
ff
^ p
56
Texture
Most of the Introduction, from the beginning until
accompaniment.
tessituras.
57
that the listener will not forget the pain and anguish that
contrast.
B. CI.
CB. CI.
Bsn.1, 2
(mute)
B. Tbn.
Pno.
Vibe 2
Clock.
m i a
At the Conclusion, beginning in measure 310, the plucking
Fl. 1
$ »V>3
n — r «
CI. I
'i
'4 jjj
mp J
•p
JJfP
3 3
m 3 J
Cl. 2
mp
M
P
Pluck string V ith finger nail.
^
P
p
1^'j " 11 II I* M " I" fl
dim."
dynamics.
" Joseph Machlis, The Enjoyment of Music, e'** ed. (New York: W. W.
Norton, 1990), 136.
62
Example 3 0: In Memoriam
Measures 106-110
Picc.
p cresc.
R. 1
~P crtsc.
R. 2
P cresc.
CI. I
np cresc.
CI. 2
mp cresc.
B.CI.
Tpt. 1.2
!0Z p ^ P'
J J'
p cresc.
fr fr Jf
J*' J ^ i\ J
^ p-
;> ^?9t-
^ P fr jf p cresc. Jf
work.
have triplets. From measure 371 to the end of the piece the
are played by the organ cind vibraphone, and the last two
Chapter 3
his mind.
the chorale time Wer nur den lieben Gott lasst walten is
these techniques.
Therefore, it is important to landerstand David Maslanka's
perceptions.
69
REFERENCES