ALAN HOVHANESS AND THE CREATION OF THE "MODERN FREE NOH PLAY" TYLER ...

146 Pages·2010·2.25 MB·English

ALAN HOVHANESS AND THE CREATION OF
THE "MODERN FREE NOH PLAY"
by
TYLERKINNEAR
A THESIS
Presentedto the School ofMusic and Dance
and the Graduate School ofthe University ofOregon
in partial fulfillment ofthe requirements
for the degree of
Master ofArts
June 2009
11
"Alan Hovhaness and the Creation ofthe 'Modern Free Noh Play'," athesis prepared by
Tyler Kinnear in partial fulfillment ofthe requirements for the Master ofArts degree in
the School ofMusic and Dance. This thesis has been approved and accepted by:
Dr. Marian Smith, Chair ofthe Examining Committee
Committee in Charge: Dr. Marian Smith, Chair
Dr. Anne DhuMcLucas
Dr. Jack Boss
Accepted by:
Dean ofthe Graduate School
111
© 2009 TylerKinnear
IV
An Abstractofthe Thesis of
Tyler Kinnear for thedegreeof MasterofArts
in the School ofMusic and Dance to be taken June 2009
Title: ALAN HOVHANESS AND THE CREATION OF THE "MODERN FREENOH
PLAY"
Approved:
Dr. Marian Smith
American composerAlan Hovhaness (1911-2000) published twelve operatic
works during his career. Eight ofthese stagedproductions were written between the
years 1959 and 1969. During these ten years Hovhaness immersed himselfin the music
and theatreofJapan. The composer traveled to Japan twice, oncein 1960 and againin
1962, where he frequently attended Nohplays. As composer-in-residence at the
UniversityofHawaii in 1961, Hovhaness tookprivate lessons on and composed freely
for the instruments ofGagaku, the ancient courtmusic ofJapan.
Mystudy investigates the degree to which Hovhaness was exposed to Gagaku and
Noh, and what elements ofthese Japanese alts the composermanifests inhis staged
works between 1959 and 1969. I compare Hovhaness' treatment ofJapanese elements to
that ofother twentieth-century Western composers interested in EastAsian music.
Throughthis studywe gain greaterknowledgeofHovhaness' operatic style.
v
CURRICULUMVITAE
NAME OF AUTHOR: TylerKinnear
PLACE OF BIRTH: Sylva, North Carolina
DATE OF BIRTH: April 4, 1985
GRADUATE AND U1\JDERGRADUATE SCHOOLS ATTENDED:
University ofOregon, Eugene
University ofNorth Carolina School ofthe Arts, Winston-Salem
DEGREES AWARDED:
Master ofArts, Musicology, 2009, University ofOregon
BachelorofMusic, Percussion, 2007, University ofNorth Carolina School ofthe
Arts
AREAS OF SPECIAL INTEREST:
Music and Landscape
Twentieth-century American music
PROFESSIONAL EXPERIENCE:
Teaching assistant, Department ofMusicology, University ofOregon, Eugene,
2008-2009
Teaching assistant, Department ofEthnomusicology, University ofOregon,
Eugene,2009
Electronic Communications Chair ofthe Ecocriticism Study Group ofthe
American Musicological Society, 2008-present
AWARDS AND HONORS:
Member ofthe Board ofAdvisors for The Alan Hovhaness Research Centre, 2009
University ofOregon Graduate School Excellence in Music Research and
Scholarly Activity Fellowship Award, 2008
Award for best graduate studentpaper read at the annual meeting ofthe Pacific
Northwest Chapter ofthe American Musicological Society, 2008
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ACKNOWLEDGMENTS
I wish to express sincere appreciation to Dr. Marian Smith for her assistance inthe
developmentofthis thesis. Ourweekly meetings were invaluable inproviding both
direction andencouragement. I am also indebtedto Dr. Anne DhuMcLucas and Dr. Jack
Boss for their inputduring this project. I would also liketo thank Dr. MarkLevy for his
recommendationofwhatturned outto be several essentialresources. This study would not
havebeenpossible without the supportofMartinBerkofsky, who sentme severalrare
recordings and letters, and is responsible for gathering Hovhaness-related materialsfor the
University ofWashingtonEthnomusicologyArchives. My research in Seattle was
supported inpartby a Graduate Awardfrom the UniversityofOregon School ofMusic.
I wouldliketothankLaurel Sercombe for her hospitality during my time atthe Alan
Hovhaness Collectionatthe University ofWashingtonEthnomusicology Archives.
Noh actor Gary Mathews has my gratitudefor providing feedback onchapters inthisthesis
. related to Nohtheatre. I would like to share aheart-feltthanks to myparentsfor their
support.
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TABLE OF CONTENTS
Chapter Page
I. n\TTRODUCTIO]\L............................................................................................... 1
II. PREVIOUS WORK ON HOVHANESS 7
III. EARY EXPOSURE TO EASTERN MUSIC 11
A. Biographical Background.............................................................................. 11
B. TheImpact ofTravel on Hovhaness's Compositional Style........................... 15
C. Interest in and Exposure to East Asian Music................................................ 17
Hawaii 18
Japan 20
D. TheImportance ofMelody............................................................................ 24
IV. OTHERTWENTIETH-CENTURY COMPOSERS AND ASIAN MUSIC 25
A. Dane Rudhyar 25
B. ColinMcPhee.................................................................................... 27
C. Henry Cowell................................................................................................ 27
D. John Cage 30
E. BenjaminBritten 33
F. LouHarrison................................................................................................. 37
G. Concluding Remarks 41
V. GAGAKU 43
Vlll
Chapter Page
A. Instruments............................... 44
B. Theory 46
VI. JAPANESE NOH DRAMA 47
A. Characters..................................................................................................... 48
B. Musicians and Chorus 49
C. Singing Style and Rhythm............................................................................. 50
D. Movement and Dance................................................................................... 51
E. Dramatic Effects: Masts and Costumes.......................................................... 51
F. The Role ofNature 52
G. The Concept ofJo-ha-kyu 52
VII. ANALYSIS OF GAGAKU AND NOH ELEMENTS IN HOVHANESS'S
STAGE WORKS............................................................................................... 55
A. Clarification ofthe Term "Operatic" 55
B. Hovhaness's Operatic Style.......................................................................... 56
C. Subject Matter and Text.. 57
D. Role ofNature 59
E. Characters..................................................................................................... 60
F. Hovhaness's Adaptation ofNoh Structure 63
Climax Scenes 66
G. Treatment ofInstruments 70
IX
Chapter Page
H. Gagaku Traits and Instruments...................................................................... 74
Canon......................................................................................................... 74
I. Percussion 76
J. Rhythm.. 78
K. Imitation ofthe ShiJ 79
L. ShiJ Effects 83
M. Choreography and Staging 84
N. Singing Style. 86
O. Role ofChorus................................................................................ 90
P. Masks, Costumes, and Props.......................................................................... 90
Q. Concluding Remarks..................................................................................... 92
VIII. CRITICS, COTEMPORARY AUDIENCE, AND THE CRISIS 96
A. Tanglewood 97
B. Reception ofHovhaness's Music................................................................... 101
C. Concluding Remarks..................................................................................... 104
APPENDICES 108
A. OPERAPLOTS AND RECEPTION HISTORy 108
B. LIBRETTI 114
C. ADDITIONAL RESOURCES 129
REFERENCES 133
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LIST OFFIGURES
Figure Page
1. Hovhaness's second opera, Lotus Blossom......................................................... 13
2. Alan Hovhaness, withsho, and wife "Naru" Hovhaness, withryuteki 19
3. Hovhaness lecturing on Gagaku at Hawaii'sEast-West Center.................. 21
4. Hovhaness playing the hichirikiwith a Gagaku ensemble 22
5. Cover page to Hovhaness's unpublished book ofGagaku pieces........................ 23
6. Hovhaness with circle offriends, Boston, 1946.................................................. 32
7. Brittenplaying the sho....................................................................................... 34
8. Climax scene inPilate 67
9. Climax scene inPilate continued 68
10. Startofclimax scene in The BurningHouse 69
11. Climax scene in The BurningHouse continued. 70
12. Startofclimax scene in The Leper King............................................................. 71
13. Three-part canon at the unison 75
14. Example ofa three-part canon in The Travellers 75
15. Excerpt ofxylophone part inLady ofLight........................................................ 77
16. Excerpt ofxylophone part in WindDrum........................................................... 78
17. Use ofdiminution inrhythmic patterns 79
18. Example ofrhythmic diminution in Lady ofLight...... 80