challenges of technique and interpretation in the percussion music of fredrik andersson PDF
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UUnniivveerrssiittyy ooff KKeennttuucckkyy UUKKnnoowwlleeddggee University of Kentucky Doctoral Dissertations Graduate School 2010 CCHHAALLLLEENNGGEESS OOFF TTEECCHHNNIIQQUUEE AANNDD IINNTTEERRPPRREETTAATTIIOONN IINN TTHHEE PPEERRCCUUSSSSIIOONN MMUUSSIICC OOFF FFRREEDDRRIIKK AANNDDEERRSSSSOONN:: AA PPEERRFFOORRMMEERR’’SS AANNAALLYYSSIISS Kyle Manning Forsthoff University of Kentucky, [email protected] RRiigghhtt cclliicckk ttoo ooppeenn aa ffeeeeddbbaacckk ffoorrmm iinn aa nneeww ttaabb ttoo lleett uuss kknnooww hhooww tthhiiss ddooccuummeenntt bbeenneefifittss yyoouu.. RReeccoommmmeennddeedd CCiittaattiioonn Forsthoff, Kyle Manning, "CHALLENGES OF TECHNIQUE AND INTERPRETATION IN THE PERCUSSION MUSIC OF FREDRIK ANDERSSON: A PERFORMER’S ANALYSIS" (2010). University of Kentucky Doctoral Dissertations. 101. https://uknowledge.uky.edu/gradschool_diss/101 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF MUSICAL ARTS PROJECT Kyle Manning Forsthoff The Graduate School University of Kentucky 2010 CHALLENGES OF TECHNIQUE AND INTERPRETATION IN THE PERCUSSION MUSIC OF FREDRIK ANDERSSON: A PERFORMER’S ANALYSIS _______________________________________ ABSTRACT OF MUSICAL ARTS PROJECT _______________________________________ A music arts project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Kyle Manning Forsthoff Lexington, Kentucky Director: James B. Campbell, Professor of Music Lexington, Kentucky 2010 Copyright © Kyle Manning Forsthoff 2010 ABSTRACT OF MUSICAL ARTS PROJECT CHALLENGES OF TECHNIQUE AND INTERPRETATION IN THE PERCUSSION MUSIC OF FREDRIK ANDERSSON: A PERFORMER’S ANALYSIS In the mid 1990s, Swedish composer Fredrik Andersson composed not everything which happens is in the newspaper (1993), the lonelyness of Santa Claus (1994), and imagine there was nothing (1996). All three pieces share a number of compositional and stylistic elements while emphasizing the capabilities of their respective instrumentations to create mysterious sonic worlds that are unique in the percussion idiom. By examining specific concerns of each piece in detail, an understanding of Andersson’s presentation of musical challenges will result. Acceptable solutions to such challenges will be examined and compared, based primarily on the author’s analysis and experience encompassing multiple performances of each of the three works, along with supplementary information provided by various other sources. The results of this document will be significant within the larger percussion community in that they will serve to increase the visibility of the composer and increase exposure of works for percussion that are not only musically distinctive within the repertoire, but also contain a variety of exciting pedagogical, technical, and interpretive challenges that will contribute to the growth of any percussionist willing to engage them. It is hoped that such engagement will “de-mystify” Andersson’s music and inspire increased performance of his works. KEYWORDS: Music, Fredrik Andersson, Percussion, Percussion Ensemble, Marimba Kyle Manning Forsthoff April 7, 2010 CHALLENGES OF TECHNIQUE AND INTERPRETATION IN THE PERCUSSION MUSIC OF FREDRIK ANDERSSON: A PERFORMER’S ANALYSIS By Kyle Manning Forsthoff Professor James B. Campbell Director of Dissertation Dr. Lance Brunner Director of Graduate Studies April 7, 2010 RULES FOR THE USE OF MUSICAL ARTS PROJECTS Unpublished Musical Arts Projects submitted for the Doctor’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. Bibliographical references may be noted, but quotations or summaries of parts may be published only with the permission of the author, and with the usual scholarly acknowledgments. Extensive copying or publication of the Musical Arts Project in whole or in part also requires the consent of the Dean of the Graduate School of the University of Kentucky. A library that borrows this Musical Arts Project for use by its patrons is expected to secure the signature of each user. Name Date ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ MUSICAL ARTS PROJECT Kyle Manning Forsthoff The Graduate School University of Kentucky 2010 CHALLENGES OF TECHNIQUE AND INTERPRETATION IN THE PERCUSSION MUSIC OF FREDRIK ANDERSSON: A PERFORMER’S ANALYSIS _______________________________________ MUSICAL ARTS PROJECT _______________________________________ A musical arts project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Kyle Manning Forsthoff Lexington, Kentucky Director: James B. Campbell, Professor of Music Lexington, Kentucky 2010 Copyright © Kyle Manning Forsthoff 2010 To Michael Spiro—the avocados should be ripe by now… ACKNOWLEDGEMENTS This section of the document has been in a state of construction far longer than any other by a measure of several months. No person’s education occurs in a vacuum. This document represents the culmination of seventeen academic years of formal music education. As such, a large number of people, having been so giving of their time and energy before and during that time, deserve to be acknowledged forthwith. I must first thank the members of my Doctoral Committee for their support and assistance in both my tenure as a DMA student and in the preparation of this document. Dr. Cody Birdwell and Dr. Doug Kalika have made them-selves readily available and have offered sage advice throughout the entire Doctoral process. Dr. Lance Brunner has been a most steadfast and loyal proponent of my endeavors throughout my academic and musical career. His mentorship and insights have taught me new ways of playing, seeing, hearing, thinking about, and writing about music. No amount of thanks would do justice to the service offered by Jim Campbell. In the seven years I have spent as his student, he has shown himself to be a phenomenal teacher, advisor, professional, mentor, friend, and colleague. His is a model I may proudly hope to aspire to. In addition to those above, the following faculty and staff have been of invaluable assistance and support in the years I have spent as an Undergraduate and Doctoral student at the University of Kentucky: Dr. Kevin Holm-Hudson, Dr. Ron Pen, Dr. Cecilia Wang, Dr. Kuo- Huang Han, Dr. Donna Kwon, Dr. Joanne Filkins, Dr. David Sogin, Dr. Timothy Reynish, Professor Harry Clarke, Professor Peter Simpson, Professor Richard Clary, Professor George Boulden, and Vicki Pendleton. As Teaching Assistants in the UK percussion department, Kenyon Williams, Eric Willie, Michael Aukofer, Robert Parks, and Julie Hill all served as instructors during my time as an undergraduate. They have been exemplary models of what graduate students can and should be and I am indebted to each of them. - iii -
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