understanding the percussion works of alejandro viñao

111 Pages·2017·2.27 MB·English

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Theses and Dissertations--Music Music
2016
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Christopher L. Butler
University of Kentucky, [email protected]
Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.174
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Butler, Christopher L., "UNDERSTANDING THE PERCUSSION WORKS OF ALEJANDRO VIÑAO: AN
ANALYSIS AND PERFORMER’S GUIDE OF WATER FOR PERCUSSION ENSEMBLE" (2016). Theses and
Dissertations--Music. 58.
https://uknowledge.uky.edu/music_etds/58
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The document mentioned above has been reviewed and accepted by the student’s advisor, on
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Christopher L. Butler, Student
James Campbell, Major Professor
Dr. David Sogin, Director of Graduate Studies
UNDERSTANDING THE PERCUSSION WORKS OF ALEJANDRO VIÑAO:
AN ANALYSIS AND PERFORMER’S GUIDE OF WATER FOR PERCUSSION ENSEMBLE

DISSERTATION

A dissertation submitted in partial fulfillment of the
requirements for the degree of Doctor of Music in the
College of Fine Arts at the University of Kentucky

By
Christopher Butler

Lexington, Kentucky

Director: Prof. James Campbell, Professor of Percussion

Lexington, Kentucky

2016

Copyright © Christopher Lee Butler 2016
ABSTRACT OF DISSERTATION

UNDERSTANDING THE PERCUSSION WORKS OF ALEJANDRO VIÑAO:
AN ANALYSIS AND PERFORMER’S GUIDE OF WATER FOR PERCUSSION ENSEMBLE

The music of Alejandro Viñao is driven primarily by rhythm rather than traditional
classical music components such as melody, harmony, and formal structures. As such, this focus
on rhythm showcases the innovation of multiple time, defined as the musical simulation of
various meters and tempi. Pioneered by Conlon Nancarrow, this rhythmic innovation is identified
within Water (2013).
The purpose of this dissertation is to provide insight and analysis of the specific musical
characteristics of Viñao’s compositional style. These characteristics include the use of rhythmic
grooves, attractors, echo effect, tenuto markings, Euclidean rhythms, and water imagery. Once
this analysis has been completed, this dissertation then highlights the necessary practicalities of
performance by discussing aspects such as conducting, rehearsal preparation, setup configuration,
mallet considerations, and the technical aspects of performing bongos and congas.
KEYWORDS: Viñao, Multiple Time, Nancarrow, Water, Groove, Attractors

Christopher Lee Butler

______________________________________________________________________________________
Student’s Signature

May 5, 2016

______________________________________________________________________________________
Date
UNDERSTANDING THE PERCUSSION WORKS OF ALEJANDRO VIÑAO:
AN ANALYSIS AND PERFORMER’S GUIDE OF WATER FOR PERCUSSION ENSEMBLE

By
Christopher Lee Butler

James B. Campbell

______________________________________________________________________________________
Director of Dissertation

David W. Sogin

______________________________________________________________________________________
Director of Graduate Studies

April 17, 2016

______________________________________________________________________________________
Date
ACKNOWLEDGEMENTS

I would have never been able to complete this dissertation without the support of my
family, encouragement from my friends, and guidance through my committee members.
It takes a special mother to raise a percussionist. I am lucky to have an incredible mother,
Jennifer Butler, who supported my passion for music at every step of the way. Without her, I truly
would not have been able to realize my musical dreams. This dissertation is also dedicated to my
father, Michael Butler, who passed away in 2002. He taught me everything there is to know about
responsibility and work ethic. Thank you to my amazing wife, Jessica Butler, who supported me
as I worked to complete my DMA while also carrying our baby. I’m so incredibly lucky to have
you in my life.
I owe a great deal of gratitude to my committee chair and teacher, James Campbell, for
his constant support and mentorship. Thank you to all of my incredible teachers over the years
including Dr. Paul Vaillancourt, William Moersch, Ricardo Flores, and John David.

Copyright © Christopher Lee Butler 2016

iii
TABLE OF CONTENTS

PART ONE
Chapter 1: Introduction and Overview.................................................................................. 2
Chapter 2: Composer Biography .......................................................................................... 4
Chapter 3: Multiple Time and the Influence of Nancarrow .................................................. 9
Chapter 4: An Overview of Water ........................................................................................ 16
Chapter 5: Edge of Tide (Filo de Marea) .............................................................................. 18
Chapter 6: Through the wild Rain (a traves de la lluvia salvaje) ......................................... 30
Chapter 7: Todos los rios El rio (All the rivers The river) .................................................... 41
Chapter 8: Water – A Performance Guide ............................................................................ 48
Conducting Water .................................................................................................... 48
Rehearsal Suggestions ............................................................................................. 50
Instrumentation and Setup ....................................................................................... 52
Mallet Considerations .............................................................................................. 58
Tenuto Markings – Technical Considerations ......................................................... 60
The Use of Congas and Bongos within Water ......................................................... 63
Chapter 9: Conclusion........................................................................................................... 69

PART TWO
DMA Recital Program Notes ................................................................................................ 74
Appendix A: Email Correspondence with Alejandro Viñao................................................. 86
Bibliography ......................................................................................................................... 95
Curriculum Vitae .................................................................................................................. 97

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LIST OF FIGURES

Figure 1: Percussion Works of Viñao ................................................................................... 6
Figure 2: Henry Cowell’s New Musical Resources .............................................................. 10
Figure 3: Polyrhythms in Static Multiple Time .................................................................... 12
Figure 4: Static Metrical Displacement in Steve Reich’s Clapping Music ........................... 13
Figure 5: Static Grouping Displacement ............................................................................... 13
Figure 6: Dynamic Multiple Time in Khan Variations ......................................................... 14
Figure 7: mm. 1-3 ................................................................................................................. 19
Figure 8a: m. 1 ...................................................................................................................... 21
Figure 8b: m. 20 .................................................................................................................... 21
Figure 8c: mm. 29-30 ............................................................................................................ 21
Figure 8d: m. 37 .................................................................................................................... 21
Figure 8e: mm. 40-43 ............................................................................................................ 21
Figure 9: New Musical Material ........................................................................................... 23
Figure 10: Re-barring of 5/8 Grouping Displacement .......................................................... 24
Figure 11: mm. 107-117 ....................................................................................................... 24
Figure 12: mm.14-17 ............................................................................................................ 27
Figure 13: mm. 35-37 ........................................................................................................... 28
Figure 14: mm. 158-160 ....................................................................................................... 28
Figure 15a: Primary Theme found in Vibraphone 2, mm. 1-4.............................................. 31
Figure 15b: Primary Theme found in Piano, mm. 42-45 ...................................................... 31
Figure 15c: Primary Theme found in Piano, mm. 72-74 ...................................................... 31
Figure 15d: Primary Theme found in Vibraphone 2, mm.96-100 ........................................ 31
Figure 15e: Primary Theme found in Piano, mm. 132-136 .................................................. 32
Figure 16: mm. 109-111 ....................................................................................................... 34
Figure 17: mm. 112-116 ....................................................................................................... 34
Figure 18: mm. 132-134 ....................................................................................................... 35
Figure 19: mm. 34-39 ........................................................................................................... 36
Figure 20: mm. 70-73 ........................................................................................................... 37
v
Figure 21: mm. 237-240 ...................................................................................................... 38
Figure 22: mm. 93-104 ......................................................................................................... 39
Figure 23: mm. 191-195 ....................................................................................................... 39
Figure 24: Euclidean Rhythm (6/8 Bembe and 4/4 Bossa Nova) ......................................... 42
Figure 25: mm. 1-4 ............................................................................................................... 42
Figure 26: mm. 17-20 ........................................................................................................... 42
Figure 27: mm. 90-93 ........................................................................................................... 44
Figure 28: mm. 53-56 ........................................................................................................... 44
Figure 29: mm. 191-193 ....................................................................................................... 45
Figure 30: mm. 200-203 ....................................................................................................... 45
Figure 31: mm. 199-204 ....................................................................................................... 51
Figure 32: Grouping of Instruments, mm. 199-204 .............................................................. 52
Figure 33: Instrumental Assignments of Water .................................................................... 53
Figure 34: Examples of Water Instrumentation Setup .......................................................... 55
Figure 35: mm. 113-117 ....................................................................................................... 57
Figure 36: Shared Glockenspiel with Player Four and Player Five ...................................... 57
Figure 37: Congas and Bongos ............................................................................................. 64
Figure 38: Tuning System for Bongos and Congas .............................................................. 65
Figure 39: mm. 34-37, Marimba Blending into the Conga ................................................... 67
Figure 40: mm. 109-111, Conga Groove .............................................................................. 68

Copyright © Christopher Lee Butler 2016
vi
PART ONE

1