Guidelines and models for score preparation of atonal band literature

During the past two years (1974-76) the writer has become increasingly aware of the need for a method of assisting conductors with the score preparation of "new" band literature. Because this literature often represents the modern composer's efforts to explore non-traditional compositional techniques, the development of a new or at least expanded approach to analysis, aimed directly at the conductor's task of preparing a score for rehearsal (and performance) seems to be in order.Most recent approaches to analysis have been developed by theorists whose microscopic examination of music, sometimes complicated with new terminology, does not necessarily assist the conductor in his efforts to Formulate musical interpretations. Furthermore, the education of most conductors today emphasizes a background heavy with more traditional musical concepts. With these two points firmly in mind, the author has attempted to expand the more traditional concepts of harmony, melody, rhythm, dynamics, timbre, and texture, and subsequently incorporate them in the development of an analytical method that specifically serves the conductor's task of score preparation as related to more contemporary band literature.Essential to the process of developing this analytical method was understanding and defining the goal of the conductor in the task of score preparation. To this end, the writer examined the published views of several well-known conductors. All of these authors seemed in agreement: in order to present a musical work, the conductor must have a broad view of the work so as to understand the logic of its progression, from beginning to end. Seemingly then, score preparation should serve to uncover and enhance this broad view. The writer's analytical method assumed this purpose: to assist the conductor in the discovery and development of this broad view. For the purpose of identifying this goal, the writer developed the term "macro-view".In the course of developing his analytical approach, the writer has introduced his concept of melodic rhythm, a term coined to cover the composite temporal (linear) effect caused by relationships among musical elements such as melody, rhythm, dynamics, timbre, and texture. It is for the expressed purpose of enhancing accessibility to the concept of motion and repose in "atonal" band literature to those who are seemingly more familiar with the concept of phrase and cadence associated with more traditional melodies that the author has chosen the term melodic rhythm.In the view of this writer, the primary concern of descriptive analysis is the discovery of melodic rhythm(s), accomplished through a relatively microscopic investigation of the score. The author suggests that the information uncovered in this process be collected in a systematic fashion for later use. To assist in this collection of information the author has developed a "Descriptive Analysis Chart".Chapters III through VI are demonstrations of the author's analytical method and represent a variety of atonal band literature. Included within these chapters are Geometrics No. 4 by Martin Mailman, Study in Textures by Gunther Schuller, Spectrum by Herbert Bielawa, Statement by Brent Heisinger, and Stargazing by Donald Erb. (Composer comments on the analysis presented are included as Appendix C.)The writer's approach to score preparation is founded on his belief that inherent in all music, regardless of style, period, or medium, is the apperception of motion and repose. Furthermore, it is through the auditory sensation of motion and repose that the unity of a piece becomes comprehendable. Upon completing an analysis according to the guide lines presented in this dissertation, the conductor can proceed with the presentation of a unified performance of an "atonal" band work.School of MusicThesis (D.A.