Augmentation of Delusion

Transcription

1 University o Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-01 Augmentation o Delusion Christopher Lynn Adams University o Tennessee - Knoxville, chrisadams@utk.edu Recommended Citation Adams, Christopher Lynn, "Augmentation o Delusion. " Master's Thesis, University o Tennessee, This Thesis is brought to you or ree and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted or inclusion in Masters Theses by an authorized administrator o Trace: Tennessee Research and Creative Exchange. or more inormation, please contact trace@utk.edu.

2 To the Graduate Council: I am submitting herewith a thesis written by Christopher Lynn Adams entitled "Augmentation o Delusion." I have examined the inal electronic copy o this thesis or orm and content and recommend that it be accepted in partial ulillment o the requirements or the degree o Master o Music, with a maor in Music. We have read this thesis and recommend its acceptance: rendan McConville, Daniel Cloutier (Original signatures are on ile with oicial student records.) Kenneth A. acobs, Maor Proessor Accepted or the Council: Dixie L. Thompson Vice Provost and Dean o the Graduate School

3 Augmentation o Delusion A Thesis Presented or the Master o Music Degree The University o Tennessee, Knoxville Christopher Lynn Adams August 01

4 ii 01 by Chris L. Adams All rights reserved.

5 iii Dedication This work is dedicated to my parents and sister, Ken, Carla, and Canaan Adams.

6 iv Acknowledgements I owe a great deal o thanks to the ollowing people or various contributions: irst and oremost, my parents, Ken and Carla Adams, and my sister, Canaan Adams, have provided unconditional love and unwavering support through my struggles and successes at the University o Tennessee. Kuyper Cummings, lake Sensenbach, and Asher Coker my band mates, my best riends were a catalyst or rediscovering and reairming my love or music and guitar. I would not have had the creative energy and inspiration to accomplish my musical goals without them. osh Vaillancourt has been a true riend through the past eight years and the 180 miles separating Nashville rom Knoxville. He has relentlessly oered his love and encouragement in all o my endeavors, and I am lucky to be considered his riend. Melinda acobs has expressed utmost kindness and love toward all o Dr. acobs s students, including mysel. inally, I would like to thank Dr. Kenneth acobs, to whom I owe everything or his guidance, care, and wisdom he has oered in my musical career and personal lie. He has gone above and beyond or me in so many ways. My perception o music has been orever changed or the better through his tutelage. I am truly ortunate to have studied under him and to call him a riend.

7 v Abstract Augmentation o Delusion is a single-movement piece or chamber orchestra composed by Chris L. Adams. The piece was originally written or a our-person percussion ensemble in 013 and orchestrated in 01. This document will analyze the maor musical elements o orm, harmony, melody, rhythm and meter, and genre o the piece, as well as compare and contrast these variables with other composers works. Music theory terminology and igures will be applied in this document as ollows: 1. Set theory unctions will be expressed as: a. Normal order indicated by brackets [367] b. Prime orm indicated by parentheses (015). Non-diatonic scale orms will be expressed as: a. Scale name plus irst (or irst two) pitch class(es) in parentheses i. Aug (0, 1) augmented scale starting with C and D-lat/C# ii. WT (1) whole-tone scale starting on D-lat/C# 3. Interval-class vectors will be expressed as: a. Vectors indicated by chevrons i. <303630>

8 vi Table o Contents Chapter I Introduction...1 Chapter II orm... Chapter III Harmony... Chapter IV Melody...9 Chapter V Rhythm and Meter...13 Chapter VI Genre...19 ibliography... Appendix...6 Vita...9

9 vii List o igures igure 3.1: Augmentation o Delusion, opening moti, bassoon, mm igure 3.: Augmentation o Delusion piano reduction, mm igure 3.3: Wol, Das Verlassene Magdlein, harmonic reduction, mm igure.1: Augmentation o Delusion, trumpet, mm igure.: Schoenberg, Seraphita, orchestral reduction, mm igure.3: Augmentation o Delusion, bassoon, mm igure 5.1: Augmentation o Delusion, opening moti, bassoon, mm igure 5.: Augmentation o Delusion, piano reduction, mm igure 5.3: Augmentation o Delusion, mm igure 5.: artok, Miraculous Mandarin, mm igure 5.5: Augmentation o Delusion, piano reduction, mm

10 1 Chapter I - Introduction Augmentation o Delusion or chamber orchestra was originally conceived as a piece or our-player percussion ensemble in 013 and was later orchestrated in 01. This document will examine the maor musical elements o the piece, including genre, orm, harmony, melody, and rhythm and meter, and genre. This examination will provide a musical analysis o the piece as well as a comparative survey between Augmentation o Delusion and other music with similar characteristics. Augmentation o Delusion is approximately seven minutes in duration as a singlemovement orchestral chamber piece. The instrumentation consists o two lutes, two oboes, clarinet (-lat), bass clarinet, two bassoons, two horns, two trumpets (C), two trombones, tuba, xylophone, and strings. The conception o this piece is rooted in absolutist philosophy. The music neither symbolizes nor represents anything, nor is it meant to convey any kind o story, as would be the case in the programmatic tradition. However, the descriptive title Augmentation o Delusion is used instead o a generic numeric title (such as Symphony no. ) in order to provide a designation relective o the nature o the music. This titling is the consequence o the perception o the music, as opposed to the absolutist conception o the music.

11 Chapter II - orm Augmentation o Delusion ollows a simple ternary orm reading A--A. The two outer "A" sections are identiied as loud and ast in contrast to the slower and soter "" section, which yields a common ast-slow-ast ormal scheme. Table 1.1: orm o Augmentation o Delusion Section A A Measures The irst "A" section contains several relatively short subsections with minimal repetition. Perhaps the most deining characteristics o this section are the ongoing ostinato and the high rhythmic activity, which create a turbulent and bombastic musical atmosphere. The tension level remains relatively high throughout this section, but it noticeably grows rom the opening measures to the rising ortissimo tutti passage at the conclusion in measure 68. This loud closing passage rom measures is directly preceded by a motivic aggregate section that exhibits all o the maor themes rom the "A" section (in one orm or another) working in tandem with one another. The "" section is a stark contrast to "A" in terms o dynamics, tempo, and overall intensity. The opening phrase in measures brings the momentum rom the previous cadence to a screeching halt as the tempo is nearly halved (rom 10 PM to 60), and the orchestral orce is cut rom ull tutti to lute and violins, yielding a massive decrease in amplitude. Unlike the "A" section, the tempo subtly luctuates between subsections in "", but it

12 3 remains relatively slow throughout. This section relects a palindromic mirror orm in which the subsections are presented in a sequence that reads a-b-c-b-a based on thematic content. The concluding "A" section is very much like the irst, but it is not repeated verbatim. It still exhibits the maor thematic material rom the irst "A" section and ends with the rising tutti passage in the same ashion. The return o the material rom the irst A section provides a satisying sense o cohesion or the listener. The ast/loud slow/sot ast/loud ormat also creates an eective template or controlling the tension throughout the piece. ela artok employees the same overarching A--A ormal scheme in The Miraculous Mandarin suite. This piece begins with a ast and loud section, ollowed by a sot and slow section, and inally returns to the aster and louder material rom the opening section to close the piece. Like Augment o Delusion, The Miraculous Mandarin also exhibits and develops several thematic subsections within the large section. oth Augmentation o Delusion and The Miraculous Mandarin take advantage o the cohesive and exciting eects o using a balanced A--A orm with the most intense material being in the outer A sections.

13 Chapter III Harmony Nearly all o the harmony ound in Augmentation o Delusion is generated rom two hexatonic scales: the augmented scale and the whole-tone scale. These scales both possess signiicant inherent theoretical eatures, the most prominent being their symmetrical nature. The augmented scale alternates hal steps and augmented seconds (or minor thirds depending on the spelling) between each note, and beginning on C this scale would be as ollows: C Db E G# A or <01589>. This orm o the augmented scale places the hal-step (between C and D-lat) as its irst interval, which will be reerred to as Aug (0,1) to illustrate the hal-step interval between C (0) and D-lat (1). In the same way, various orms o the augmented scale would be as ollows: 1. Augmented (0, 1) starting on C. Augmented (1, ) starting on C#/D-lat 3. Augmented (, 3) starting on D. Augmented (3, ) starting on D#/E-lat Other versions o this scale would only repeat pitches o the above our collections. As its name implies, the whole tone scale s intervals consist entirely o whole steps, and beginning on C, it reads as ollows: C D E # G# A# or <068t>. In the same ashion as the augmented scale, designations o modes o the whole-tone scale are as ollows: 1. Whole-tone (0) starting on C. Whole-tone (1) starting on C#/D-lat Again, other versions o this scale would only repeat pitches o the above two scales. These scales are related in a number o ways besides the number o notes and their symmetrical interval series. oth scales are sel-complementary and have limited transpositional

14 5 possibilities. Harmonically, stacking thirds rom either scale yields an augmented triad on all scale degrees. oth are also tonally ambiguous, making Augmentation o Delusion a tonally ambiguous piece. Although tonal centers are sometimes implied, they are never overtly reinorced. The outer A sections are dominated by use o the augmented scale. igure 3.1 presents the opening phrase o the piece in the bassoon part, which quickly establishes the augmented harmony with the irst ten notes outlining the aug (1, ) scale starting on -lat. igure 3.1: Augmentation o Delusion, opening moti, bassoon, mm. 1- Though igure 3.1 is a melodic line, the quickness o the rhythms in this high-tempo section renders the line as a harmonic unction. This linear and harmonic unolding sets the harmonic ambience or the entire A section. Though the augmented scale is not exclusively used to generate harmony in this section, the continuous ostinato, which pervades the entire section, does rely on it exclusively. The section continues the use o the augmented scale as a harmony generator, but the whole-tone scale is also identiied as a maor harmonic component in this section. igure 3. shows that the opening theme o the section uxtaposes harmonies rom both the augmented and whole-tone scales.

15 6 igure 3.: Augmentation o Delusion, piano reduction, mm In the right hand, WT (1) is employed (minus the C in measure 71). This gesture involving a maor second ( and E-lat) immediately disrupts the augmented scale-based harmonic ambience o the A section. This disruption is caused by the contrasting nature o the interval-class vectors o the whole-tone and augmented scales, as augmented reads <303630> while wholetone reads <060603>. Every interval class in the two vectors other than contrast. Meanwhile, the harmonies in the let hand consist o maor sevenths and maor sixths rom measures 69-7, generated rom the augmented scale. Measure 73 includes a minor seventh harmony in the let hand, with a maor second movement in the right, reinorcing the presence o WT (1). Hugo Wol uses two orms o the augmented scale to generate the harmony in a passage rom Das Verlassene Magdlein, the eighth lied o the Morike-Lieder collection. igure 3.3 collates the whole-tone harmonies in the middle o the piece.

16 7 19 Aug (3, ) Aug (1, ) b b b b # b b # b b b b b b b b b b b b [Aug (1, ) cont.] Aug (3, ) 7 b # # b # # n n # n n # b b # b b # b b # b b # igure 3.3: Wol, Das Verlassene Magdlein, harmonic reduction, mm. 19-3!! In this passage, Wol uses a combination o augmented and maor triads derived rom aug (3, ) and (1, ). Measures 19- use A-lat maor and E-lat augmented, measures 3-6 use G-lat augmented and augmented, measures 7-30 use -lat maor and augmented, and measures 31-3 use C-lat augmented and G augmented. Wol omits the ith o the A-lat maor harmony in measure 19, but the missing note can be implied in the context o the harmonic scheme, as it could possibly be either E-lat or E-natural in conormation to aug (3, ). Wol uses two dierent orms o the augmented scale (3, ) and (1, ) to stir the harmonic possibilities o employing the scale, as each orm o the scale only produces two augmented triads (although multiple chordal titles can be applied to the same set o pitch classes due to enharmonicity, i.e. -lat augmented uses the same pitch classes as -sharp augmented: [6t]). In Augmentation o

17 8 Delusion, the ostinato in the A section, as illustrated in igure 3.1, also reely morphs rom one augmented scale orm to another in order to avoid harmonic monotony.

18 9 Chapter IV Melody Like the harmony in Augmentation o Delusion, the melodic material o the piece is also derived rom the augmented and whole-tone scales. However, unlike the harmony, the melodic themes and motives play somewhat o a subdued role. The underlying substance o the thematic material is more so rooted in harmony and rhythm. The opening melody o the A section in igure.1, which appears directly ater the irst iteration o the pervading ostinato, is derived rom the augmented scale. 5. b Aug (1, ) # # #. Aug (0, 1) Aug (, 3) b # # Aug (0, 1) igure.1: Augmentation o Delusion, trumpet 1, mm. 5-11!!! The irst six notes o this melody (A through A-sharp) provide ive o the tones rom aug (1, ). The next three notes, starting on beat two o measure 8 (G-sharp), orm a melodic trichord derived rom aug (0, 1). Similarly, the next three notes starting on the E-lat in measure 9 also orm a trichord as constituent pitch classes rom aug (, 3). The inal two pitches are ound in aug (0, 1). The two trichords ormed by the notes in measures 8-10 (G-sharp through -sharp) are read in normal order as ollows: [890] and [36] oth yield a prime orm o <01>, which provides the melodic contour and the two melodic step-wise intervals o the augmented scale (the minor second and the augmented second). The ambience o the augmented mode is also captured at the point o transition rom aug (0, 1) to aug

19 10 (, 3) in measure 9. The last pitch o the irst trichord (C) and the irst pitch o the second trichord (E-lat) orm the interval o three hal-steps (spelled as a minor third), which relects the augmented seconds o the augmented scale. Similarly, the melodic interval connecting aug (1, ) and aug (0, 1) in measure 8 is a minor seventh, which is not ound in the augmented scale, but is present in the whole-tone scale. The connective interval between aug (, 3) and aug (0, 1) in measure 9 is a maor second, which is also ound in the whole-tone scale. This passage clearly illustrates the presence o the augmented scale used in a melodic ashion while simultaneously exploiting the melodic properties o the whole-tone scale in connective material. Schoenberg also uses the augmented scale melodically in his lied Seraphita, the irst o our in his collection our Lieder, Opus (igure.). Aug (1, ) b b b Aug (3, ) # b Aug (0, 1)!!!! igure.: Schoenberg, Seraphita, orchestral reduction, mm. 1- (plus pickup) In this opening melody, Schoenberg uses multiple orms o the augmented scale: aug (1, ), ollowed by (0, 1) and concluding with (3, ). Instead o partitioning the groups o pitches rom each augmented mode (as is the case in igure.1, Augmentation o Delusion ), Schoenberg cleverly elides the groups with a common pitch between each group. The D-lat in measure 1 serves in both the aug (1, ) and (0, 1) scales. Hence, it becomes a common connective tissue between the modal transpositions within a melodic context. In the same ashion, the G-sharp

20 11 spanning over the barline between measures 1 and is ound in both the aug (0, 1) and (3, ) scales. In the section o Augmentation o Delusion, the technique o melodically combining the augmented and whole-tone scales continues (igure.3). 85 Aug (3, ) # # # # # # # # b # # n WT (0) Aug (1, ) Aug (, 3)! igure!.3: Augmentation! o Delusion, bassoon,! mm ! In igure.3, the melodic material is not completely generated by the augmented and whole-tone scales, but their presences cannot be denied. The our notes in measure 85 do not all under any mode o either scale, but the melodic contour still evokes the augmented scale. This is achieved by intervallic augmentation between the and C. I these notes were to conorm to aug (0, 1), the C and in the latter hal o the measure should be A and G#. However, the two outer intervals between the irst and second notes and between the third and ourth notes are minor seconds. This mimics the hal-steps separated by a larger interval nature o the augmented scale (the larger interval reerring to the augmented second). This is simply a developmental technique to provide contrast to the heavy use o the augmented scale in a melodic context, while still maintaining the crucial element o cohesion. As is illustrated in igure.3, common tones between aug (3, ) and WT (0) elide within the melody in measures 87 and 88 in the same ashion as Schoenberg s elisions in igure.. The only dierence is that Schoenberg elided dierent modes o the augmented scale, while the passage in igure.3 elides two completely dierent scales. Using these two scales (especially

21 1 in tandem) creates a relatively dissonant atmosphere. Nevertheless, the common characteristics between the augmented and whole-tone scales provide a sense o cohesion throughout the harmonic realm o the Augmentation o Delusion.

22 13 Chapter V Rhythm and Meter Rhythm and meter are perhaps the most signiicant musical elements in Augmentation o Delusion. I not the most signiicant, the rhythm is certainly the most engaging characteristic. Though the rhythmic activity is subdued in the section compared to the surrounding A sections, the overall rhythmic energy is what creates the exciting and somewhat spastic nature o the piece. The pervasive ostinato in the A sections eatures a line o running sixteenth notes with interruptive sixteenth rests (igure 5.1). igure 5.1: Augmentation o Delusion, opening moti, bassoon, mm. 1- In igure 5.1, the stutters caused by the rests create an active and urgent rhythmic eect, which is ampliied when the 10 PM tempo is also considered. ecause the ostinato is ast and stuttering, the opening melody over the ostinato eatures comparatively longer rhythmic values, as illustrated in igure #! #. b b b n # b! # b b! b b b n #! b #. b #! b # b. # igure 5.: Augmentation o Delusion, piano reduction, mm. 5-10

23 1 Later, in measures 5-10 (igure 5.), the rhythm plays an important role in deining the texture o the music. The concentration o ast sixteenth notes in the ostinato combined with the quick tempo eectually blurs the line o distinction between melody and harmony, as melodious passages will unction as harmonic linear unoldings, at least to some degree. I the tempo were much slower, the two lines o this passage would certainly produce a polyphonic eect, as both lines are independent o each other. Yet, the quick and active rhythms impose their powers on the ostinato, rendering it as more o a supportive and harmonic unction, even though the pitches by themselves are more melodious in nature. The peculiar nature o the ostinato also creates a musical environment conducive or eaturing strong rhythmic punctuations in other voices (igure 5.3). lute 1 Oboe Clarinet in b ass Clarinet Trombone Violin 1 Violin Viola Cello Double ass l b b! R n b b n n b!!! R R r! r! r #! # R #! # b n #! # b! # b n l # # # # #! # R! # R!!! # R # R # R. b b # b # b! # b # b! b l.! R! R!!! R R R b b #! b # b b b b #! b n l # b b b #... b b b b b b b b # n b b b b.. " " " " " # n b.. igure 5.3: Augmentation o Delusion, mm In igure 5.3, the woodwinds perorm the ostinato while the strings and trombone provide sharp, accented punctuations. Here, the downbeat o each measure receives the punctuations that help

24 15 in supplying a sense o pulse. Again, the quick and disunct rhythmic pattern o the ostinato makes it diicult or the listener to ollow a steady pulse, even in this simple / meter. artok employs very similar techniques in the opening o The Miraculous Mandarin (igure 5.). igure 5.: artok, Miraculous Mandarin, mm. 1-9

25 16 (igure 5. cont.)

26 17 The opening measures in igure 5. use a ast ostinato o running septuplets (in violin II) along with comparatively longer rhythmic values in the winds. This passage is more polyrhythmic than the passage rom Augmentation o Delusion in that it eatures a steady line o eighth notes in 6/8 meter uxtaposed over the ostinato o septuplets, but artok still chooses to provide accented punctuations in measures 5 and 7 o the winds. Unlike the passage rom Augmentation o Delusion, artok does not accentuate strictly the downbeats o each measure, as the rhythmic pulse is well established with the running eighth notes o the winds. Yet the two passages share the same practice that eatures rhythm as the most prominent and signiicant thematic element, and the overall eect is one o headlong propulsion. The section provides a contrasting and calmer level o rhythmic activity. Along with the much slower tempo (60 PM), the rhythms are steady and do not impose themselves as signiicant thematic elements. ecause o this, the overall tension o the section is much more directed by the melodies, and even more so, by the harmonies. The passage in igure 5.5 represents the subdued level o rhythmic activity in the section. 87 # #.! b. b b b b # # # # # # # # b # # n igure 5.5: Augmentation o Delusion, piano reduction, mm. 87-9!!!! Even with the mild syncopation in the right hand, the rhythmic activity is undeniably abated compared to the A section. Again, the continuous line o running eighth notes in the let hand

27 18 eectively renders the part as an ostinato, though its melodic nature is more recognizable than the ostinato o the A sections. This somewhat static nature o the running eighth notes causes the seemingly less signiicant harmonies o the right hand to exist in the thematic oreground o this passage. These examples exemplarily illustrate the power that the rhythms o Augmentation o Delusion hold over the piece and how they inluence the other musical elements o harmony and melody. The metrical patterns in Augmentation o Delusion provide relatively little to the musical identity o the composition. The entire piece is void o compound meters, but it does employ /, 3/, and / meters. The maority o the music is ramed in /, and 3/ is only used to extend phrases and very short passages, usually or no more than a couple measures. The one exception is ound in the section, in measures 7-81, in which 3/ is irmly established. The meter / is prousely employed, especially in the A sections, mainly due to the high number o rhythmic attacks o the highly active lines. It is an aid or the perormers since the tempo is so ast and the stuttering nature o the A section ostinato makes it very diicult to ind the rhythmic pulse, or even a downbeat.

28 19 Chapter VI Genre Augmentation o Delusion is a single-movement piece or chamber orchestra. The orchestra works as a single orce, avoiding prolonged passages eaturing soloists. Comparing the generic elements o this piece with other single-movement orchestral works illustrates the various correlations o this genre s traditions. In the realm o single-movement orchestral works, symphonic poems tend to be the most recognizable orm o the genre. A crucial characteristic o symphonic poems is that they are typically conceived as programmatic music. Subsequently, the listener is expected to perceive the music as a representation or symbol o some non-musical subect, oten coinciding with a story, action, or dialogue. Conversely, Augmentation o Delusion was conceived as absolute music. It was not composed in accordance with any story or non-musical subect; it was written strictly or the indulgence o the music itsel. Table 6.1 illustrates the philosophical conception o single-movement orchestral pieces by ruckner, Debussy, Rimsky-Korsakov, Webern, and artok, along with Augmentation o Delusion. Table 6.1: Philosophy o conception or various works ruckner Overture in G minor, WA 98 Debussy Prelude to the Aternoon o a awn Rimsky- Korsakov Night on Mount Triglav Webern Passacaglia, op. 1 artok Miraculous Mandarin Adams Augmentation o Delusion Absolute Programmatic Programmatic Absolute Programmatic Absolute

29 0 There is a correlation between the conceptual philosophies and the titling o each piece. The programmatic works by Debussy, Rimsky-Korsakov, and artok use descriptive titles, which preemptively sow seeds o visualizations and various non-musical associations in the listener s mind. Each o these programmatic pieces musically conveys a story. This titling practice is intuitive and eective or the programmatic composer, as it enables them to guide how they wish the listener to perceive the music. ruckner and Webern s pieces are examples o absolute music in which they designate generic numerical titles with no descriptive implications. Augmentation o Delusion does not conorm to either o these titling techniques, as its conception is strictly rooted in the absolutist philosophy, yet a descriptive title is applied, although the level o description implied is comparatively lower. Unlike Augmentation o Delusion, these titles supply tangible and concrete obects, which immediately evoke imageries o mythical creatures, landscapes, and people. The title Augmentation o Delusion does not evoke nearly as much imagery as it conveys abstract concepts. The vagueness o the title allows the listener to orm their own imagery through the music instead o being heavily swayed in one way or another by more speciic and concrete titles beore the music is ever heard. The instrumentation o Augmentation o Delusion is best described as a chamber orchestra. As shown in Table 6., the instrumentations o these pieces vary.

30 1 ruckner Overture in G minor, WA 98 Table 6.: Instrumentations o orchestral works Debussy Prelude to the Aternoon o a awn Rimsky- Korsakov Night on Mount Triglav Webern Passacaglia, op. 1 artok Miraculous Mandarin Adams Augmentation o Delusion Piccolo lute (one alto in G) Oboe English horn Clarinet (-lat) (A) 3 (A) (-lat) (E-lat) 1 (-lat) ass Clarinet assoon 3 Contrabassoon 1 1 Horn () () 6 () () ( in, Wagner () tubas) Trumpet (-lat) 3 (-lat) 3 (-lat) 3 (C) (C) Trombone Tuba 1 1 (1 bass tuba) 1 Timpani Yes Yes Yes Yes Glock., xylo., tri., Snare, tenor Percussion crotales tamb., Tri.,.D., drum, tam., cymb., tam..d., Xylo..D., cymb. cymb., tri., tam., xylo. Harp Keyboard Organ Celesta, organ, piano Strings Standard Standard Standard Standard Standard Standard The size o the orchestras range rom very small to very large with Prelude to the Aternoon o a awn being the smallest and Night on Mount Triglav being the largest (ollowed very closely by

31 The Miraculous Mandarin, which also calls or a choir in the ull ballet, but not in the suite). Although Augmentation o Delusion is relatively sparsely orchestrated, representatives rom each instrument amily o the ull standard orchestra are present, minus timpani. ruckner s Overture in G minor and Debussy s Prelude to the Aternoon o a aun best compare with the chambernatured instrumentation o Augmentation o Delusion, with ruckner s work being slightly closer due to Debussy s piece being devoid o a brass section except or horns. Rimsky-Korsakov and artok call or the largest percussion sections, Webern calls or a reasonable number o parts, Debussy and Adams use minimal percussion, and ruckner does not call or any percussion instruments outside o the timpani. Unsurprisingly, each o these pieces uses the standard string section o two violin parts, one viola, one cello, and one bass. Orchestral string instrumentation certainly is the most codiied o all sections. One-movement orchestral works can also vary in perormance duration. The Miraculous Mandarin suite is the longest at approximately nineteen minutes, about ten minutes less than the ull ballet. Augmentation o Delusion easily has the shortest temporal length compared to these ive pieces at approximately seven minutes, while ruckner, Debussy, and Webern s pieces represent median durations, ranging rom ten to iteen minutes. Augmentation o Delusion clearly exhibits the inluence o other composers and their works and simultaneously presents original concepts and techniques. The driving rhythms and non-tonal harmonies and melodies truly deine the piece s identity in an orchestral context. Even the symmetry o the A--A ormal scheme is relected by the symmetrical nature o the hexatonic augmented and whole-tone scales. Composers like artok, Schoenberg, Debussy, Wol, and ruckner have certainly let their ootprint in the conception o Augmentation o Delusion. The culmination o these musical elements and the inspiration applied to them rom

32 3 the aorementioned composers results in an orchestral work rich in heritage but open to individual interpretation.

33 ibliography

34 5 artok, ela. Miraculous Mandarin. New York: oosey Hawkes, ruckner, Anton. Overture in G minor, WA 98. Leipzig: Ernst Eulenburg, 191. Debussy, Claude. Prelude to the Aternoon o a awn. New York: Dover Publications, Rimsky-Korsakov, Nikolay. Night on Mount Triglav. Leipzig: MP elaie, 190. Schoenberg, Arnold. Pierrot Lunaire, opus 1. Mineola: Dover Publications, 199. Webern, Anton. Passacaglia, op. 1. Kiev: Muzyka, Wol, Hugo. Morike-Lieder. Leipzig: C Peters, n.d..

35 6 Appendix

36 7 [ull Score] Augmentation o Delusion or Chamber Orchestra Chris L. Adams

37 8 Instrumentation: lutes Oboes b Clarinet b ass Clarinet assoons Horns in Trumpets in C Trombones Tuba Xylophone Violin I Violin II Viola Double ass Total Duration - 7 minutes

38 9 lute 1 A Augmentation o Delusion Aggressively q = 10 Oboe 1 Clarinet in b ass Clarinet assoon 1 Horn in 1 1. b b n # # n b # b # n b b n # # nb Trumpet in C 1 Trombone 1 Tuba Xylophone Violin I Aggressively q = 10 Violin II Viola Cello Double ass b P 01 Chris L. Adams

39 30 l. 1 5 Ob. 1. sn. 1 # #. b b n # # n b # b # n b b Hn. 1 5 C Tpt. 1 Tbn b # # # n # 5 5 # æ æ æ æ A

40 31 l. 1 Ob sn. 1 n # # nb # # b n n# b # # # # n n Hn. 1 9 C Tpt. 1. b # # # # #. Tbn a æ æ A. æ. æ l l R R r r l l # # # # # # R # R # R # R

41 3 l. 1 Ob b b. # n b n n b. #.. #.. # # n # # # n b b.. b.. n b b b n.... # n # sn. 1 Hn C Tpt. 1 Tbn. 1 b l. n l b #... b.... b l. n l # ( ) 13 R R R R

42 33 l. 1 Ob # b b b n b # b b # n. #.. #.. b b n. sn. 1 Hn. 1 C Tpt. 1 Tbn # b b r. b R 16 b n b.. b.. b #. #. # b b # n # n.. #. #.. b b n.. a # #... #.. #

43 3 l. 1 0 #.... b.. b. n Ob. 1 b # n b b # b b. a n# b b # n sn. 1 b # n b b # b b Hn. 1 C Tpt. 1 Tbn #.... b #.... b.. n.... ## #. b. # # b # #. b. b. b. b. # # b # ## nn b b.. # # n n b. b...

44 35 l. 1 Ob. 1 n # b b n. sn. 1 Hn. 1 C Tpt. 1 Tbn. 1 ## # #. b # b n a # # a n.. b. #. b. # # # #. # #. b b. b. # b # b b n b n.. #. n.. #. #

45 36 l. 1 Ob. 1 7 a b #. sn. 1 b b b b n # b n b b n # Hn b.. n. C Tpt. 1 Tbn. 1 7 ( ) #... #... # b b a b b b # # #

46 37 l b b # n # # # n # n Ob. 1. n b # n # # # n # n sn. 1 Hn C Tpt. 1 # # # # b b n # # b Tbn. 1 # # # n # # b # # # # # n # # b # # 31 # # # n # # b # # 31

47 38 l. 1 Ob # # n n b b # # # # n b b b b n. sn. 1 Hn. 1 C Tpt # # n n b b 3 1. #. # # # n # n b b b b b n b. Tbn b b #. #. #. b. b. b b b n n # # b b b # # b b b. b. b.

48 39 l. 1 Ob b # # # n n b b # b n # # 3. 3 sn. 1 Hn b # # # n n b b # # b. #. n # # r... C Tpt. 1 3 Tbn #... b R b. b b 3 3 #... b R b. b b 3 # 3 # # 3 3

49 0 l. 1 1 # # # # 3 Ob b b n # # n b # 3 3. sn. 1 # # # # n b n # # n n # 3 3 Hn. 1 C Tpt. 1 Tbn b. #. n #. n.. r. b n... R # # n # # # n b b # # n# n n # # n# n n b. n #. b n... R # # # # n

50 1 l. 1 Ob. 1 3 r b n 3. # b n b # b # # n # n R b. sn # n # n # # Hn. 1 C Tpt. 1 Tbn r b n 3 r b n # # # # # # R R a #. a #. # #. #. #.

51 l. 1 Ob n n b b # n # n n n # n # n b b b b # # # n a b b n # # n sn. 1 Hn. 1 7 b n. # n. # # a b b n # # n C Tpt. 1 Tbn. 1 b b b. b. # n # n.. # # # # # # # n 7 7 b b. # n. # # # b # # b b. # n. # # b b. # n. # #

52 3 l. 1 Ob b b # # n# n n # b # # b # n # C. n # # n # # n sn. 1 b # b #. b n # n # # n Hn C Tpt. 1 Tbn. 1 b # # n# n n 1. > > > # # b # n 3 b b b # n # b 3 b b # # n # #

53 l Ob. 1 n # # n n # b n n b n n # b n 3 3. sn. 1 b # # n 1. b n b n b b n b b n # b n 3 3 Hn C Tpt. 1 Tbn. 1 b > > > 3 b b 3 b # # b 3 b b #

54 5 l. 1 Ob b b b b b b b b b b b b a b n b sn n n b b # n # # b b b b b n b 3 3 Hn. 1 C Tpt ## n b > n > > 3 3 Tbn. 1 3 b b b #n b n 3 b > > > ## n n b b > > > 3 ## n n b > > > # n > > 3 b 3 b > > b > > b 3 > > b 3 b > > b

55 6 l. 1 Ob b b n b # # n 1. # b n # n. sn b # n n # # n # # n > > > > 3 3 > > b # Hn. 1 C Tpt. 1 Tbn # # # # # # # # > 3 > > b # 3 # # # # # # # # # # # # n # # b b n n # n # n # # # # # # #

56 7 l. 1 Ob. 1 b 61 b b n b b n n b n a # # # # # # # # # # n # n a. sn. 1 ## nn b b n n ## 3 3 # # # # #> > > # # # 3 Hn C Tpt. 1 Tbn. 1 ## n n b b n n ( ) 61 b 61 b b b n b b b n # # # # # > > > 3 b 3 3 # # n # # n # b # b 3 3 3

57 8 l. 1 Ob. 1. sn b b n # # # n n # # n b n n # b b # # # n b # b n n # b n b # b # # # n # # # # n b Hn. 1 C Tpt. 1 Tbn a a # n # n b b # n # # n # b n # n # # n b b b b n n n n # # b b b b b b b n b n # # # b # b # b n # # b b b n n # b # # n # # n b b b n b n # # n b b b b # b # b # # n # b

58 9 l. 1 Ob. 1. sn. 1 Hn. 1 C Tpt. 1 Tbn ( ) # # n 66 ( ) # # n ( ) # # n # b 66 b b n n b b b b b n b n b n n # # n # b b b # nb b # # n n b b ƒ n ƒ # ƒ ƒ ƒ b ƒ b ƒ ƒ ƒ # ƒ ƒ ƒ ƒ ƒ b ƒ U U # U U U b U b U U U U # U U U U b U D Calmly q = 60. b P 1.. p. p. Calmly q = 60. b.

59 50 l b # 3. # b b Ob sn. 1 3 Hn. 1 C Tpt # p n b Tbn b.. w bw π π p b. p b b.. 3 3

60 51 l b n Ob. 1. sn. 1 Hn # b b.. b p.. b b b C Tpt. 1 Tbn b b. #. b n p b b b p

61 l. 1 Ob. 1. sn. 1 Hn. 1 C Tpt. 1 Tbn b b # # # p n # # # # # n n b b b 5

62 53 l. 1 Ob. 1 E b. P Steadily q = 7 a a. P b.. b b. sn. 1 Hn. 1 C Tpt. 1 #. P. P 87 # #. # # # n b b # b b b b #. P # Tbn b. P 87 Steadily q = 7 # b # b

63 5 l Ob. 1. sn. 1 Hn b. n # # # # #. C Tpt. 1 Tbn. 1. b # #. 1. P b # b b b # n b b b. P. P #. P

64 55 l. 1 Ob a b. P #. P #. P b. b.. sn. 1 Hn C Tpt. 1 Tbn. 1 # # # b b # b # # # b.. b b b b b b b b bb P P # # # # # #

65 56 l b # # #... Ob. 1 b # # # # #.. #. # # # #.. sn. 1. P Hn C Tpt. 1 Tbn # # # # # # b b b # n # n # n b b b b b b b b b b b b # # # # # # b b b b b b b b b # #

66 57 l. 1 b 115. # a b.. Ob. 1. #. b.... # #.. sn. 1 Hn C Tpt. 1 Tbn b b b b b b b b b # # # b b b n n n # nb # nb # nb b b b # # # # n # n # n # # # # #

67 58 l. 1 1 # # # # #. Strongly q = 96 Ob. 1 # # n # # # # cresc. # # #. cresc.. b b b n n b. sn. 1 cresc. Hn. 1 1 C Tpt. 1 Tbn. 1. b b 1 # 1 # # # # # # n # n # n b cresc. cresc. cresc. cresc. cresc. b b b Strongly q = 96 # # # < < <

68 59 l Ob. 1. sn. 1 Hn C Tpt. 1 Tbn ( ) n 17 w # # n # n b w # w # # # w w # w 1. # b b..... b.... b... # w # w nw # < < < w

69 60 l Ob. 1. sn. 1 Hn C Tpt. 1 b # b # b b b # b n # Tbn b b.... b b..... b.... b

70 61 l Ob. 1. n # n b n sn. 1 Hn # n. b b # n C Tpt. 1 Tbn. 1 b # b # b... b b b 1. # b b.. b

71 6 l Ob. 1 n # n # n n n # n. sn. 1 # n b b # n # b n b b n Hn C Tpt. 1 Tbn. 1 # # n #.... # n b #.... #.... # #.. #.. n.. #

72 63 l. 1 Ob n n # n G a a # #. sn. 1 # b n b b n a # Hn C Tpt. 1 Tbn b # # b b... b b

73 6 l b # b b # b # b b Ob. 1 b # b b # b # b b. sn. 1 b # b b # b # b b Hn C Tpt. 1 b # b n # a # b b b # b Tbn. 1 # # # b..... b..... b

74 65 l. 1 Ob b b b.... b b b.... H Steadily q = 7 b. P a. P b... sn. 1 Hn b b b.... #. P. P # #. # # # b n b C Tpt. 1 b b b.... Tbn. 1 b.. n..... b b... b H Steadily q = 7

75 66 l Ob. 1 b b. b sn. 1 # b b b Hn. 1 C Tpt #. P # b. n # # # Tbn b. P. b # # # b P # b b b b

76 67 l. 1 Ob I. b. 3 P 3. b # 3. 3 sn. 1 3 Hn # #. 3 C Tpt. 1 Tbn # n b b p. p. b... b.. 3

77 68 l # b b b n Ob sn. 1 3 Hn. 1 C Tpt # p n b # b b Tbn w bw π π p b. p b b.. b. b #. 3 3

78 69 l P b. Ob. 1. sn. 1.. b p.. b b b.. Hn C Tpt. 1 Tbn b n p b b b p b b. p. p b. p. b..

79 70 l b # K Aggressively q = 10 Ob. 1. sn. 1 Hn a # # # # n b b C Tpt. 1 Tbn b.. w bw π π Aggressively q = 10 A.. nw P

80 71 l Ob. 1. sn. 1 b b n b # # # n n b b b b n # Hn C Tpt. 1 Tbn. 1 a b b. b æ

81 7 l Ob. 1. sn. 1 b b b b b b b # # # n n b b Hn C Tpt. 1 b # b b. b b # Tbn æ æ b æ æ æ. æ. æ b b b b

82 73 l. 1 Ob # b b # b b n n b b. # b. sn. 1 Hn # b n b b b b b b b n # C Tpt. 1 b. Tbn b 185 l l b b b b R R R r b l # l R R R R b l l b b b b b.. b R b R b R b R

83 7 l. 1 Ob b b. b n.. b b b b.. b n n b.. # 1. # # b n # n # b. sn. 1 Hn. 1 C Tpt. 1 Tbn b # # n # n l... # # n # b.. # nb b.. 1. # # b n # n r # b. n... b. R. 1. # b.. b.. #.. b l #... # ( ) b b b 188 b b

84 75 l. 1 Ob b # n # #. #... b n. b #. b.. b b. # n # # n b b.. b. n # #. sn. 1 b # n #. b n # # n # # n b n b n # Hn. 1 C Tpt #.... b b. b. n.. n. n... n b... b.... b. b.. b.. b. b. Tbn

85 76 L l. 1 Ob. 1. n# b b # n n # b b n sn. 1 Hn C Tpt. 1 Tbn # # #. b. b ## # #. b. b. b. b. # # b # ## n n b b.. # # nn b. b... # # # #. b. ## b #. # #. # #. b. b. # b b # b # n b b n b

86 77 l Ob. 1. sn. 1 Hn. 1 C Tpt a # # a n.. b. b b... b b n # b n... b b #... Tbn ( ) n.. #. 00 n.. # #... #... # # # #

87 78 l. 1 Ob. 1 0 a b # b b # n #. sn. 1 # n n b # n # Hn. 1 0 C Tpt. 1 Tbn. 1 # b b a b b 0 b # # # # # # n # # # n # # # n # b b # # # # # # n 0

88 79 l # # n # n M Ob # # n n b b # # #. sn. 1 # # n # n 1. # # n n b b # # # Hn. 1 C Tpt # # b 1. #. n Tbn. 1 b # # b # # 07 b # # 07 #. #.. b b # b. b. b b b

89 80 l. 1 Ob # n b b. b b n b # # # n n b b sn. 1 # n b b b b n b # # # n n b b 3 Hn b b. # 3 C Tpt. 1 3 Tbn # # b # # b b b. b. b. b b b b # b b b. b. # # 3 3

90 81 l Ob # b n # # # # # #. sn. 1 Hn # b 1 3. #. n # # r... # # # #. #. r n... C Tpt. 1 Tbn #... b R b. n #. b n... R #... b R b. n #. b n... R

91 8 l. 1 Ob b b n # # n b # 3 3 b n R. # b n b 3. sn. 1 n b n # # n n # 3 3 Hn. 1 C Tpt. 1 Tbn # # n # # # n b b # # n# n n # # n# n n r b n 16 # # # # n 3 3 r b n

92 83 l. 1 Ob # # b n # n # b R. sn. 1 # n # n # # n n b b # n # n Hn. 1 C Tpt. 1 Tbn # ( ) # 19 # # # # R R a #. #. a #. b b b 19 #. #. #. b b b

93 8 l. 1 Ob. 1. n n # # n b b b b ## # n a b b n # # n sn. 1 Hn. 1 n. # n. # # a b b n # # n C Tpt. 1 Tbn. 1 b. b. # n # n.. # # # # # # # n b b. # n. # # # b # # b. # n. # # b. # n. # #

94 85 l. 1 Ob. 1 5 b b # n ## n n # b ## b # n # N. n # # n # # n sn. 1 b # b #. b n # n # # n Hn. 1 5 C Tpt. 1 Tbn. 1 b # n ## n n 1. > > > ## b # n 3 b b 5 5 b # n # b 3 b b # # n # #

95 86 l Ob. 1 n # # n n # b n n b n n # b n 3 3. sn. 1 b # # n b n b n b b n b b n # b n 3 3 Hn C Tpt. 1 Tbn. 1 b > > > 3 b b # b # b 3 b b #

96 87 l. 1 Ob. 1. sn b b b b n n b b b b b b b b # n # # b b b b b a b b n b n b b Hn. 1 C Tpt. 1 Tbn b b b # n b n 3 ## n b > n > > b > > > ## n n b b > > > 3 ## n n b > > > # n > > 3 b 3 b > > b > > b 3 b > > 3 b > > b

97 88 l. 1 Ob. 1. sn. 1 Hn. 1 C Tpt. 1 Tbn b b # # n b n n b # # n # # # # # # # # 1. # b n # n # n # # n > > > > > 3 3 > 3 > > > b b # # 3 # # # # # # # # # # # # # # # # # # # n # # b b n n # n # n

98 89 l. 1 Ob b b b n b 3 3 a # # # # # # # # a. sn. 1 b n ## nn b b b n n n n ## # # n # n # # # # # a #> > > # # # 3 Hn C Tpt. 1 Tbn. 1 ## n n b b n n ( ) 35 b 35 b b b n b b b n # # # # 3 # > > > 3 3 b # # n # # n # b # b 3 3 3

99 90 l. 1 Ob. 1. sn. 1 Hn. 1 C Tpt. 1 Tbn. 1 O b b n # # n n 37 a # a # b b 37 # b # n b b n # n b # n b n # # # n b n # n n n n n b # # b b b b # # # n b b b b # b b n n n # b n # # # b # b # b n # # b b b n n # # b # # n # # n # b # # # n # # # # n b b b b b n b n # # n b b b b # b # b # # n # b

100 91 l. 1 Ob. 1. sn. 1 Hn. 1 C Tpt. 1 Tbn ( ) # # n 0 ( ) # # n 0 b b n b n b b b b n b n b n b b # nb # # n b n n # # # b n b b # b # # n ƒ n ƒ # ƒ ƒ ƒ b ƒ b ƒ ƒ ƒ # ƒ ƒ ƒ ƒ ƒ b ƒ U U # U U b U U b U U # b U U U U U U U

101 9 Vita Christopher Chris Adams was born in Nashville, TN in He attended McGavock Comprehensive High School in Nashville and graduated with honors in 006. Adams attended the University o Tennessee in Knoxville rom where he received a bachelor o music degree in composition with honors. He also received the Outstanding Graduate in Music Theory/Composition award in 011. Adams continued on to pursue the master o music degree in composition at the University o Tennessee in 011, and he intends to receive the degree in 01.