FAITHFUL TO MY LAND A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS IN MUSIC

Transcription

1 FAITHFUL TO MY LAND A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS IN MUSIC WITH A PRIMARY EMPHASIS IN MUSIC THEORY AND COMPOSITION AND A SECONDARY AREA IN CONDUCTING BY WIBOON TRAKULHUN DISSERTATION CO-CHAIRS: DR. ELEANOR TRAWICK DR. KEITH KOTHMAN BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2011

2 FAITHFUL TO MY LAND A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS IN MUSIC BY WIBOON TRAKULHUN APPROVED BY: Dr. Eleanor Trawick Chairerson Dr. Keith Kothman Co-Chairerson Dr. Duane Karna Member Dr. James Helton Member Dr. Lisa Human Member Dr. Robert Morris Dean o Graduate School Date Date Date Date Date Date Ball State University Muncie, Indiana May ii-

3 ACKNOWLEDGMENTS I would like to exress my most sincere gratitude to Dr. Eleanor Trawick, my doctoral committee chair and advisor, or her guidance in the rearation o this dissertation and her very generous suort in my studies during the ast years. It is diicult to ully convey in words the level o gratitude or her enthusiasm and or the countless times she devoted to the severe task o reading this dissertation. Her atience, advice, and encouragement have contributed immeasurably to my coosition, dissertation, and education. I would also like to acknowledge and areciate Dr. Keith Kothman, my doctoral committee co-chair, or his instruction and suort o my coosition. This iece would not have been accolished i not or his invaluable suggestions. Secial consideration is extended to Dr. Duane Karna, a member o my doctoral committee, who rovides me with his emotional suort and thoughtulness in my education in conducting. I would also like to thank Dr. James Helton and Dr. Lisa Human, the members o my DA committee, or their generosity and hel. Finally, my deeest areciation and gratitude are also extended to my coosition roessors, Dr. Jody Nagel and Dr. Vera Stanojevic, or their encouragement and valuable suggestions to irove my coosition skill, and every roessor in the School o Music or his/her generosity and consistent hel to me. -iii-

4 ABSTRACT DISSERTATION: STUDENT: DEGREE: COLLEGE: Faithul to My Land Wiboon Trakulhun Doctor o Arts in Music School o Music, College o Fine Arts DATE: May 2011 PAGES: 127 Faithul to My Land is a coosition or orchestra in three continuous movements that reveals my dee admiration or my country, Thailand. This coosition exresses my belie in the nation o Thailand, its religion, and its constitutional monarchy. The main materials o each movement reer to source ideas that relate to these three institutions o my country. This coosition, which is around ourteen minutes in length, is globally organized within a tonal ramework; both diatonic and chromatic notes are eloyed. The music does not embody traditional common ractice but neo-tonality. This coosition integrates various musical styles neoclassicism, nationalism, and minimalism. The irst movement reers to the Thai national anthem. This movement mainly grows rom a subject, a countersubject, and two main motives. The music o the movement is largely tonal. The main materials are ervasive throughout the movement, and it is thus largely homogeneous, with little thematic contrast. The entire movement continues with a driving rhythm in various alternations. The near-continuous sixteenth notes in the viola and other string arts contribute to this energy and rhythmic drive and reinorce the orchestral color. -iv-

5 The second movement deals with the two religions Buddhism and Christianity that are revalent in Thailand. The music o this movement derives rom the three main sources: Miserere mei, Deus by Josquin des Prez, a secially constructed Buddha motive, and an anonymous Buddhist rayer. Some coositional techniques derive rom the Renaissance eriod. The movement also eloys number symbolism relating to signiicant numbers in the Buddhist and Christian traditions. The third movement alludes to the constitutional monarchy with high resect. The music o the last movement is based on a twelve-note coositional idea, but it is not truly serial: a twelve-tone row with its develoments retrograde and inversion occurs in some local areas. The last movement concludes with an eilogue, which derives rom the signiicant materials resented in all three movements. -v-

6 TABLE OF CONTENTS Page CHAPTER 1: INTRODUCTION. 1 CHAPTER 2: REVIEW OF COMPARABLE WORKS. CHAPTER : METHODOLOGY CHAPTER 4: THE FIRST MOVEMENT 2 CHAPTER : THE SECOND MOVEMENT CHAPTER 6: THE THIRD MOVEMENT.. 4 CHAPTER 7: CONCLUSION.. 9 APPENDIX 41 BIBLIOGRAPHY.. 4 FAITHFUL TO MY LAND: TITLE PAGE.. 46 INSTRUMENTATION. 47 FAITHFUL TO MY LAND: SCORE 48 -vi-

7 CHAPTER 1 INTRODUCTION This dissertation is an orchestra coosition in three continuous movements that reveals my dee admiration or my country, Thailand. Since the beginning o the twentyirst century, my country has conronted many roblems olitical discord, religious disutes, and royal decline. Thailand has been a democratic country or more than seventy-ive years. Throughout the country s history, the Thai eole have had great aith in both our religion and our royalty. Regretully, the three institutions are being simultaneously challenged within the community s belie at this time. This historical moment, along with my intense love or my country, are the insiration or coosing Faithul to My Land, which mirrors my belie in nation, religion, and the constitutional monarchy. This coosition is globally organized within a tonal ramework; both diatonic and chromatic notes are eloyed. However, tonality and modality are constructed exlicitly in each area by using local tonal organization or tone centers throughout the coosition. The main materials o each movement reer to source ideas that relate to the three crucial institutions o my country. These materials are transormed and modiied in an eort to serve the local and global organization, both melodic and harmonic, o each movement o the iece.

8 2 The irst movement reers to the nation. Thailand is a country where eole with various ancestry and ethnicity coexist. Some eole descend rom original Thai ancestors. Some emigrated rom other countries many generations ago. Previously, Thailand has been a land where eole have existed together in eace, but now the olitical deadlock aects the overall develoment o the country. For this movement, the main source material is rom some ortions o the Thai national anthem. The second movement deals with the main Thai religion, Buddhism. There are many religions Buddhism, Christianity, Islam, Hindu, etc. that eole in my country have a reedom to believe in. Every religion has indeendent reedom to roagate their belies in Thailand. However, Buddhism is the rincial religion o Thailand in which most eole have aith. For the second movement, the name Buddha is transormed into musical notes, and this motive constitutes the main thematic material. The third movement alludes to the royal institution with high resect. Siam, as Thailand used to be called, had been governed by absolute monarchy or more than seven hundred years. In 192, Thailand relaced the absolute monarchy with a constitutional monarchy. The Thai eole, however, continue to revere the royal institution. The last movement is coosed with high resect; the rincial material is rom some ortions o the Thai royal anthem. Finally, I wish that, with great concentration and deliberation, I will succeed in leaving a ositive iression on those who hear the iece. I hoe that coosers, conductors, erormers, singers, educators, learners, and audiences, who are interested in any asect o music, are able to touch the leasure and beauty o the work, understand the coonents o the coosition, and eventually erceive the signiicance and conviction o the iece.

9 CHAPTER 2 REVIEW OF COMPARABLE WORKS During the irst hal o the twentieth century, modern orchestral works eloy many musical styles iressionism, exressionism, nationalism, neoclassicism, neoromanticism, serialism, and aleatory or chance music. During the second hal o the twentieth century, minimalism was a new musical style that came out irst in the United States in the 1960s. Minimalism emerged as an eective alternative to the rigors o serialism and the randomness o indeterminate, or chance, music. 1 The coosers LaMonte Young, Terry Riley, Phili Glass, and Steve Reich made u the irst generation o this style. Their works were mostly coosed or solo instruments, duets, and small ensembles. John Adams s well-known Nixon in China (1972) is an early minimalist oera. Its music is characterized by stasis and reetition o the melodic assages. Most o Adams s works are coosed or classical instrumentation, including ull orchestra. Meanwhile in Eastern Euroe, articularly, Polish coosers Witold Lutosławski (191 94), Krzyszto Penderecki (b. 19), and Henryk Mikolaj Gorecki ( ), Hungarian cooser György Sándor Ligeti ( ), and Estonian cooser Arvo Pärt (b. 19), were aected by and also reacted against the avant-garde music o Western Euroe and the United States. Their coositions are more textural music, 1 Douglas Lee, Masterworks o 20 th -Century Music (New York: Routledge, 2002), 1.

10 4 which takes more advantage o the density, intensity, dynamics, range (width between lowest and highest itches), and the timbre o the instruments or voices. Penderecki s Threnody or the Victim o Hiroshima (1960) was coosed or ity-two string instruments. It challenges the abilities o erormers, using them to roduce the highest itches on their instruments, to bow behind the bridge, to lay quarter-tones, and to create sound masses and tone clusters in the ensemble. Minimalist and related music also sread into Eastern Euroe. Górecki s Syhony No. Syhony o Sorrowul Songs, ous 6, or sorano and orchestra (1976) is inluenced by minimalism and nationalism. Beyond the minimalist style, the iece reers to many acets o his heritage related to religion, olk culture, and ancient chant. 2 Pärt s Te Deum or chorus, reared iano, aeolian har (or wind har), and string orchestra (1984) eloys his coositional style, tintinnabuli, which is oten described as a coositional technique o minimalist music. From the last decade o the twentieth century until the irst decade o the twentyirst century, many coosers wrote orchestral works that were more oular in order to communicate more easily to their audiences, esecially American coosers, such as Christoher Rouse, Jennier Higdon, Gregory Hutter, Michael Daugherty and John Adams. Their works sometimes relect original American music styles, such as jazz and/or rock in some ways as well as integrating classical coositional manners. They requently use orchestral tuttis or large grous o instruments throughout almost the entire iece. In the raid ieces and/or movements, the rhythmic attern and ower o the 2 Josiah Fisk, The New Silicity: The Music o Gorecki, Tavener and Part, The Hudson Review 47, no. (Autumn 1994): 99.

11 orchestra are mostly aggressive, including short melodic ragments. In the slower ieces and/or movements, however, the melody is more iressive like a neo-romantic idiom. Christoher Rouse s Syhony No. 2 (1994) is very aggressive. An articulation o staccato is ervasive throughout the coosition. The iece integrates various augmented and diminished chords, including arallel harmonies, to create twelve-note aggregates. John Adams s Lollaalooza (199) eloys rhythmic syncoation; the main motive that is introduced at the beginning continues throughout the iece. Another work by Adams, Slonimsky s Earbox or Orchestra (1996), eatures an abundance o small motives and areggios, including olyrhythmic igures, to create richly textural music in the orchestra. This coosition is similar to Stravinsky s sounds. Jennier Higdon s Blue Cathedral (1999) is more delicate and roduces an atmoshere o loating sound, joined with iressive solos. Gregory Hutter s Still Lie (2004) was coosed or oboe and string orchestra. The music is very sweet and iresses with the color o the harmony and melody by using traditional musical manners. The music has neo-romantic sensibilities as well. In the ast twenty years, Euroean coosers have continued to write more texturally and sectrally based orchestral music than their American counterarts. Actually, sectral music or instrumental synthesis was coosed since the 1970s mainly in Euroe, esecially in France and Germany. The music eloys the acoustic roerties o sound itsel (or sound sectra) as the basis o its coositional material. 4 Euroean coosers oten eloy a wider range o orchestral dynamics than do The term was used by French cooser Gerard Grisey ( ), cited in Julian Anderson, Sectral Music, htt:// (accessed March 17, 2011). 4 Julian Anderson, Sectral Music, htt:// (accessed March 17, 2011).

12 6 American coosers. This contrast is due in art to Euroean coosers tendency to take advantage o the timbres o individual instruments and small grous o layers as oosed to American coosers, who avor the use o orchestral tuttis. Euroean coosers erhas wish their audiences to ursue meaning in their coositional ideas and music more than American coosers. Orchestral ieces by British cooser George Benjamin, Sudden Time (199), Palisest I (1999), and Palisest II (2002), eloy dierent coositional techniques in each work. His ieces are characterized as textural music because they used more colex instrumental techniques. Two orchestral works by French cooser Marc- André Dalbavie, Color (2001) and Ciaccona (2002), are very mysterious with the longer held notes and more reetition. Some local areas o these two ieces reveal the sensuous delight o French iressionist music. Matthias Pintscher, a German cooser, coosed a concerto, Relections or Narcissus (200) or cello and orchestra. The coosition is more energetic and has more exression o each melodic line, esecially the cello solo, which is mixed between the Romantic and modern sensibilities. In addition to the orchestral works mentioned above, there are several others rom the twentieth century that insired and inormed articular asects o my new coosition. The initial concetion o the coosition relies on a tonal ramework, which deals both with quotation and with translation o letters into musical notes. As introduced above, the irst and the third movements quote rom two anthems o my homeland. Faithul to My Land uses coonents o these anthems in order to create a new coosition or a syhony orchestra. The second movement uses a technique o translating letters into musical notes. This technique has been used by many coosers

13 7 throughout history as a way o honoring a erson or reerring to something outside the music. Furthermore, this coosition is inluenced by many coosers, both Western and Eastern, who embody their own seciic style by integrating both cultures. Thereore, with the recoositional decisions about the boundaries o the coositional techniques I designed to use, it is necessary to review some works o other coosers. Many more coositions could be examined, but the roosed study will use these sources to gain some ideas or coosing my own new iece. The ollowing review is brie to it the scoe o the roject. There are our main concerns o mine in coosing this work. First, coosers (both Eastern and Western) use materials that relate to their own nations: local instruments, olk tunes, anthems, or even a sonority that relects the atmoshere o their own nations. Second, Asian coosers who coose major works or large ensembles integrating traditional Eastern and Western music will be an iortant model or this roject. Third, coosers eloy a variety o translation techniques that allow them to honor someone or something through their music. Finally, I also take as models coosers orchestral works that eloy a Classical or modiied Classical orchestra. Igor Stravinsky s Petrushka (1911) eloys a number o Russian olk tunes and uses other elements rom his own country. Douglas Lee writes, More subtle and signiicant were quotations rom Rimsky-Korsakov, Tchaikovsky, a oular Parisian song by Émile Sencer (La jambe en bois), and other musical reerences amiliar at the time. A number o Russian olk tunes aear in art, i not in their entirety. Lee continues: Lee, 419.

14 8 In Petruskha, the music overwhelms the dance. This may derive rom the original concetion o the score as a concert iece or iano and orchestra to which choreograhy was added. But more iortant, it grows rom the signiicant incororation o Russian olk tunes and other materials current at the time, all carrying their attendant connotations and cast in the most imaginative orchestral setting. The work was successul as an artistic endeavor drawing on many sources, in the rocess setting a new standard or ballet as an art orm equal to drama and oera. 6 Claude Debussy was a French cooser who quoted both his own national anthem and those o other countries. One o the Préludes rom Book II (1912 1), Feux d artiice (Fireworks), contains a quotation rom the Marseillaise, the French national anthem, sounding de très loin (rom ar away). 7 The third movement o the Cello Sonata (191) uses motivic variation based on a Lutheran hymn and hidden quotes o the French anthem, La Marseillaise. 8 Moreover, En blanc et noir (191) or two ianos eloys both the French national anthem and a olk tune. 9 Besides quoting the French anthem, another Prélude in Book II, Hommage à S. Pickwick Esq. P.P.M.P.C. (Homage to S. Pickwick), quot[es] the irst line o the British national anthem God Save Our Gracious King in the lowest strand o the iano texture. 10 Berceuse héroïque (1914), which was irst coosed or King Albert s book and was dedicated later to the King o Belgium, eloys several measures that are drawn rom the Belgian national anthem. The Berceuse héroïque was originally or iano beore Debussy 6 Ibid., Siglind Bruhn, Images and Ideas in Modern French Piano Music: The Extra-Musical Subtext in Piano Works by Debussy, Ravel, and Messiaen (Stuyvesant, NY: Pendragon Press, 1997), Janelle Suzanne Ragno, The Lutheran Hymn Ein este Burg in Claude Debussy s Cello Sonata (191): Motivic Variation and Structure (D.M.A. diss., University o Texas at Austin, 2006), i. 9 Marianne Wheeldon, Debussy s Late Style (Bloomington: Indiana University Press, 2009), Bruhn, 121.

15 9 later orchestrated it or the occasion o the Concerts Colonne-Lamoureux. 11 The English cooser Ralh Vaughan Williams eloyed quotation in A London Syhony (191), dedicated to the lace where he lived. Vaughan Williams s work incororates a signature London sound, the Westminster chimes. Michael Kennedy writes: He had already made some sketches or a syhonic oem about London, a city he loved and where, since his marriage to Adeline Fisher in 1897, he had lived. All coosers are children o their time and Vaughan Williams was no excetion. The olk-song revival is irinted on this syhony in various ways, that is obvious. Writing a rogramme note in 1920 Vaughan Williams suggested that a better title might have been Syhony by Londoner. 12 Besides coosers rom the West, there are many excellent Asian coosers in the twentieth and twenty-irst centuries who use their own countries materials as sources and as insirations or their coositions. I will briely examine reresentative works by our Asian coosers Chinary Ung, Toru Takemitsu, Chen Yi, and Tan Dun ocusing on the issue o combinations o cultures. They have coosed many orchestral works, as well as coositions or other kinds o ensembles, and or solo instruments, urthered by their own motherlands elements. They reresent the successul integration o the music o Eastern and Western traditions. Eventually, the results o these endeavors are musical styles that are unique and individual within each cooser s oeuvre. 11 Jane F. Fulcher, Seaking the Truth to ower: The Dialogic Element in Debussy s Wartime Coostitions, in Debussy and His World, ed. Jane F. Fulcher (Princeton: Princeton University Press, 2001), Ralh Vaughan Williams, A London Syhony, Centenary ed., intro. Michael Kennedy (New York: Galaxy Music, 1972), v.

16 10 The Cambodian-American cooser Chinary Ung accolishes the integration o the music o Asia, esecially his native land, and Western music in his coosition. Ung himsel describes, i East is yellow and West is blue, then my music is green. 1 Grand Siral: Desert Flowers Bloom (1992) is combination o both the traditional Eastern and Western music cultures. John Kays writes, Ung has not ventured into syhonic-style coositions since writing Grand Siral. This doesn t relect on his ability to create large works; it seaks volumes about his hilosohy, to exlore my inner rhythms and eelings beore I say (something) directly. Grand Siral was dedicated by Ung to the Cambodian eole. 14 Jaanese cooser Toru Takemitsu reresents the sirituality o the Jaanese associated with the musical techniques o traditional Western art. Takemitsu blends the music o the East with that o the West Takemitsu s music is a synthesis o Eastern (or Jaanese) traditions with Western conteorary music. 1 Yoko Nakatani s dissertation exlains: The use o Jaanese traditional instruments, biwa and shakuhachi, with orchestra had never been atteted until Toru Takemitsu (190 96) coosed November Stes (1967) and Autumn (197). This instrumentation resented a challenge or Takemitsu because combining the two worlds, East and West was not his intention. In other words, he believed that they were too disarate to be blended but that coexistence was however ossible. but Takemitsu succeeded in inding a way to embrace two dierent cultures in his coositions. Takemitsu made a major contribution to the world o music through his successes with November Stes and Autumn John Kays, The Work o Cambodian-American Cooser Chinary Ung, d (accessed Octorber 1, 2010), Ibid.,. 1 James Siddons, Toru Takemitsu: A Bio-Bibliograhy (Westort: Greenwood Press, 2001), Yoko Nakatani, November Stes and Autumn: A Coarative Analysis o Two Orchestra Works by Toru Takemitsu (Ph.D. diss., Brandeis University, 200), v.

17 11 Takemitsu himsel exresses his care in the integration o traditional Eastern and Western musical art: What I and my ellow coosers are not doing is sily, in a acile way, adating Jaanese tradition to Western orm. What we re trying to do is to study very deely, and very careully, the essence o traditional music, to exlore unknown worlds, and to recreate, or reelucidate, in new, modern orms, what we ve learned rom our traditions. 17 Hideaki Onishi s dissertation ortrays an insiration or the orchestral garden series o Takemitsu, Dream/Window (198), Fantasma/Cantos (1991), and Sirit Garden (1994), as the Jaanese garden that he mentions as a source o his major thematic work. 18 From me lows what you call Time (1990) makes use o both Eastern and Western inluences, and urther evolves a ormal lan or the iece by transosing the main melodic idea, introducing ercussion cadenzas, and leaving some irovisations or the erormers themselves. 19 Dana Richard Wilson s dissertation ocusing on Takemitsu s orchestra work Choral Island (1962) and various chamber works exlains, the role o texture in the chamber works is similar to that in the orchestral works The dramatic thrust o the orchestral works aears to be missing, however, while the aesthetic o certain traditional Jaanese musics revails Toru Takemitsu, Conteorary Music in Jaan, Persectives o New Music 27, no. 2 (1989): Hideaki Onishi, Toru Takemitsu s Jaanese Gardens: An Alication o Suerset/Subset Networks to the Analysis o Three Orchestral Coositions (Ph.D. diss., University o Washington, 2004). 19 Louis Conti, Color Variation: An Analysis o Takemitsu s From Me Flows What You Call Time (Ph.D. diss., New York University, 2010), vi. 20 Dana Richard Wilson, The Role o Texture in Selected Works o Toru Takemitsu (Ph.D. diss., University o Rochester, 1982). vii.

18 12 Chen Yi, a Chinese cooser now living in the U.S., coosed Momentum or Orchestra (1997). She describes, the gesture o the exaggerated dancing lines in Chinese calligrahy made such a dee iression on me that I wanted to translate it into music 21 In Momentum, Chen Yi creates her own musical vocabularies, which dislay a usion o the Eastern and Western in the ast and resent. Chen Yi aroaches traditional Chinese manners by arranging hrases o dierent lengths in such a way as to create and ehasize the musical climax. Her music includes melodic igures derived rom the Beijing oera within the manners o traditional Western music, esecially the orchestration o Romantic and twentieth-century styles. 22 Frederick Lau states that the use o Chinese elements also aears in Piano Concerto (1992), The Points or Pia (1991), and As in a Dream (1988), two songs or sorano, violin, and cello. 2 Another Chinese cooser, Tan Dun, coosed Syhony 1997: Heaven, Earth and Mankind in ten movements by not only using the technique o quoting reexistent olk tunes, but also including ancient Chinese instruments and the Western orchestra within the ramework o a large-scale syhony. 24 Lee Alexander Steward s study ocusing on an oera work states that Tan Dun s Marco Polo (remiered 1996) is rooted in and yet breaks the mold o traditional Beijing oera and o traditional Western 21 Cited in Jiang Liu, An Analysis o Chen Yi s Orchestral Work Momentum (D.M.A. diss., University o Nebraska, 200), Jiang Liu, An Analysis o Chen Yi s Orchestral Work Momentum (D.M.A. diss., University o Nebraska, 200), Frederick Lau, Fusion or Fission: The Paradox and Politics o Conteorary Chinese Avant- Garde Music, in Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau, 22 9 (Middletown: Wesleyan University, 2004). 24 Yayoi Uno Everett, Interculture Synthesis in Postwar Western Art Music: Historical Contexts, Persectives, and Taxonomy, in Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau (Middletown: Wesleyan University Press, 2004), 19.

19 1 Romantic oera coosition and combines the vocal and theatrical styles and instrumentation o both into a unique union. 2 Steward continues: Tan s coositions all have Eastern sounds including Beijing oera and Chinese olk music and incororate various Western techniques. He bridges East and West and enhances and combines the emotional ossibilities o both traditions in his music. Tan s oera creates a unique usion o the two starkly contrasting cultures. One world is lost in the other and is as interdeendent in sound as are the Eastern and Western hemisheres in the 21 st Century. 26 The achievement o integration between Eastern and Western musical art is relected in these coosers music. Traditional Eastern music is deliberately introduced by various means into Western music. The result is colorul and distinctive music in which the original voice o the cooser can be clearly heard. The ractice o translating letters o the alhabet into notes or a theme usually serves to honor someone. The best known o such themes is robably B-A-C-H (Bb-A-C- B), which was eloyed by J.S. Bach himsel and which has subsequently aeared in many other coosers works. A ublished catalogue or the 198 exhibition 00 Jahre Johann Sebastian Bach lists about our hundred works by at least three hundred coosers that are related to Bach, esecially the B-A-C-H moti. 27 Many coosers in the twentieth century, such as Arnold Schoenberg and Arvo Pärt, have used Bachinsired elements. 2 Lee Alexander Steward, A Discussion o Tan Dun s Oera, Marco Polo (D.M.A. diss., University o Miami, 2002), i. 26 Ibid., Cited in Shu-Ting Yang, Salute to Bach: Modern Treatments o Bach-Insired Elements in Luigi Dallaiccola s Quaderno Musicale di Annalibera and Heitor Villa-Lobos s Bachianas Brasileiras No. 4 (D.M.A. diss., University o Cincinnati, 2007), 7.

20 14 Variations or Orchestra O. 1 (1926) by Schoenberg is an excellent exale o the use o the B-A-C-H motive within atonal music. The twelve-tone iece corises an introduction section, nine variations, and a closing inale. Marija Benić Zovko asserts that: The B A C H moti is made u o various combinations o a row, or several rows. The last section o the Finale shows that its diastematic structure is related to that o the row: tones 2 4 o the antecedent, when ermutated, create the B A C H moti (or one o its transositions). It shows the extent to which the develoing variation technique can transorm the row content, roviding it with new meanings and contexts. 28 Arvo Pärt, an Estonian cooser, coosed Collage über B-A-C-H or oboe and strings in The irst aearance o a reerence to Bach, although this is only exlicit in the work called Collage, which is both based on the B-A-C-H moti and also quotes actual music by Bach. But the B-A-C-H moti, variously transosed and inverted, can also be traced in several other works, suggesting a otential link between them. 29 The insiration or using the B-A-C-H moti has various reasons and deends on each cooser. The use o the moti has very dierent aroaches, relying on each cooser s style as well. Other coosers, Krzyszto Penderecki s St Luke Passion (1966), Charles Ives s Three-Page Sonata (1949), and Anton Webern s String Quartet, O. 28 (198), are also insired by the B-A-C-H moti. Even, Bach himsel also marked his signature in a number o his works, such as the Art o Fugue and Vom Himmel hoch da komm ich her. 28 Marija Benić Zovko, Twelve-Tone Technique and Its Forms: Variation Techniques o Arnold Schoenberg s Variations or Orchestra O. 1, International Review o the Aesthetics and Sociology o Music 8, no. 1 (2007): Paul Hillier, Arvo Pärt (New York: Oxord University Press, 1997), 47.

21 1 The coosers works reviewed above relate to the two initial concetions o mine. First, in regard to the issue o quotation, both Eastern and Western coosers brought u their own traditional materials rom their individual homeland, such as olk tunes, song tunes, national anthems, and traditional musical instruments. Second, concerning translation technique, many coosers honor Bach by translating Bach s name to the notes o the motive. The various ways these coosers maniulate their coonents is similar to my urose in this roject. When coosers quote olk tunes and/or anthems, they do not usually eloy the entire melodies. They deliberately make a selection o some ortions rom them. Then they adat and transorm the materials to be aroriate or their works. When coosers mention their cultures, they shae the characteristics o their traditional music to create some signiicant meanings rom them. Some coosers deal with their traditional musical instruments, although this dissertation will not. These coosers erectly integrate two traditional music cultures into their own music. Eventually, the results o these endeavors are beautiul and colorul art music. The wonderul characteristics o music are unique with an individual s own style. Faithul to My Land is coosed or an orchestra. Thereore, the orchestra setting and learning rom other coosers styles also urthers my roject. Sergei Prokoiev s Syhony No. 1 in D, O. 2, Classical Syhony (1916) ollows the traditional outlines o a classical syhony. It oens with theme that is an ascending rush, with a crescendo, through the tonic chord, and esecially the score ursues an outline o a classical orchestra. 0 Stravinsky s Pulcinella (1920) uses an ensemble setting similar to an eighteenth-century 0 Lee, 270.

22 16 concerto grosso, 1 and the recycled tonal materials are transormed to aroriate a new stylistic ramework at the time. 2 Dmitri Shostakovich s Syhony No. in D minor, O. 47 (197) is a work o obvious artistic conviction, exressive ower, and technical accolishment. Vaughan Williams s A London Syhony, with its huge orchestra, eatures an abundance o thematic material more than deined harmonic oerations or structural designs, including the sequence o the basic motto. 4 The works o these coosers rovide models that deal with a classical orchestra setting, symbolism, thematic and motivic transormation, tonality, and related coositional tools. The orchestral settings and the stylistic characteristics o each cooser are aroriate to the urose o my work. The score o each iece rovides rogram notes exlaining the iece and the detail o erormance setting or the ensemble that can suort the organization o this work. All o these coosers and their works rovide some exales urthering my new coosition. Additionally, examination o other modern works is equally necessary or erceiving other coosers ideas and concets. However, this dissertation will aly and adat their ideas and concets to coose a new coosition in my own style. 1 Ibid., Robert P. Morgan, Twentieth-Century Music (New York: Norton & Coany, 1991), 410. Ibid., Lee, 46 8.

23 CHAPTER METHODOLOGY Faithul to My Land is an orchestral work in three movements the number o the colors o Thailand s lag. The lag eloys the colors o red, white, and blue that relect the three main institutions. The red is or the nation, the white is or the religion, and the blue is or the monarch. The ormal structure o each movement grew out o my coositional rocess. This coosition is about ourteen minutes in length. The texture o this iece corises both Eastern and Western asects. Homohony, monohony, and olyhony belong to traditional Western music, and heterohony belongs to the Eastern tradition. Even though this coosition is organized on the tonal system, the harmonic language does not ollow common-ractice traditions. Furthermore, the orchestral orces or this coosition are similar to the classical orchestra that consists o two lutes (the second doubling on iccolo), two oboes, two clarinets, two bassoons, our horns, three truets, two trombones, a bass trombone, tiani, other ercussion, and strings. This orchestra is large enough to aord me a wide variety o registers, sounds, textures, and tone colors. Each instrument has a distinctive color and oers its own secial ercussive eects. Combinations o instruments will allow a articularly wide variety o dynamics, textures, timbres, and ower o sound.

24 18 The main materials o each o the three movements are, as mentioned above, the two anthems and the letters o the name Buddha, all o which relate to the atriotic rogramme o the coosition. However, the entire anthem melodies do not aear in this work. This coosition eloys some ortions o them. The selected arts are transormed and modiied in an eort to suort the local and global organization, both melodic and harmonic, o each movement o the iece. The maniulation o musical coonents and the instrumentation are careully designed in this coosition. Movement I The irst movement eloys quoted ragments rom the Thai national anthem (see Aendix). This movement deals with some ortions o the anthem, articularly in the sensibility o rhythmic and melodic atterns. The initial concetion or this movement, or exale, is to bring u a rhythmic attern o a dotted eighth and a sixteenth note (shown in Exale 1). This rhythm attern is ervasive throughout the anthem. This movement eloys the motive in various manners, such as staccato, marcato, retrograde, and so orth. Exale 1: Rhythmic attern!!!!!!

25 19 Other concets deal with melodic atterns and structural itches o some ortions o the anthem. At this moment, re-coosition will demonstrate some concetion o the ideas. First, a melodic attern will quote the irst ew notes o the anthem, such as the notes G, C, E, and G, as its main moti, but with dierent rhythm atterns. In addition, the main moti may be transosed to another tone center, or the internal intervals may change while the sanning G G remains the same. Second, the original melody in the irst our measures is transormed rom the major mode to the Phrygian mode, including reorming its rhythmic attern. Third, concerning structural itches, the irst two measures are reduced to rincial structural itches (shown in Exale 2). This structure will be a main element as well. Exale 2: Princial structural itches!! original " # "! " " "! " "! " "! " $ structural itches " " " " " The grou o the structural itches will be treated in various ways, such as transosition to another tone center, maniulation o the rhythmic attern, and so on. Moreover, the interval structure o this grou o notes ilies a subset o this entatonic scale that this work will use as an element or serving the traditional Eastern sound. Finally, an ascending melody, esecially the dotted eighth and sixteenth notes rom the

26 20 ourth beat o m. 12 through the irst two beats o m. 14 (see Aendix), is very vigorous and energetic and could be aroriate or the brass section, or exale, in the sense o moving orward and driving with aggressive ower to a climax. Movement II The second movement eloys a technique o translation that eloys the name Buddha as a symbol o this movement. This work takes all six letters o the name and translates them into six musical notes by using the methods o German musical nomenclature, Latin solmization (Ut-Re-Mi), and English letter names. Thus, the name Buddha is translated into the itch motive Bb-C-D-D-B-A (shown in Exale ). Exale : Buddha motive! #" " " " $ " " This grou o notes, the Buddha motive (with resect), ervades the second movement o this dissertation. The initial concetion in this movement is to treat the motive as a cantus irmus, thus making a connection with the sacred music o the Western culture in the Renaissance era. The movement reerences a reexisting melody rom the Renaissance as well. The movement thus eloys two cantus irmi. However, the movement does not always eloy the colete Buddha motive. Some local areas o

27 21 the movement or some instrumental arts take only some notes o the motive. Furthermore, the motive does not need to be in sequence every time. Movement III This movement is based on new material and is a searate, indeendent movement; it ends with an eilogue that reers to all three movements. The inal movement eloys the quotation technique as well, but makes use o the Thai royal anthem, which is rovided in the Aendix. As in the irst movement, the colete melody o the royal anthem does not come into view in this movement or the whole iece. This movement also deals with some ortions o the anthem, both rhythmic and melodic atterns. The initial concetion or the movement, or exale, is to bring u the motives o mm. 1-2 and mm. -6 o the anthem to eloy the technique o retrograde, but to disregard the notes values (shown in Exale 4). Other rhythmic atterns or the new motives also aear. Exale 4: Retrograded motives " # mm. 1-2! $ % % % % $ % & mm. -6 % % % % % % %%% $ % & retrograde " #! $ % % % % $ ' $ %% % %% % $ '

28 22 Other transormations o the anthem are more abstract and thus less audible. First, the grou o melodic itches in mm (shown in Exale with brackets) is established to be a undamental chord, and other chords will be built by considering the relevance o the interval o this chord. Second, the notes in m. 21 will be develoed to be a motive. The new motive still maintains the outline o ste-ski-ste in the oosite directions o the grou o these notes, but uses various rhythmic atterns. Exale : A harmony and a motive!" mm #! # $ # # # # % #! m.21 # & # # # # #! # $!" # ## # # Eilogue The eilogue is the last section o the third movement. It is a short section, around one minute or less. The main idea o the section is to bring out the signiicant elements o each o the three movements to make a recaitulation o all o them at the same time. The urose is to remind the audience o where all o the coonents are rom. Thereore, the two anthems will robably aear as longer melodies, though still not both entire melodies. Furthermore, the last chord o the coosition is the notes Bb, F, and C (two erect iths) that these notes are the main key centers o the original materials, the anthems and the name Buddha.

29 CHAPTER 4 THE FIRST MOVEMENT The irst movement reers to the Thai national anthem. This movement grows rom a main areggio motive, a main subject, and a countersubject, (see exales on the ollowing ages). The movement develos and varies these materials simultaneously in many dierent ways. The main areggio motive contains the rincial structural itches (shown in Exale 2 on age 19) o the national anthem. Another motive is the irst our notes o the areggio (ick u notes) o the anthem (also see exale 2, original). They are subjected to inversion and retrograde, the rhythms are altered and they are changed in dynamics, register, articulation, and instrumentation. All o these materials are ervasive throughout the movement. Thereore, the ormal structure comes not rom thematic contrast, but mostly rom contrasts in texture between dierent sections. The movement corises three main sections A, B, and A with an introduction and a closing section. The irst movement is around our and a hal minutes in length. Its motives and musical ideas are made u o several meaningul intervals: major and minor seconds, the erect ourth and ith, and the tritone. Some melodic igures, harmonic materials, and rhythmic ideas are used not only in the irst movement, but in the rest o the iece as well. Additionally, some musical characteristics o this movement will recur in the eilogue o the third movement.

30 24 The texture o this movement is a combination o homohony and rhythmic heterohony. The entire movement eatures a continuous driving rhythm with various alterations. The near-continuous sixteenth notes in the viola and other string arts contribute to this energy and rhythmic drive and reinorce the orchestral color. The driving sixteenth notes rincially relect the tonal centers in each local area in this movement. However, the reetitive viola also moves to other itches. Other tonal centers in some local areas are revealed by other eatures, such as an auxiliary motion on the low instruments in the introduction. The movement is essentially organized around the main tone center, E. The movement begins with an Allegro con brio introduction in mm Some ortions o this introduction and its rimary idea recur in the middle and at the end o the movement. The introduction eloys rhythmic heterohony and an extremely wide register in the orchestra. Measures 1 6 increase the dynamic rom iano to ortissimo in the whole orchestra to reach the notes E in dierent registers. These oening measures are based on the E Phrygian scale, with the raised note D# or creating a leading tone. The irst time the main areggio motive occurs is in mm in the low strings (shown in Exale 6 on the ollowing age). The strings tremolo in mm and mm move around an E minor triad adding the note C, also considered as a C majormajor 7 th chord. Meanwhile, the brasses lay the E minor triad with the longer held notes in mm , but change their character in mm The woodwinds lay staccato on the same triad. They also increase the dynamic rom mezzo iano to ortissimo that leads to a C major-major 7 th chord bass on B in m. 1. The orchestra continues the same idea in mm (but louder) to reach the same chord again in m. 18.

31 2 Exale 6: The main areggio motive & #! " mm $ % % " & & & ) & & * % $ '( The energy o the introduction leads to section A (mm. 19 4), which basically grows rom the two motives with their transormations and the main subject. The viola continues moving throughout this section. The irst time the main subject emerges, however, is in mm on the low strings (the cello and double bass), doubled in the bassoons and the irst violins, then imitated by the irst horn (shown in Exale 7). Additionally, the irst truet lays staccato doubling the viola during these measures. Exale 7: The main subject Hn. I & "! mm # # # $! & - + % & - + % & " &, % &' ( & '(& ' ( ) & & )! & * + & - + % % arco ( & ), & &!& ) $& &, & - + % $ # The main areggio motive during mm is exanded into the entire orchestra with the energy o reetitive sixteenth notes. It is layed antihonally between the whole string section and the woodwinds, suorted with the brasses, tiani, and ercussion. Moreover, the areggio motive is layed by the whole orchestra during mm. 4 4.

32 26 Besides the large asect o the areggio motive, the orchestral color is rovided with a dynamic increasing to ortissimo. Section B consists o mm It begins with a two-beat measure o rest. The teo is slower and esante. The tiani, tam-tam, and bass drum suort the ower o the orchestra. This section continues rom the revious section with the tiani laying the areggio motive on E minor triad at ortissimo ollowed by the monohonic texture o the main subject on the whole strings. The section switches back and orth between the main subject and the erect ourth and ith o the countersubject (shown in Exale 8) in various tone centers. Exale 8: The countersubject Tts. Tbns.! "! # * "! # mm. 1-4 $ $ % $# & % $# & % ' ( ) # % ' ( ) # Actually, the irst time the countersubject is introduced is in mm in the unison o the irst and second horns. Furthermore, a variation o the countersubject during mm moves within the key o F#m against the reetition o the viola on the note B. Another variation during mm , which is develoed rom the entatonic collection o the rincial structural itches, lays on the lutes and the xylohone. This

33 27 section concludes with imitation between the cello and the double bass izzicati, unctuated by accented chords in the violins. The A section corises mm The teo is the same as that o section A. The viola continues almost throughout the section. However, because the introduction interruts this section, the orchestration needs to be maniulated to create some musical igures to be in accordance with the idea o the introduction. Esecially during mm , the music is creating obvious bitonality o the tone centers E and F on the low instruments suorted by the oen iths E-B and F-C in the woodwinds. Ater that, mm are interruted by a slower teo. The irst horn lays a solo melody accoanied by the low strings tremolo. The melody imitates the irst two measures o the anthem but transosed rom C major to E minor. This assage leads to the closing section during mm The closing section concludes as it began with the introduction idea. Moreover, the movement ends with an attacca indication that the music should immediately continue to the second movement.

34 CHAPTER THE SECOND MOVEMENT Buddhism is the rincial religion o Thailand in which most eole have aith. Thai eole have a reedom to believe in other religions as well. Muslims are the second largest religious grou and Christians are the third largest religious grou in Thailand. The main idea o the second movement eloys materials reerring to both Buddhism and Christianity. The second movement is the longest movement, around ive minutes in length. The movement can be divided into a binary orm, A and A, with a codetta. The teo o the movement is an Adagio sereno. Beyond the Buddha motive (Bb-C-D-D-B-A, shown in Exale on age 20), this movement quotes two other reexisting melodies: a devotional motet by Josquin des Prez, Miserere mei, Deus and an anonymous Buddhist rayer (shown in Exales 9 10 on the ollowing age). Miserere mei, Deus (Have mercy uon me, O God) was coosed or Duke Ercole I d Este o Ferrara around Patrick Macey writes: Continuing with other iortant musical material in the motet, Josquin generates our distinct and unadorned melodic motis... The irst, moti A, is the laintive semitone that oens the work; this orms the essential element o the reeatednote introductory subject which the irst tenor subsequently takes over as the soggetto ostinato. The exressive inlection o the ascending semitone eectively highlights the most iortant word, Deus. 2 1 Patrick Macey, Josquin and Musical Rhetoric: Miserere mei, Deus and Other Motets, in The Josquin Coonion, ed. Richard Sherr (Oxord: Oxord University Press, 2000), Ibid., 49.

35 29 Exale 9: Josquin des Prez, Miserere mei, Deus, mm Sorano "! #! $ # # # # % % Mi - se - re - re me - i de - us Exale 10: Anonymous melody, Buddhist Prayer "! $# %! # # %! # & %! Bud - dhang Dham - mang Sang - ghang Sa Sa Sa ra ra ra nang nang nang Kat Kat Kat cha cha cha mi mi mi The two original melodies, Miserere mei, Deus and Buddhist rayer, are certainly similar with the reeated notes and the minor seconds, excet the erect ourth at beginning o the Buddhist rayer. These two melodies are the main materials o each section. Thereore, the ormal structure o this movement could be considered as section A and A rather than section A and B. The movement also eloys number symbolism relating to signiicant numbers in the Buddhist and Christian traditions. The six notes o Buddha motive stand or Prince Siddhartha Gautama s six-year search or enlightenment. The rince let his alace to seek Dharma, the right ath to awakening, at the age o twenty-nine. He attained enlightenment when he was thirty-ive years old. Jesus Christ died on the cross around thirty-three or thirty-ive years o ages. The climax o this movement occurs in m.. Edward E. Lowinsky, ed., Monuments o Renaissance Music: The Medici Codex o 118, Vol 4, (Chicago: University o Chicago Press, 1968), 270.

36 0 Finally, Buddha assed away in eace at the age o eighty years. The end o section A is m. 80. Moreover, this movement eloys the number three, which relates to both religions. The oundations o Buddhist tradition and ractice are the Three Gems the Buddha, the Dharma (the teachings o the Buddha), and the Sangha (the Buddhist community). The Christian doctrine o the Trinity believes in the union o three divine ersons the Father, Son, and Holy Sirit. The coosition techniques in this movement ree counteroint, aired duet, oint o imitation, variations, and reetition in each local area are used three times. Thus, the music is determined by relating to these numbers (, 6,, and 80). The coosition s techniques, such as ree counteroint, aired duet, and oint o imitation are maniulated or this movement. They were develoed in the Renaissance eriod. Free counteroint is the relationshi between two or more arts that are indeendent in contour and rhythmic igure and are also less strictly constrained than imitative counteroint; the harmonies are roduced by the individual lines and are not unctional. Paired duet reers to a texture that eloys two contrasting airs o voices (arts). Finally, oint o imitation is a short melodic igure used as a subject or imitation. The music in this movement grows rom the only intervals in the two subjects, a minor second and a erect ourth, sulemented by the erect ith (inversion o P4) and the tritone (m2 + P4). Furthermore, the variations o the two subjects and other melodic igures rincially move by very small intervals, such as minor seconds. Their harmonies and other accoaniments mostly use these intervals. The Renaissance coosition techniques and these intervals are used throughout the movement.