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Recital of compositions Jagger, Brian William 1992

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RECITAL OF COMPOSITIONSbyBRIAN WILLIAM JAGGERB.Mus., Queen’s University, 1990A THESIS SUBMITTED IN PARTIAL FULFILLMENT OFTHE REQUIREMENTS FOR THE DEGREE OFMASTER OF MUSICinTHE FACULTY OF GRADUATE STUDIES(School of Music)We accept this thesis as conformingto the required stp’ardATHE ÜNIVERSITh’ OF BRITISH COLUMBIAApril 1992© Brian William Jagger, 1992In presenting this thesis in partial fulfilment of the requirements for an advanceddegree at the University of British Columbia, I agree that the Library shall make itfreely available for reference and study. I further agree that permission for extensivecopying of this thesis for scholarly purposes may be granted by the head of mydepartment or by his or her representatives. It is understood that copying orpublication of this thesis for financial gain shall not be allowed without my writtenpermission.Department of__________________The University of British ColumbiaVancouver, CanadaDate I9DE-6 (2/88)IITABLE OF CONTENTSTable of Contents ii5 Moments for clarinet and piano 1Quanta 22Dies lrae 40Recital Programme 8915 Momentsforclarinet andpianocopyright Brian Jagger, 1992c..J04-10Dlcii04-0604—10-DL)c-t0C;)0-c2-4;)) Th GCT-4.0)C’cc‘h1co\\\Il\\\Ip\\\I-CD00LcjCc’J‘Ce)1{I1Lf)11‘pcrI)Alr•1)HAIL1AIC)0C.Jcc’J22QuantaforString Quartetcopyright Brian Jagger, 199223Notation2”- play pattern for indicated duration- outlines solo passagee - finger notes without bowing- highest note on designated string,f. - bow behind the bridge on designated string(s)- overbowing to produce scratch tones24IIIII25I)0III2600II27IIIIIII28I291IIII304‘I44. 4tI11IL’4114’.4-4.41’4’.4.144JJ441:S4’44HH.4iiH41LHif:[E4’’L(liUII4.4.44.4.441Lt- 4‘I.4-1--4-j4.411HLi (4;_31Ia-‘1’I324.)IIICr33034000IIJI35IIJi36‘UI37U4.I+‘1-aIiL4K14aIi1+I’.4I4W/ 4UI uI 4uM4\41 Ii41-1i4/ 14I 4i.‘ 4t1\4444,44iu/ 411(it\44l4I 4-I 4’’‘-41-\44444I38EDI0IIIIIIJi39H40Dies Iraefor12 unaccompanied voicescopyright Brian Jagger, 199241Notation- random whispered vowel sounds-exhale-inhale- gradually change from one sound to the next(suf) fer (red) - sing only the text outside the brackets-C)-CC/).)CM I1\)00-0ClCA)0‘3-‘3-0rJcn0-00DZi0Cl)01cncn.)1CC-iCCj’. 0)1-•1ez0CMCMZ-Cl)5CD0-0.—.0-i00Cl)(TI0(TI--Oe-0c..JLf)C)000clC)3-01 C,)00101 011cMC,’0)Cl)D01000Cl)(3” 7C))00(jcoLi,0)U)Cl)0000-flc)0CD(000Co-ICC-CC12a) F’)Cd,Cd,CD0-00) c)‘--‘J\IjLFQ_c-ozJc-c_CDI’\/Lidi’.1I1.)8’?J/1)=,—I-LA)IH-)--—‘.V.AK)rC4C7)\-c)Uv:JAs.A‘\A)/ICS‘(4.sV-!o-‘i)-c_/‘jT‘VALVSAJ:7c!3IC.’AAAI.L..C0—\Cr-!)—‘I-,;_•-?LV[ic.Hji,7___)I-JLKeL.Fi)I2)IJ,‘It)Ji.I)-I]_c,—‘HL)LcbHA.jc-Icik’;-I-.IJcL0ç)CIt)CoCc--I0Iz-/LI,(ITcrc-j1•LcI(-Ej)AI<k.-)H.jc_I_Ic1-4IAC4\lI:..H1/LLI-LC’).-c0-4-CDCDCZI-C0rJc--i—-‘i(.0ILV.CL-.cEl.Vc—_CCLCLCLEiii—cic.4cCIV-rci40ciCLcj1.CLSi-cciJICos-VLEci01.rcii.:-cCooç•0Z-i0Cl)C.,eI0—kD — 0 -o0) o0rr--:--r N(C,-41Ci)I0) CDocIz0-0Cl-0 0—I000-i0Cl)0P-—>)‘I”F’)C,)-oC)C,,Cl31Ct1—1LA)11-3010)100010Ciycr(I)CcfcoF—-.4 CD0Z-i00ICA)-0o-ociI-e0•—0-0C/Ic,-iyCd0Z-0Ci)C)0N-)N001N N-ID000)clcj.,00Z-0—.100csVa,cove(F-I0CI)-J89Recital HallSchool of MusicUniversity of British ColumbiaSunday, March 15, 19928:00 pmRecital of MusicbyBrian Jagger5 Moments for clarinet and piano (1990-1992)Donella Dueck - clarinetCameron Friesen - pianoSand Streams for NeXT computer (1992)Quanta for string quartet (1991)Toni Stanick - violinDon Kelly - violinHen,y Lee - violaNatalie Williams - cello(in partial fulfillment of the Master of Music degree In composition)90Programme NotesThe 5 Moments for clarinet and piano serve as acompositional relaxation point in my writing. These short piecesallowed me to distance myself from taxing pieces, such as Quanta,and then return with a more objective view. While they are lighter incharacter, they are, nevertheless, an important influence on the restof my music written during that time. The moments are unique inthemselves, and are arranged in order of composition. They arededicated to Leah who showed me that the clarinet can be adynamic instrument.Sand Streams was realized using Csound on the NeXTcomputer. The piece consists of short fragments, or grains, whichjoin together to create streams of sound. Various synthesismethods were used including frequency modulation, additivesynthesis and granular synthesis.The original idea for Quanta came while I was reading aboutquantum theory (in a very simplified form). The piece is structuredaround the idea that the various forces of quantum theory arecontained and exchanged in quanta (packets); hence, each quanta(moment) in the string quartet exists at a different energy level.While in quantum theory energy levels are discrete and separate, inQuanta some moments elide into the following moments. Uponarriving, however, there is no reference to any previous moment..Many thanks to my Mom and Dad; Leah; Joan and Ernie;John, Nancy, Shannon, Elizabeth, Christina and Nicholas; Keithand Liz; Bob; Lise; Sandra; Allison; and everyone else who hashelped in any way.91THE UNIVERSITY OF BRITISH COLUMBIASCHOOL OF MUSICRecital HallFriday, March 25, 199212:30 p.m.STUDENT COMPOSER CONCERTString Quartet Jacqueline LeggattFine Tempered Oboe Ming Sun HoTrio for strings David ByrneDies Irae Brian Jagger

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