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Graduate recitals McKittrick, J. Cameron 1994

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GRADUATE RECITALS by J. CAMERON McKITfRICK B.Mus., Wilfrid Laurier University, 1991 A THESIS SUBMITI’ED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC (COMPOSITION) in THE FACULTY OF GRADUATE STUDIES (School of Music)  We accept this thesis as conforming -  to the required  standard  THE UNIVERSITY OF BRITISH COLUMBIA September 1994 © J. Cameron McKitthck  In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department  or  by  his  or  her  representatives.  it  is  understood  that  copying  or  publication of this thesis for financial gain shall not be allowed without my written permission.  Department of The University of British Columbia Vancouver, Canada Date  DE-6 (2188)  -  II  ABSTRACT  The loss of personal meaning is explored by analogy through manipulation of the relationship between musical content and its possible interpretations. Recognized musical signals are used out of context. Weightless signals are used in absolutely rigid and unified structures. These approaches were brought to the stage before a live audience in a single recital on March 6, 1994.  in  TABLE OF CONTENTS  Abstract  ii  Table of Contents  iii  Recital Program  iv  played with conducted pauses  1  two  18  three  25  four  33  detail  34  For Lisa and Leslie  46  detail, assembly  52  three texts: Performance Note  73  Score  74  iv Sunday March 6, 1994 S pm  UBC School of Mud Recital Hall  GRADUATE RECITAL* Cam McKittrick  played with conducted pauses Steve Robb, clarinet Paul Luchkow, violin Lisa Wagner, ‘cello Robin Reid, marimba Cheryl Pauls, piano Wallace Leung, conductor detail Chenoa Anderson,flute Daniel Kwong, clarinet Michelle Speller, violin Lisa Wagner, ‘cello Leslie Wyber, piano Wallace Leung, conductor For Lisa and Leslie Lisa Wagner, ‘cello Leslie Wyber, piano INTERMISSION detail, assembly Jacquie Leggatt, piano Leslie Wyber, piano three texts Chenoa Anderson,fluie Steve Robb, clarinet Robin Reid, vibraphone Cheryl Pauls, piano Aiyana Anderson, violin Lisa Wagner ‘cello Megan Brad1ield, bass William Grenzberg, baritone Wallace Leung, conductor Thanks to the performers, Al & VoJ Brodrick, Bob & Jan McKittrick, Gene Wilson, Keith Hamel, Bob Pritchard, Steve Chatnian, Rodney Sharrnan, Paul Steenhuisen and Chris Kovaru, *J partial fufillment of the requirementsfor the Master ofMusic degree with a major in composition Reception to follow in the faculty lounge  I 0  5,  .‘  II  8  Cl)  (t  Cl)  C  Cs  (t  0  C  n  a  t  0  1  j  1  EJ  0  CM  O  O  1 J  @1  00  p  0  I  0I  C  C)  0  0  J  1  S.  C  r;i  U’  p.  0  J  p  —  00  p p  p  J  1  p p  p p  I® ]  ‘1  ‘I  p  ©  e  I  p  ©  1  1. -h  -lb  ib’  -‘I  ri  1  1*  e  D  II:  ‘1  I  I  III  LI  -L  III  LI  C  r  t  rIII tIII  :  hf  II  I I;;I1 Ij  c:’  —liii,  -CIII Ill III  E:III (  I  III nIh  II”  —4iii  1 .1  ijf  I.  1  j  1  I  C, C,  j  1  0  0 0  j  p  —  n  ©  p  n —  C  p  C,  0  p  —  n  ‘9  F F  F  I  I fOL  F I I.  F  1 F GL_ F Ii”  I  F  I  I-  +  f F f F  r  I  r  H  F 1  f F  i  F  I  /  L I.’ F f  FJll  \F F [  C  p  0  a  p  ©  P  p  1’  ©  U’  p  0  0  p  w  p  fN ‘V  p  ©  -1  w  p  Ot 0  p  ©  00  w  p  p  I®  p  ©  V  p p  p  0  p  p p  a’  ‘C  a  p p  w  .I.  p  p p  C  a In  )©  ©  I  4  C  C, CD  C C  a  ft  CD CM  a  w  © 91  C.’  -I  -J  ©  Ic I  Ic  I  b  fl-I  r  0  00 UI  I  I  1*  I  1)  -I  I  fib  Z3  I?  iW  r  r  ,JI  I  0 0  1  I C.)  U’  7  -4  (  C C.)  F  C.)  r7  1  Ti  a’  T)  7C.) -J  U’  GO  7 I  C  -4  73  The Texts  Note Musical references are made, truncated and abutted. The ensemble, however, should not go out of its way to perform “in the style of”. In other words, do no more than written.  Selected words from Nabokov’s Pale Fire  Note to the Baritone Two  The texts should not be considered an evocation of three distinct characters but rather of a single character struggling between a certain existential cynicism and a sentimental longing to find meaning in almost anything.  Selected lines from “The Jolly Beggars” by Robert Burns  There are many opportunities, on both a large and a small scale, I believe, to express alternation between a number of feelings related to the above: resignation, anger, disgust, or simple denial.  Three  At times, the character should show fleeting awareness of the absurdity and pervasiveness of his condition; that is, he may show amused cynicism or he may even arouse pathos. At other times, naivety, both in positive wonder and anger should be expressed. This said, I must stress that it is not my desire to have the performance imbued with a knowing sense of gravity this would be presumptuous and should be avoided above all else. The performance must be as straightforward as possible. --  Selected phrases from the daily horoscopes of The Owen Sound Sun Times by Jeane Dixon (December 8, 1991)  :g  E  L  .  H  p 0 0  (t  P  4jJ  4LI1  O  0  U) 4  0  4%J  00  C.’  r<  r L r L r L  r  yr V  A r’ LI  ‘A  ‘V A  A.  ‘V  ‘V  L)  V  ‘2  r  I L  I  A ,  A  r  L  r  L  CD C”  00  E1  0•  I  I  -I  4Lti  00  oo  F I  4J  [o  ’J 4 Jjj_  00  0  JJ 4  44  (JJ 4  00  UI 0)  Qo©  QO  P  I  00  C., C)  9 O  00 0  O  QO  00 00  clii  clii  O  00  O  J,) 4  CD  p  I-  ‘.0  9  4J  O  0  C,  L)  A  C,  44 0  p.  JJ 4  4%J  A  0  00  0)  p  ‘.0  O  4%J  44  U)  0)  w  I-  0  I  p C,  0  1  I—  0  0)  01  C  I L  r  L  r L r L F L  j.L  r L II,  U  A  o  a)  0)  p  ill a  C,  LiJ  o4  O  -‘U)  •  0  g  .  .  2.  0  fl  2.  00. —  Dl  2.  Dl  1 8 1V  flfli  ap ,.rn  00’  p-co 000  -  0  a-_c  oao’00  0° ‘oat 0 .0  w  I:  0  I  00  p.  p.  0  I  i  )  I-  


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