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Graduate recitals McKittrick, J. Cameron 1994

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GRADUATE RECITALSbyJ. CAMERONMcKITfRICKB.Mus., Wilfrid Laurier University, 1991A THESIS SUBMITI’ED IN PARTIAL FULFILLMENT OFTHE REQUIREMENTS FOR THE DEGREE OFMASTER OF MUSIC(COMPOSITION)inTHE FACULTY OF GRADUATE STUDIES(School of Music)We accept this thesis as conforming- to the required standardTHE UNIVERSITY OF BRITISH COLUMBIASeptember 1994© J. Cameron McKitthckIn 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 -DE-6 (2188)IIABSTRACTThe loss of personal meaning is explored by analogy through manipulationof the relationship between musical content and its possibleinterpretations. 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 asingle recital on March 6, 1994.inTABLE OF CONTENTSAbstract iiTable of Contents iiiRecital Program ivplayed with conducted pauses 1two 18three 25four 33detail 34For Lisa and Leslie 46detail, assembly 52three texts:Performance Note 73Score 74ivSunday March 6, 1994 UBC School of MudS pm Recital HallGRADUATE RECITAL*Cam McKittrickplayed with conducted pausesSteve Robb, clarinetPaul Luchkow, violinLisa Wagner, ‘celloRobin Reid, marimbaCheryl Pauls, pianoWallace Leung, conductordetailChenoa Anderson,fluteDaniel Kwong, clarinetMichelle Speller, violinLisa Wagner, ‘celloLeslie Wyber, pianoWallace Leung, conductorFor Lisa and LeslieLisa Wagner, ‘celloLeslie Wyber, pianoINTERMISSIONdetail, assemblyJacquie Leggatt, pianoLeslie Wyber, pianothree textsChenoa Anderson,fluieSteve Robb, clarinetRobin Reid, vibraphoneCheryl Pauls, pianoAiyana Anderson, violinLisa Wagner ‘celloMegan Brad1ield, bassWilliam Grenzberg, baritoneWallace Leung, conductorThanks to the performers, Al & VoJ Brodrick, Bob & Jan McKittrick, Gene Wilson, Keith Hamel, Bob Pritchard, SteveChatnian, Rodney Sharrnan, Paul Steenhuisen and Chris Kovaru,*J partial fufillment of the requirementsfor the Master ofMusic degree with a major in compositionReception to follow in the faculty lounget8a n C 0II(t Cs.‘C Cl) (t Cl)I0 5,01 j 1EJ0CMOO1 J@100p00IICC)001 JS.U’Cr;ip.0J00p—ppp1 JppI® ]ppp‘1©‘Ipe©IeI1* 1 ri‘1II: D-‘Iib’-lb 1. -h 1ijfIIIIrIII-CIIIIllLItIIIIII-LII____hfE:II1I.1II.III:(I;;I1I__Ij____LIc:’IIInIh1II”__r____Ct—liii,—4iii1 jC,C,01 jIj00Cnp—np—©pC,0‘9np—fFFLFFfIFI.rI.’IFF 1fGL_FFFIi”1FIFJllI+H____/I________\-FfIFFrF__II-ifOLF[Cpa0pPp©©U’1’pp0w0ppfN ‘Vw -1©ppw 00Ot0©pppI®V©ppp0pppa‘C a’.I. wpppppCa In©I)©C C C,CD C4aw a CD CM ft91©C.’©-I -J00UIZ30 r fl-Ibfib I -I 1) I 1*I Ic Ic II IrrI?,JIiWI001U’C.) I7-4CTi C.)1(r7C.)Fa’U’7 C.) -JT)GO7 IC-473Note The TextsMusical references are made,truncated and abutted. The ensemble,however, should not go out of its wayto perform “in the style of”. In otherwords, do no more than written.The texts should not be considered anevocation of three distinct charactersbut rather of a single characterstruggling between a certain existentialcynicism and a sentimental longing tofind meaning in almost anything.There are many opportunities, on botha large and a small scale, I believe, toexpress alternation between a numberof feelings related to the above:resignation, anger, disgust, or simpledenial.At times, the character should showfleeting awareness of the absurdity andpervasiveness of his condition; that is,he may show amused cynicism or hemay even arouse pathos. At othertimes, naivety, both in positive wonderand anger should be expressed.This said, I must stress that it is not mydesire to have the performance imbuedwith a knowing sense of gravity -- thiswould be presumptuous and should beavoided above all else. Theperformance must be asstraightforward as possible.Note to the BaritoneSelected words from Nabokov’sPale FireTwoSelected lines from “The JollyBeggars” byRobert BurnsThreeSelected phrases from the dailyhoroscopesof The Owen Sound Sun Timesby Jeane Dixon(December 8, 1991)(tp0EH:gL.0P4LI14jJ0O4U)0004%JVrILI‘2C.’yrVAr’LI‘A‘VA‘VA.‘Vr<rLrLrLrArL,CDC”ArLL)00-I I0•E1004LtiI4JFI00Jjj_4’Joo[o04(JJ44004JJUI0)QOQo©00PI9OC.,C)000QOO0000Oclii00cliiO4J,)pCD‘.0I-94JO0C,L)A0C,44p.4%J4JJ000A0)‘.0pOU)444%Jw 0)0 I-I— 0pC,I1 001 0)ILrLrLrLrLj.LII,FLCoAUpC,a) 0)o4ill aLiJO-‘U)w0°oao’000‘oat..000 .g-a-_cp-co000fl•000’2.ap,.rnflfli1V81DlDl00.—2.2.I 0 00I:p.I 0p.)I-i


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