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Compositions Newsome, Gregory Lee 2000

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COMPOSITIONS by GREGORY LEE NEWSOME B.Mus., Capilano College, 1997 A THESIS SUBMITTED 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 coriforming to the required standard  THE UNIVERSITY OF BRITISH COLUMBIA April 2000 © Gregory Lee Newsome  In presenting degree  this  thesis  in partial fulfilment of  the  requirements  for  an  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 copying  advanced  of this thesis for scholarly purposes  department  or  by  his  or  her  representatives.  extensive  may be granted by the head of It  is  understood  that  copying  my or  publication of this thesis for financial gain shall not be allowed without my written permission.  Department The University of British Columbia Vancouver, Canada  DE-6 (2/88)  Abstract Seven compositions, five for live instruments and two for electroacoustics, comprise this thesis. The works for live instruments vary in genre, and include pieces for chamber ensemble, choir, and solo instrument. "Music for Solo Violin" employs thematic material modelled after Eastern European folk music and intervallic structures, as does "Bagatelle for String Quartet." "Lux aeterna" expands a small, core idea into an entire composition whose salient features are an added-tone harmonic structure and a time-varying polyphonic texture, "non-art," "The Sacrifice of Infinity," and the electroacoustic works "Chroma" and "Purity" reflect an interest in compositional syntax modelled after timbre, avoidance of a post-World War II concept of gesture, and psychoacoustics.  Table of Contents Abstract  i i  Music for Solo Violin  1  Bagatelle for String Quartet  9  Chroma  CD  Lux aeterna  18  non-art  33  Purity  CD  The Sacrifice of Infinity  68  MuSfC  —2—  foR. SOL.0 V/OL-/N  3fe  d/ZTRNTLj;  P  ^  LE(,aro  = 76  St^PZL e  *f-  h 4 —  1  ^  1  H  1  r  ?  i  ^  OFF  r —  J  P#£STO;  ?  •  rr  m  iffy  f  ^ y  SIL£.NC£  g  Z=3 1  LgJ  fcgj  s  3  n  4  >i P  Ji  >  >  n  M-7  rff  2-  3  •4  7  PoCO r? PlCO R.iTRO£>  1  t~>  z  *—*—*—*  -p h/  J  / J -P  " L U  L f  •p  f  TT  f  r  lj i  J  J JJ  J J JI  r*  P i  *  *  '  *-  I  Lux aeterna Gregory Lee Newsome  Instrumentation This work may be performed with 8, 16, or 24 voices, divided in the following  Soprano I Soprano II Alto I Alto II Tenor I Tenor II Bass I Bass II Under no circumstance should this work be performed by a large choir  Performance Instructions The duration o f all rests must be respected  Staggered breathing is required throughout  The duration o f the work is seven minutes  Lux aeterna  J  J  Iw  J  J  o i—•—  ae  P -m^-k*:  •ter  ae  ter  70  ,*  J ter  ae  na  ter  ter  3  ter  na  -  -  na  ter  2-/  25  24  \\\/  W  -  - x  *  .t  a  Lux  Jt  r—1  *  1  >  ^—= Lux  Lux  ~~"~"—  i n <  — q  °  =  ;  -  Lux  Lux  —m———•-•  =  i  1*—1»  T  _  =  6r  lf&  J  • lJ  «  o  J  P 1 --  i  ae  *  *  _  f  1 J'J ae  4V-  ••  —>  "  1  -  l -  J -  -  1 -  m—  U  l  * L —•!  = ter  -  ter  -  -  64 S t  ^0  0  •0—p:  0  ter  na  mf  J  0 -d- 0 ter  -  na  -  J  \  .J  ter  ae  3 s -3— na  ter  » \>0 ~f ter  67  na  * J ~—g  0 ter  ae  0  *  0  0  ter  ter  ae  mf  i  r  0  r ter  •  m  0—0—0  m  0  0  \>m m ter  \ 0  \0  ae  0 ter  0 ter  2.?  70 S t  -0  0-  0  4  4  ter  XJ  mp  J ter  na  na  mp 0 &  m  m \>m X-  m  v  ^—0—-0 x  - V  1  ae  -  0  =^*-m- f~~f .—  f  3  ter  -  1 J  ae  mp 0  - 0  f-  1#  I*  f > i|* •  —m  m  r  \>0 0  w  ter  pp  73  0  0  J  ,0^  ter  J  I  pp  -3-0 ae  -  0*0  -0  0-  ter  -m-  *-  *  ae  na  ter  -  na  pp  ae  ter  -  -  ter  2>P  r I'f-^r ae  r f f r  ter  5»  76 j  a ^  a  J  Lux  1 J  j  J  .  ^  ter  ae  Lux  ter  ae  j'liJ j  -W-  Lux  na  JiJ J iJ_J*Xi Lux  ae  #  Id* -  -  ter  P-  Lux  ter  79  J.  J  Ja=J^ ter  ae  4  ae  Lux  -  -  ter  na  Lux  ter  -m—f ae  ter  Lux  5/  PPP 82  V  /r rjk  K  «  r.  A  .~  r»  1 I 1 1  PPP  \-' 4  :  •  o  o  o  0  0  —vp-'  9  0  0  ~pprr  ter  3^  non-art Gregory Lee Newsome  Instrumentation Percussion Bass Drum Crotales - sound 15va higher than written Glockenspiel - sounds 15va higher than written Marimba Tam-Tam (Large) Vibraphone - motor on, pulsing at M M = 5 4 Xylophone - sounds 8va higher than written  Piano B-Flat Clarinet doubling Bass Clarinet with C-extension Violoncello  Performance Instructions The score is in C Accidentals only apply to the notes they precede Pedal indications in the piano and vibraphone must be adhered to Glissandi in the violoncello should be exponential rather than linear in nature The duration is eight minutes One-quarter o f a whole-tone lower  m  One-quarter o f a whole-tone higher  •P Three-quarters o f a whole-tone lower  Program Note Although we are surrounded by sound almost constantly, sounds that are deemed art rely essentially on context, and, to a lesser extent, setting. Sounds that qualify as art often lose that distinction when they are isolated, though in an empirical way they are no less complex, no less potent emotionally. A Chinese opera gong resonated in this manner some time ago, resulting in a sonorous object stripped o f its status as art, existing momentarily as non-art, sounding just as beautiful. The sound was captured, explored, and manipulated with the intent o f exposing this omnipresent, context-independent beauty. Commissioned by Vancouver Pro Musica  non-art Gregory Lee Newsome  MM=72 15  Glock  §  Crotales -Mallet and Bow  #r'r tti  PPP  Piano  i 3&L Clarinet  I! ftzz.  Cello  SulPonL  ArcoOrd.  i PPP  (D  75  Glock  V  o Molto Bow Pressure  poco a poco Cello  o  poco a poco  T T  ****** JJJ  35  poco a poco  Molto Bow Pressure-  poco a poco  Ord.  57  3e  3?  ft  4^  4?  (54 Marimba  fcfe k k  k kk k  t  ML  ML  np tin: up:  3=  3±  3  ML ML ML  tn_:  ltp  3  3  kk k k k kk k t  ie. ttn:  im~ flp  fait, itiftp: ttn  3 tic:  3±  Piano  Cello  5  I  5  3  '  3  1  ft^  7  ftp  5  7- tt^ttp 7 ftp 7  1  3  3  3  ¥9  Tam-Tam  Vibes  18 Piano  18:  18  Clarinet  Cello  i MM=63 To Marimba  *r r_!r  Vibes  ~3—'  *r ^ i ' f \ —- L , —-3 ' I ~- 9^. 1  t  UJ 14  L  #—4  S 3  Piano  a—-  Clarinet  Cello  t__r  a i  f r  T  mf \>1-  1  J\h)i_jjj.  F  it  % 1  LJ  14=*=  5>  53  88 B. Drum  f  J  4  »  —  b  Crotales  p 4 TO 4  >  M_  8 Xylo  Bass  c  | f  1  —  4  -  *  . • — »  »  1  ft  *  .  1 ^  1•  •—'  f—  M fi  r— »  ^  dt?  dim... 3 —i —1 *  4 ,  [|4  *  dim...  4 > TO 4 ^  b  c  *  X  J Piano  *  m  —BV-J  j*  t0—  1  pp # .-  L - J•/  1  h 0  1  2  * — * — *  n ; f—  _  f 0  Cello  PP  dim..  0  7  7  90  To Glock r7\ Crotales  ^  7 |* 7 $ ==j  7  Xylo  1  7 7 7 1  - 0 — 1  1  8" 7 Piano  7 7 5  5  3t3t 1  1  To B Flat Clarinet rT\ Bass CI.  Cello  5 ^  6S  56  57  5?  ff ff Of ftg&t  15 Glock  i  0-0  Q ft  ~f~  m %45  Piano  0-0  0-0  Fw . I»  TO— —»  1  •  „ ftf  <  ri  r  i  3  1•  i ft  •  7  —  Cello  3  A  *  V  7  %  1  15~-  Glock  Cello  7  trff fJlffrf f f tffif frfffrf ff tff E£f |  Piano  Clarinet  1 J  •  1  m  » 7  - 4 W—>  Clarinet  .m.  0~p-  < M  4  4A  65  Glock  I  15 U «»  {ML  poco a poco  Molto Bow Pressure — poco a poco — Ord.  g  O  1  •o  i  ±1 S : • =  =§ 13.  1  i •a §  "9 0  2  •a -a  d o  •c  d o  3  d  00 .S  d  a  SM O  ••»» 03  9  3 o  8 O en  s o  0 H  o U  I  1  •a •a a  s §  § O  § "S  ,o "8  o. u c  I  d 93  a  1  .S B  a  a  5  ! 1  U  S3  •a  11  •o  a  Z  a  o  t E S  S  < f2  'so  S u  e 0 4 ?  7^  

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