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Music compositions of Jacqueline Leggat Leggatt, Jacqueline 1990

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MUSIC COMPOSITIONS OF JACQUELINE LEGGATT B.Mus., Queen's U n i v e r s i t y a t K i n g s t o n , 1985 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC i n THE FACULTY OF GRADUATE STUDIES DEPARTMENT OF MUSIC We ac c e p t t h i s t h e s i s as conforming t o the r e q u i r e d s t a n d a r d THE UNIVERSITY OF BRITISH A p r i l 1990 © J a c q u e l i n e L e g g a t t , COLUMBIA 1990 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 H u s i c The University of British Columbia Vancouver, Canada Date ftfftlL 1>0\*\0 DE-6 (2/88) 1)1 \ SCHOOL OF MUSIC Recital Hall Sunday, January 28, 1990 8:00 p.m. I. Thema II. Allegretto III. Allegro IV. Presto V. Thema Akimbo Alan Crane, piano Jacqueline Leggatt, Composer Tape s_u!a Liz Baker, recorder INTERMISSION Strata Eugene Wilson, Conductor Marlis MacAuley, flute II. III. IV. Anne Katherine Coope, clarinet Sarah Jackson, (lute Robin Reid, percussion Ken Morrison, percussion I* 7no Slofies 1. The Panther 2. The Idiot's Song 3. Evening Karen Olinyk, contralto Alan Crane, piano ince Attendance Mark Thomas Ferris, violin Reginald Quiring, viola anks to: Ian Crutchley Madeline LaVache Grace Quaglio Paul Steenhuisen Doug Smith Reception following in the Faculty Lounge The Panther His vision, from the constantly passing bars, has grown so weary that it cannot hold anything else. It seems to him there are a thousand bars; and behind the bars, no world. As he paces in cramped circles, over and over, the movement of his powerful soft strides is like a ritual dance around a centre in which a mighty will stands paralyzed. Only at times the curtain of the pupils lifts, quietly -. An image enters in, rushes down through the tensed, arrested muscles, plunges into the heart and is gone. V The Idiot's Sona They're not in my way. They let me be. They say that nothing can happen to me. How good. Nothing can happen. All things (low from the Holy Ghost, and they come and go around that particular Ghost (you know)-, how good. No we really mustn't imagine there is any danger in any of this. Of course, there's blood. Blood is the hardest. Hard as stone. Sometimes I think that I can't go on-. , (How good). How very strange the world can appear, blending and breaking, far and near: friendly, a little bit unclear. How good. Evening The sky puts on the darkening blue coat held for it by a row of ancient trees; you watch: and the lands grow distant in your sight. one journeying to heaven, one that falls; and leave you, not at home in either one, not quite so still and dark as the darkened houses, not calling to eternity with the passion of what becomes a star each night, and rises; and leave you (inexpressibly to unravel) your lite, with its immensity and fear, so that, now bounded, now immeasurable, it is alternately stone in you and star. Rainer Maria Rilke (translation by Stephen Mitchell) In partial fulfillment of the requirements for a Master of Music Degree with a Major in Composition TABLE OF CONTENTS S u l a f o r s o l o a l t o or t e n o r r e c o r d e r Akimbo f o r s o l o p i a n o S t r a t a f o r two f l u t e s , Bb c l a r i n e t , two p e r c u s s i o n i s t s and d i g i t a l p r o c e s s i n g . Zoo S t o r i e s f o r c o n t r a l t o and piano I The Pa n t h e r I I I d i o t ' s Song I I I E v e n i n g Dance A t t e n d a n c e a duet f o r v i o l i n and v i o l a 1. SULA f o r solo a l t o or tenor r e c o r d e r sSULA 1 = ' i t a r p o-iai'l <low J : 52-40 I I U T H i— 5 —i T H rf -JS^ r- 3 -> t> 1 i s TH_-3-- M H H 71 SKvn 4 . tr & v Mp ' L U I V i: fj fg j f fji i»'f i i f I l l i i P 1 \ i i i — A « ~ -a—• — i — 1 h J 4 J-v — — w J • i — u ft. lift J i f flllf- P f 240 -2LO I1 m f1 m f i T l ^ — « , « • • 1 3 .—*—m J — » — * — > — I — i — i — » — » — i — » — > — > — l — — i * — i -J-—»—»—*—^"—»—»—»—5—»—»" TP l> r I i FV. i f f f -*• > > > i n > > > > > =?=T=F 1 b l f" y" r= b r- t L > >"* 1^" • * J 1-j > #-»-*- £ — L _ | «_ i i 1 r r r — y i> — » . m — = = = ^ r ^ m— ~ ^ ^ M T r* ^ U 1 > Sub > f t * i -»-> > 5. > > > > > 6. AKIMBO f o r solo piano L E G E N D The performer s h a l l take the notes of the f i r s t box and apply them to the rhythm of the second box i n an i m p r o v i s a t o r y f a s h i o n f o r the a p p r o p r i a t e d u r a t i o n . A c l u s t e r using the c l o s e d f i s t . The s u s t a i n i n g pedal s h a l l be depressed a second a f t e r the f i n g e r s have l e f t the keys. A q u i e t echo of the chord i s the r e s u l t a n t sound. *"1 i> Canada 10 . 12 . PnntM «• Canada 14. STRATA f o r two f l u t e s , Bb c l a r i n e t , two p e r c u s s i o n i s t s and d i g i t a l p r o c e s s i n g J. 60 from no sound 6b Clarinet Timpani Marimba Revert to wood block « / v — ^ M M i I1, h i . 1 1 - ^ = \ >J l j > JL^ 0 " ' ' •^-4 4 1 . _ La 1 ^ ———" ^ 3 -16. mf — — . _ . , r - . ro • . 10 R. [(ft j L wood block mau * * * A 4 ^ J _ ^ L ^ J = J-4—rj t > 1 * % 'i - = 13 R • * > ^  * -=*1rJ J^J a * V ^ |J. J. i .5 — i f i _ ^ 4 k£T — ! l * ft* 3 5 - = 1 7 . £ fc^; 1 •• 1 •'•—• — to timpani — 1  y* - = = | 19 — -i : ^ » i * * P _„ 1 J i I PP V - = — . 22 R . 1 J . 135 flute #1 (lute #2 Bb clarinet vibes xylophone * r P r L ^ H _ „,_..... »— — . .. ft L- ft^f p ? r L J P r = ? = r I J I ' = H _ ^ | ! j : p ft = _ _ A -p — ^ — ft p r r P P r r -£ r r PI / r O f 19. j £ — f t — p — f t — r * — p — f t 5 L_—P—• =—• • — P — +k p ft f ft—f— ft p r P LT r J l . P P ft fri ft P" = * u r pr p#=4 V-**m P m—P br^ —P • **f u 1 cres cen do "» * * • P Ira P ft LT f p f P = 1 = 4_j. j _ _ ^ _ b .. i=P=4 P r LJ rf  ft 7L—7—P ft^ft ft 4 ?~"* F" P^P * 4 ~^ks p — f t — a ft 7 r P r f J . H f f , i=!=f=p=p=i=j ^ f l / f *T u -cres cen ^ do TO 1 7 i a f-^P 5 P a -P P' > L- P . ft 1 r 1 f '-J I n f n f n r LJ \ r f r p. * . --M P M — b = M 1 1 1 \=\ —m p - t = P p 1 P «f—3 l-—3—i—:—f— ores cen do I p r rp L _N ft = 1 B r n - r f f • 6 . . — . . ...» i <» . — » ..... _ • . • |ft P 1 P r>J f I t ? 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J tP m F " " " a F p r i - • S • • _ • r P ~ _ _ - — j  • m mm ft L J L J r 3 = _. ... .. , , , _ I t >f _ f j[ — • 1 1 •'ft w t r frW cymbats 3 3 7T 9 f m . * Ed tub-bells A 4 T » — t r — 3 cymbal •»»»»»»•» - f a-*f i \% =fr 1 f =1 13 c±a • i t P - l 1 4*=r = l a - , . . = / f = ^ ^ ^ — a p ft7' 1 # * = f p . / I ft^ '1 Jr. <j F IT * * f 4-> Ap r r PH V - V -F J X 1 J eroh ^ — i * * 3 - J timpani - 4 — » 3 3 " • r n . J 3 F '> =«#= 3 [V j : 2 J • - . . 1 15 S ^ - F 1 3 W «esc. f 34 . 35 . * A i ft = --I fc-i ^ 1 1 1 >—> : * * i 9 = 3 =Srf frr 3 3 3 3 3 h j ^ t m i l 3 *=#= _2 7 .. -< f r —2s T Z r «y f u -5 £ = — E E — -£—«? * ? • • • t — , — , — _ , ;_ .7.. L J i . C J 21 3 ^ JrU—* D  • 7 7 ; v 3 3 q» * 1 r. * = JU—» 0 1 » * * $ 1 * 7 lJ. * — » 0 * _ _ j j % 1 , » * ! S F t = ! = 3 - i t -3 . — t — - | J — — ! 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T i = : V trJ-id. 1 — „ ft_i- r = i - = J p i f . i ^ - f -' f P ft = r 9 9 _ w 1 p P 1 13 v r 1 *P"1 - T T -4>pi 1 J h - H ^ 1 = i f t — 1 v . -y _» 2_ L >• ft- ^ T f'J ^ — „ l i -ft , J l * > — mf _» ft r = i . f i i r r f=\ £ 5 — 3 — ~ :  • J y f 'If r H 7 , 7 _ i i • •ffr-^ * 1 7 * U 1 _-L, 4 2 . 43. r — i ft r 1 11 = j r r deaesc. L« >• ft * J. i f K — o «;— c — | -decresc. L • • j £ fri" * j _» . . . decresc. 1 i n • 1 *1 ft /H i = JL ^ = = i = 1 • r; T^ F -' f t = 1 33 — ' 1 * l J ^ i ft 7 M 1 i j = = f i >. = 4 \i i =4 JU *. - i ^ _ • 9-4= — : *. •»•• - -1*—a. . " * » . . , . . a *-*—i—h-decresc. H P-— • • _ • a i ' f t i 1 =± 37 4 4 . ZOO STORIES f o r c o n t r a l t o and piano I The Panther II I d i o t ' s Song I I I Evening 7 0 0 S T 0 M F S for innlVnlln ttnrj~~p7 T H F P AM T H F 3 ?uo. 4 • «• 3$ T J P T — * — r - s f 5 His » r - i . j • | • 3 . . 3-H 1 J r * j J " , \ i ^ — • en- R-v TLT (T » f - f I I . L j ,J \ 1 - 7 — J ! * — J ? Jfc fl < > 7 , ?  — r — : 3 , — . AN - i • "m I N ^ f 4 M — ' rr r r L = t = r = m M O . J J J -j 1 — f ' f - 1 M a %i 1-! — f — 21 Slaves VPS 46 . 3 - -m m Hon 6MU> woo g t -_ k j , , =^ S l i p X • ) , , It iTJ ^ : M 1 4, ^— / / ",J ^ H 'T' ^ i p r3 — J — £ 4—* — ^ J — 4 : J • j - T p-v I, j j 1 1 4 f y - ^ ^ M ' IN CS^MK^ .^OlO -J —i->' c £P. MOD f — 7 >• ' >• r-r n i l 3 , _ j j i (•0 • i , ' His S * . ^ * * * - - p ^ f 1 4 1 -• ')•-, J N 1 1 J f * — ' — J - — f 1 i c . F r r / * 1 . j r t i B e s — N Tj 1 1331 3T7?zr i 5 -•3 , • 3 K.I - T U . - Al_ D A N U A WHICH A HI • qHTf *jj 11 1 J t I j i r . i j i m 1 4) • if f r~ ±<f f ',-U—f ^—f — f — I # 1— 1— r -!K-I 1 4-I 1 1 it ?4-y Muse "»LiD«:alion» Onmad .n Canada HMO I D I O T ' S S 0 M G m ^ -. !5o ' l b o XT LU f,7 r 8vaJ V - _ + _ -5 S  > — — — > u f ^ f I— t L 1* 1 l i — ^ J J | f * f f ^ — y — J — f - * J »5 1-# 1— M r IM: J J 1 -L^l , 1 - / ' — 1 » — ^ t — ^ U , y J . . . n _ i — 1 4 i — f - — i — • — . « * H_ - 4 -1 ^ 1 - / - f t -r t L J t , U ^ 1 4 . LHJ . TUt '7 4A i THAT KJC - •ffllH (AN HAP- PtN 10 1 33 Siavm : Ccwqni 19?B - Git>n»v M U M : P-^oiCJtons WPS 4 9 . i * T + r M P " K N ALL 1MI«,S TUlNCj C A N w r ^ , — —- r — u ' — — • r — . — . — i/ hi j J 1 = r i l M i = i J j j 1 TO p ,f ^ = 4 j . i ^ =t Ho^" U k . L J . i (,»osr, AH £ = = — ^ — —v^— e w e . «KIO • rfl L . l J —u ' U • L J , V i 1 1 U 1 \L\ i j = f * m w 1 J *n f *f f * v « — ^ , * ^-' L. . ' f i L . Is b S ! CIA- L*fc. V"0'-1 (.^ J' P 1 1 J , f ^ i 1 ^ i i J i L ^ J — = C — •V, - » — * — U & i i f • ± — i — i — i — i — Ssr^ -^rd 5 l l | P ft ^ fr l* N t» P fr=4= i> I-*£ h ^ T f — i — — t — j L i_ i ; [ % i T l l } . _ f _ ' f - r ^ ' J 1 U 1 '•)',!> S fr : L x f f ]> fr N M ' ' 1 < V 1 ! • i *-\ St»v« MPS An Bipns R»Mrv«d 50 . 1 J 1 ^ — i * i 1 I l i of _ 1- i i ' 1 * t — f - f --f V — \v U I v — ( ^— r ^ \ — f T J »p d — > J 1 = ^ — . ffT ± • i 4J< » i — * f- -- * — f — 1 i ,-1 . !>-> i 1 HA(U> AS r +" S 4-TONE . 111 * * [ I M AM'T c^ o ort. k 7 — f " — * -4 1= 1 > +-J ' U & £ -« * * V ' u 1 u f u U i 4-C C * 1 (How <i<>oi>y -N * ztafc i rsor AC- «<*; 1 = 1 . — L L 1 A*gt> S«.IA - LIN<, _ FAt T f ?1 StBVM t Copyngw i97B - GiCywv M A C OuDhcarww MP5 2\ Slavw MPS AH R K ^ H S a«aarvwj I F V F N I N f, i. v i ." . O ^ ' f / '}'•'~T > ?— i 1 — P~r" >'f f ) . r"\ / + <• » »—1  - / - • = — . t r j t-i f ' Q - J r vi 1 J J ' p i 1 H ll - s±t 111 —h— - 5 f — •ki ^ 7 J -rue fH .icy t -K in t b i 5 H:M *f 4 — i f — • ' f' i P 1 s-# . ' - 7 7 [> 1 4 T t = • 1 — f — 1 — 1 7 : . C * „ • =PH« kf : ' r . j r /n u 1 - = — ^ a - " ^ i • 1 * p 1 : i - I — ' i / *• . 3 ^ 0- _ J J y 1 2' Slav*. s COCVT**T« T 978 - G*fiw» Music P u W a W l 53. " ~N~ t} - _ T \ | { £ O U T , W - T HM-F 10 {Ti l l . AWt> M M -H . t "4- +• ±t r f r f 3 %n — S i ~ - \ — F H 1251 , r r h , r -*=-t NCT C ^-4-A L - UNt, T D £ . Ttfk - m j ; J ^1 '«nn-we « — PAS-Slow * V 0 \-i • — l r M«A1 t 1 6t - l r ii A 5 I I . i ^ M f c H T A N D ~f f i ^ " r " ~ —4 r 1* ' 1 i f — i -f - N • M l ; 1 -H» r-1 1 [35] ^ — 'ffN ' . a ' ~ ^ ., h J =—-= J J JJ J n] Ui i . , = H —o * f f ;o T*AT N >—•—, r \ : f * : A V * J J f / j j — < = • o 1 " j J J l—j , E-t — r - r -;i si«v« first r" MP5 AO n«Mrv«0 54. 3 rtf J: F % = - ~ = *— 1 M i l l — - J — _—1 . —i— M j i * i* vd 'i 4- • <A, *; i I — h -l a M ': 4. j | 1 = —P—5 - n r* ; * -e-a J « •* - J- • » _ — f J 1_ . T53T - W r - f >2 | , -V j n r r r r 21 S'«v*3 : Gocyxjnt • G*oe* Music Pubhcauof-i *w*»d *• C*"»a« 5 5 . DANCE ATTENDANCE a duet f o r v i o l i n and v i o l a Dance Attendance J.Leggatt J = 150 i t * — - t— - f t — -t- I3L. I h * — 4 r i 0 j ff V • w _^5_ ^1 ' U ' mf • hn. IT~IT" r* L \)\m I $=^= r r V r—*B — W -"Vi"— * 1 m p —fr-W h— V 4 Uo*" r ««! —BE&BB A l e u loui sloped pin. 57 arco t N = * = f*— I L V ~ IS 1 K I f*=\ p W^0 F P T ^ w 4 . Afx—1 V F f~\ — : ^ — 5 — "^16 r — —v— [ S — AW\ _ _ _ _ _ _ _ —f= S 1 -y-p p J l i^-T. * 4 A. r ft 4 f- * 1 ; IV" — 1 cresc 5 m cresc «r f f ff: >22 • W~ -• tm l i . h, 1 i r * r 9F u » — * decresc. p r p •—m ^25 c ecresc. < 4=H ITJ J i f L = f = F n j L H P L (h—* IM—4 pizz a HP h f 1 — < rco 1 . . J J — « 4 1 h i f i L - * P" zz IS-*1 , ^28 -tt P J 1 . 1 w -58 . I* : 1 >31 4 1 m * I S , p i • ^ a — * — j 1* - i H r — 0 9 I0 • W — \ — i k. • ±=** 0 — w 5 ^34 0 d. v - )— P T T ' cfesc 1 E ^37 cresc 5 M O p i , 1 J l j l H*i s 1 : -0-^ 1 i t / > f > 0 • 9 0 g p ^ ft ttr / 1..... L— t 59. r cresc - f 0^— 0- 0 ' -- 0 J- 1 ft -t, 0—n-— < 0 1 5=1 ff*= H— > 1 sc h tf 1 M 0- | 7 0-cresc 0 • 0 » —1 ft- H 49 r V - « P cresc =-\ r c f r 0-0-esc. f f r1 r . UJ # 0' 52 cresc £f 0-' 9-9 9- — _ • V '• iv* . .• » -/ > / » / » 0-w 0-N 0 0m T9  0 —pi a * 0^ t » — # 0 mm 0 m\ 55 W %= 9-9-w •9-mr p : . • • h 9- -9- -W H a o - — - — -01  m * 0^ m * - 9 — 0. 'J — 9 b> - — W » — -5- - 9-' y -58 60. •'•9-'. pizz A arco •0-£ 1 sul tasto f PP #= 61 PP sul tasto ordinaire cresc. n T T 64 ordinaire sul tasto ordinaire r f t * ppp cresc. _ « ^ E2 ? 1 PPP 67 sul tasto ordinaire sul tasto § E E f e 1 70 ppp sul tasto ordinaire sul ponticello 3 cresc. I E E E E E J S ./XT sul ponticel 2« 73 ordinaire JJJ 61 decresc. " 76- decresc. sul tasto 79 PP suTtasIo-1? 4* «^  ^ 6 2 . 6 3 . 64 . 

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