Browsing by Author "Kurtzman, Jeffrey"

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    Shadow in light
    (1984) Martin, Andrea; Milburn, Ellsworth; Cooper, Paul; Kurtzman, Jeffrey
    Shadow in Light is a composition for full orchestra that explores the variation principle. The primary motivation is the continuous evolution of two themes within a large time frame. While the overall structure is ABACABA, the C section may be further divided into 3 B sections to yield a structure of AB1A1B2B3B3JA2B1A. The tonal areas and timing in minutes for each major section are shown below. Melodicaily, the work integrates two different themes. Theme 1 is a melody based on thirds that occurs in the A sections. Theme 2 is a 12 tone row with a quartal orientation that provides the basis of the variations. Appearing in the B sections, this theme has several manifestations. The first quote occurs in measure 17 as pillar chords that separate major sections (2.1). The next variant appears as a harp solo in measure 25 (2.2), followed by a horn solo in measure 34 (2.3). The flute solo in measure 97 (2.4) and the vibraphone solo in measure 138 (2.5) represent other variations. As the work progresses, the thematic variants are subject to further mutation. Harmonically, the interval sets of the two themes generate a rich spectrum of combinations. With regard to orchestration, the use of chamber ensemble and solo playing is explored against a changing background of orchestral colors.
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    The six string quartets of Paul Cooper: an analysis and interview with the composer
    (1979) Bennett, Elizabeth Ann (b. 1963); Kurtzman, Jeffrey; Schnoebelen, Anne; Cooper, Paul
    By analysis, certain aspects of compositional process and style are discovered- Cooper’s works have grown from the pandiatonic style of his early years to an open style characterized by clear structure, however veiled, by lyrical themes of eleven or twelve notes, by free twelve-tone and contrapuntal techniques, by use of some unusual and effective textural sonorities, and by a logic, growth and unity of ideas throughout each work. Interviews with the composer allcry careful questioning and cross-examination of his compositional process and his aesthetic and philosophical views, as well as provide factual data on the background and reasons for writing a particular work. In the interview. Cooper reveals that basic structure is the initial consideration in his compositional process. When he has settled that issue, he can begin to develop the melodic motives of the quartet. Sketches are used to work out complex contrapuntal passages, but are rarely necessary otherwise. Notating a work is relatively rapid once its composition is more or less complete in his head. A few notes or markings may change from the original draft to the final copy; however, these are usually minor. An exception occurs when an intellectual premise may have prevailed over musical instincts. In this case, Cooper feels the ear must be the final judge. Variation, proportion, and unity are important philosophical or psychological concepts that Cooper incorporates into his works. More often they figure in the composer's instinct rather than in a deliberate or programmed manner. In addition, Cooper answered questions on the historical background of each work. Studies on works by significant living composers present the obvious appeal of personal discussion with the composer in an effort to understand his processes and preferences. Very few composers have made an effort and many are reluctant to describe the fundamental aspects of their style and the reasons or inputs behind it. While in-depth analysis may reveal stylistic qualities, the findings are greatly enhanced by responses to the penetrating questions that surface in such an analytical study -- responses that can only be rendered by the composer. Current history and current musicology can supply information for present understanding and vital resources for future considerations.
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    The use of Scordatura in Heinrich Biber's Harmonia artificioso-ariosa
    (1982) Mitchell, Margaret Kehl; Schnoebelen, Anne; Fliegel, Raphel; Cooper, Paul; Kurtzman, Jeffrey
    Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Although scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-174), a virtuoso violinist and composer. Scordatura appears in three of Biber's works -- the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso-Ariosa -- although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats. In Sonatae violino solo, scordatura appears to have been used as one of the many visual and technical experiments of the set Harmonia Artificioso-Ariosa, a set of seven trio sonatas, used scordatura primarily to increase the sonority of the work. All the tunings make the solo instruments more resonant, and the use of scordatura effects, such as unisons and multiple stops, increase the amount of sound produced. Biber's choice of key, instrumentation, and texture also contribute to the greater sonority of the set. Unfortunately, no reliable modern edition of the work is available. The only modern edition, published in the PenkmHler der Tonkunst in Usterreich series, is handicapped by numerous transcription errors and an incorrect statement of the title of the work. A corrected edition is necessary, for future scholarship and performance of Harmonia Artificioso-Ariosa require an accurate reproduction of the work. Historically, Harmonia Artificioso-Ariosa is one of the rare examples of two solo instruments in scordatura, and the work deserves further scholarly attention. For the modern performer, Harmonia Artificioso-Ariosa would expand the repertoire and provide a challenging and rewarding musical experience.
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    Two symphonic movements
    (1985) Zgourides, George; Milburn, Ellsworth; Gottschalk, Arthur; Kurtzman, Jeffrey
    Two Symphonic Movements is an orchestral work dealing with the concepts of growth, contrast, and symmetry. Each thematic presentation in the work allows the two major motivic ideas to interact and evolve in such a way that both of the orchestral movements become inseparable. The fact that the thematic material appears throughout the entire piece while being presented in different forms provides for both unity and variety. The first movement begins slowly and quietly with a presentation of the primary theme of the work. Once this theme is varied, it becomes the major thematic material of the fast and energetic second movement. Both movements make considerable use of rhythmically active tone clusters, which represent the horizontal presentation of the vertically chromatic primary motives. Finally, the work achieves its climactic moment near the close of the second movement when the primary themes of both movements appear simultaneously with a series of rapidly repeating tone clusters.