Haugland, A. Oscar (Archie Oscar), 1922-2013
M. Mus. (Master of Music)
Department of Music
Songs with violin--Scores; Violin and guitar music--Scores; Songs with guitar--Scores
Three Lynn Brubaker Poems, for singing violinist and singing guitarist, represents an attempt to combine the "expanded performer" concept (championed by such composers as George Crumb and Salvatore Martirano) with the singer/instrumentalist roles so commonplace in more tradition- and commerce-oriented musical styles. Perhaps the closest analogy to this thesis' performance style would be that of Elizabethan musicians singing and playing lutesongs and madrigals in a smaller-than-usual get-together, with each performer taking extra voices. Juxtaposition of personal styles seems especially dramatic in these settings, as the poet's consistency converges sharply with the composer's eclecticism; it is hoped that some of the poems' original flavors are still in evidence. The performance demands made by this piece are based upon studies undertaken by the poet and the composer, which include two-person renditions of four-part Renaissance works as well as contemporary rounds by the blind New York City composer Louis Hardin (pseudonym: Moondog). The subdivision of concentration skills necessary to both perform and perceive contrapuntal music is astonishing; hence, the material to be performed simultaneously is not overly difficult. Moondog's rounds were designed to rekindle the recreational spirit of musical performance; with similar missionary zeal, Three Lynn Brubaker Poems is an attempt to broaden musicians' performing capacities, using reasonably traditional musical means.
Nichols, Eugene, "Three Lynn Brubaker poems" (1982). Graduate Research Theses & Dissertations. 6457.
Northern Illinois University
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