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    Electronic Theses, Treatises and Dissertations The Graduate School

    2011

    Alfred Uhl's (1909-1992) Viola Etudes: An Analytic Approach; and a Discussion of Three Chamber Works That Feature the Viola Daniel Keasler

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  • THE FLORIDA STATE UNIVERSITY

    COLLEGE OF MUSIC

    ALFRED UHL‟S (1909-1992) VIOLA ETUDES: AN ANALYTIC APPROACH;

    AND A DISCUSSION OF THREE CHAMBER WORKS

    THAT FEATURE THE VIOLA

    By DANIEL KEASLER

    A Treatise submitted to the College of Music

    in partial fulfillment of the requirements for the degree of

    Doctor of Music

    Degree Awarded: Spring Semester 2011

  • ii

    The members of the committee approve the treatise of Daniel Keasler defended on February 23, 2011.

    _________________________________

    Pamela Ryan Professor Directing Treatise

    _________________________________ Evan Jones University Representative

    _________________________________ Corinne Stillwell Committee Member

    _________________________________ Greg Sauer Committee Member

    The Graduate School has verified and approved the above-named committee members.

  • iii

    TABLE OF CONTENTS

    List of Tables ................................................................................................................................. iv List of Musical Examples ................................................................................................................v Abstract .......................................................................................................................................... vi 1. INTRODUCTION: COMPOSER BIOGRAPHICAL SKETCH .......................................1 2. SELECTED CHAMBER WORKS FEATURING VIOLA ................................................3 2.1 Trio for Violin, Viola und Guitar .............................................................................3 2.2 Kleine Konzert for Viola, Clarinet and Piano ..........................................................7 2.3 Vier Lieder aus der Heiteren Kantate “Wer Einsam ist, der hat es gut.” For Soprano, Viola, and Piano ...............................................................................12 3. VIOLA ETUDES: A CHRONOLOGICAL DISCUSSION ..............................................19 3.1 Volume I ................................................................................................................20 3.2 Volume II ...............................................................................................................40 4. QUANTIFICATION AND ANALYSIS OF MUSICAL ELEMENTS IN VIOLA ETUDES..........................................................................................................55 4.1 Tempo, Time/Metronome Indicators, Expressive Indicators ................................55 4.2 Articulation Indicators ...........................................................................................60 4.3 Dynamic Indicators ................................................................................................62 4.4 Left-Hand Considerations ......................................................................................65 4.5 Miscellaneous Indicators .......................................................................................67 CONCLUSION ..............................................................................................................................71 BIBLIOGRAPHY ..........................................................................................................................72

  • iv

    LIST OF TABLES

    2.3.1 Movement 1, Measures 1-14..................................................................................16

    2.3.2 Movement 1, Measures 18-30................................................................................17

    2.3.3 Movement 1, Measures 33-40................................................................................18

    2.3.4 Movement 2, Measures 8-41..................................................................................19

    2.3.5 Movement 3, Measures 3-30..................................................................................20

    2.3.6 Movement 4, Measures 5-20..................................................................................21

    2.3.7 Movement 4, Measures 23-30................................................................................22

    2.3.8 Movement 4, Measures 35-44................................................................................23

    2.3.9 Movement 4, Measures 46-51................................................................................23

    3.1.1 Slur Combinations .................................................................................................31

    3.1.2 Right Arm Motion..................................................................................................38

    3.1.3 Tempo Structure of Etude 27 .................................................................................44

    4.1.1 Volume 1, Tempo Indicators and Time-signatures ................................................60

    4.1.2 Volume 2, Tempo Indicators and Time-signatures ................................................61

    4.1.3 Etudes with Corresponding Tempo Indicators ......................................................63

    4.2.1 Volume 1, Articulation Indicators .........................................................................64

    4.2.2 Volume 2, Articulation Indicators .........................................................................65

    4.2.3 List of Articulation Markings ................................................................................66

    4.3.1 Volume 1, Dynamic Indicators ..............................................................................67

    4.3.2 Volume 2, Dynamic Indicators ..............................................................................68

  • v

    4.4.1 Volume 1, Left-Hand Considerations ....................................................................70

    4.4.2 Volume 2, Left-Hand Considerations ....................................................................71

    4.5.1 Volume 1, Miscellaneous Musical Elements .........................................................72

    4.5.2 Volume 2, Miscellaneous Musical Elements .........................................................73

  • vi

    LIST OF MUSICAL EXAMPLES 2.1.1 Trio Movement 1, Measures 54-59 ..........................................................................6

    2.1.2 Trio, Movement 3, Measures 1-8 .............................................................................9

    2.2.1 Kleine Konzert, Movement 1, Measures 25-32 .....................................................11

    2.2.2 Kleine Konzert, Movement 2, Measures 1-4 .........................................................13

    2.2.3 Kleine Konzert, Movement 2, Measures 29-36 .....................................................13

    2.2.4 Kleine Konzert, Movement 3, Measures 1-8 .........................................................14

    2.2.5 Kleine Konzert, Movement 3, Measures 134-141 .................................................15

    2.3.1 Vier Lieder, Movement 1, Measures 18-22 ...........................................................17

    2.3.2 Vier Lieder, Movement 1, Measures 41-44 ...........................................................18

    2.3.3 Vier Lieder, Movement 1, Measures 8-13 .............................................................20

    3.1.1 Volume 1, Etude 5, Measures 1-16 ........................................................................29

    3.1.2 Volume 1, Etude 6, Measures 1-12 ........................................................................30

    3.1.3 Volume 1, Etude 9, Measures 1-10 ........................................................................32

    3.1.4 Volume 1, Etude 10, Measures 1-10 ......................................................................32

    3.1.5 Volume 1, Etude 12, Measures 57-66 ....................................................................34

    3.1.6 Volume 1, Etude 14, Measures 1-8 ........................................................................35

    3.1.7 Volume 1, Etude 15, Measures 13-22 ....................................................................36

    3.1.8 Volume 1, Etude 17, Measures 25-27 ....................................................................37

    3.1.9 Volume 1, Etude 19, Measures 1-4 ........................................................................38

    3.1.10 Volume 1, Etude 19, Measures 20-23 ....................................................................38

    3.1.11 Volume 1, Etude 20, Measures 1-8 ........................................................................39

    3.1.12 Volume 1, Etude 22 a, Measures 49-56 .................................................................41

  • vii

    3.1.13 Volume 1, Etude 23, Alternate Bowing Suggestions ..............