Autumn Rhythm

Abstract

In Autumn Rhythm is a twelve-minute work for orchestra inspired by the improvisational processes and artistic outlook of American painter Jackson Pollock (1912 1956). Pollock’s work Autumn Rhythm manifests itself in this piece as a web of dense, improvisatory counterpoint that emphasizes aggregate texture over clear linear designs. The form is delineated by a metric palindrome extrapolated from the symmetrical rhythmic design of the opening section. This thesis is approved for recommendation to the Graduate Council. Thesis Director: Dr. Robert Mueller Thesis Committee: Dr. James Greeson Dr. Martin Nedbal THESIS DUPLICATION RELEASE I hereby authorize the University of Arkansas Libraries to duplicate this thesis when needed for research and/or scholarship. Agreed Daniel Thompson Refused Daniel Thompson TABLE OF CONTENTS I. INSTRUMENTATION 1 II. PERFORMANCE NOTES 2 III. STRUCTURAL SYNOPSIS 4 IV. SCORE 6 I. INSTRUMENTATION 2 Flutes (2 nd doubling Piccolo) 2 Oboes (2 nd doubling English Horn) 2 Clarinets in B-flat (2 nd doubling Bass Clarinet in B-flat) Bassoon Contrabassoon 2 Horns in F 2 Trumpets in C 2 Trombones Tuba Timpani 3 Percussion Piano (doubling Celesta) Strings (min. 10.8.6.6.4) *Transposed Score *Duration ca. 12’ 1 II. PERFORMANCE NOTES General Rhythmic values should remain intact at meter changes unless a metric modulation is specified. Hairpins that do not result in a dynamic change are merely to aid the performer in shaping a line. Glissandi are indicated with a straight line. Complex tuplets are indicated as a ratio (7:8 = 7 in the space of 8) “D.T.” = Material from Robert Mueller’s Die Lebendigen und Die Todten (used by permission) Woodwinds = Double tonguing (flutes) Flutter tonguing is indicated by an unmeasured tremolo accompanied by the word “flutter.” Brass The horn, trumpet, and trombone parts all require straight mutes; trumpets also require harmon mutes. Flutter tonguing is indicated by an unmeasured tremolo accompanied by the word “flutter.” 2 Percussion/Keyboard Pedaling indications for the Piano, Celesta, and Vibraphone merely signify textural necessity for use of the pedal. Additional pedaling is at the discretion of the performer. = let vibrate The Vibraphone motor is optional. If it is used it should be kept on a low to medium speed. Strings Un-slurred notes should be played with brush strokes unless it is noted otherwise. Artificial harmonics are indicated by a ( ̊ ) above the notehead. The resultant pitch is one octave higher than notated. Glissandi should be seamlessly connected, unless impossible like the Cello and Bass parts’ glissandi on page 72. In that case, portamento technique is most appropriate.