the reflection thesis
TRANSCRIPT
'No
THE REFLECTION
THESIS
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Wu, Yuk Yee (Kathy), B.M.
Denton, Texas
December, 1992
Wu, Yuk Yee (Kathy), The Reflection. Master of Music
(Composition), December, 1992, 52 pp., 44 figures,
bibliography, 8 titles.
The Reflection is a piece of chamber music that
describes the human nature through the use of different
"meanings" in music. By using various leitmotifs and
different compositional techniques, the music becomes a
helpful tool to reflect meanings. On the other hand, this
piece uses one special idea, which is that the whole piece
can be explained in terms of visual arts. Each primary
motive represents a "primary color" that reflects various
"moods" or "emotions." Through using combinations and
mixtures of color, different "sceneries" are formed.
Furthermore, The Reflection has three basic aspects: the
function of transmitting messages through music; the
exploration of different functions of fifth; and the
emphasis of meaning, sound effect and timbre.
TABLE OF CONTENTS
Page
LIST OF FIGURES...............
ANALYSIS . . . . . . . . . . . . . .
Introduction....... . .......
The StructureThe Plot and Its Underlying MeaningThe Symbolic Meanings of the Leitmotifs
Leitmotifs..... ...........
Harmony
Compositional Technique . .. -.. 0.. .. I.
. ..iv
. . . vi
. . . vi
. . .. xx
xxvii
xxxiii
Composing by Using a PlotComposing by Organizing TimbresComposing by Symbolism in Sonority or in RhythmComposing by Organizing TexturesComposing by Using Different Pitch CentersComposing with the Isorhythmic TechniqueComposing with the Collage TechniqueComposing by Using ContrastComposing by Sound EffectComposing with the Ostinato Technique
Summary
THE REFLECTION
Instrumentation . .
Study Score
REFERENCES ..... .
. . ... .. .. . xxxviii
. . .. ... .. .1
. . .. ... .. .1
. . .. . .... .2
.. . .....50
iii
LIST OF FIGURES
Figure
1. Nature
2. Mystery
3. Memory...............
4. Happiness . . ..*.0 . .
5. Righteous and Powerful .
6. Wicked Evils.. . . . . ..
7. Strangeness . ..0 * ..
8. D3.............. ......
9. Peaceful Nature
10. D1*........ .......
11. Evil's Offering
12. Mocking Laugh
13. Evil's Planning
14. Confidence.. .......
15. Ready .
16. Sea Wave. . .......
17. Al...... .......
18. B1 #.... ........
19. B2..............
20. C . . ..
21. D1.................
22. D2.*........ .. ......
.xiii
.xiii
.xiii
xiv
xiv
xv
.. .. ..xv
.. xv
. . .0 .0 . . xvi
. . . 0. . . xvi
.. ....0.xvii
.xvii
. xviii
. . . . . xviii
.. ..0 ..xx
. . ... xxi
. .. 0. . . xxi
.. ... . . xxii
.. ....xxii
. . .0.0.xxiii
iv
Page
xii
xii
Figure
23. D3
24. E
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44. Measure 175
Page
xxiii
xxiii
F2......
H2.....
Measure 4
Measure 5
Measure 6
Measure 7
Measure 12
Measure 51
Measure 53
Measure 54
Measure 60a
Measure 60b
Measure 60c
Measure 79
Measure 97
xxiv
xxiv
xxv
xxv
xxv
xxvi
xxvii
xxvii
xxviii
xxviii
xxix
nix
xxx
xxx
xxx
xxxi
xxxi
.xxxi
xxxii
xxxii
V
ANALYSIS
Introduction
"The Reflection" is a through-composed one-movement
form. It is program music in four "sceneries." These are
called "sceneries" because the music describes what children
on an island saw (sceneries) and how they felt (emotions).
The title is called "The Reflection" because it
reflects the nature of human beings through the adventure of
a group of children on a "beautiful" island.
"The Reflection" is a piece of chamber music.
Instruments used are strings, piccolo, flute, oboe,
clarinet, bassoon, horn, trumpet, bass trombone, marimba,
vibraphone, glass wind chimes, bass drum, harp, and some
other percussion instruments. It is a piece that makes use
of timbre to create different kinds of mood or emotion.
"The Reflection" is a contemporary piece. It is
contemporary in the sense that it combines the style of
"impressionism" with that of "oriental Chinese music." It
is traditional in its use of Chinese rhythmic patterns, but
gets its inspiration from French impressionist of Debussy
and the leitmotif technique of Wagner. The music itself
makes use of isorhythmic organization and collage technique.
It can also be explained in terms of the visual arts. Each
vi
primary motive represents a "primary color" in a picture.
Different combinations and mixtures of color create
different variants. In other words, "color" symbolizes the
"mood" or the "emotion" of being human. "Variant"
symbolizes the "scenery." Thus, the most important
components of this piece are these primary motives because
they represent different distinct characters.
The primary aim of "The Reflection" is to bring the
audience into a psychological state that enables them to
realize the true character of human beings. The secondary
aim is to help the audience get involved in the music by
bringing them to understand the "meanings." Such an
understanding does not emphasize the theoretical analysis
but primarily the aesthetic appreciation of the music. In
this way, music can function to bring out messages in the
same way that "words" or "languages" do.
"The Reflection" requires the audience to listen with
imagination because it is a piece with both surface and
underlying meanings. Secondly, "The Reflection" requires
the audience to listen without a traditional theological
approach. Thirdly, it is better for the audience to
understand the plot and the inner meaning before listening
to this piece.
vii
The Structure
"The Reflection" is a through-composed one movement
form. It is divided into four sceneries. 'They are:
Scenery I (bar 1-93): "Peace and 'Beauty"
Scenery II (bar 94-152): "Wickedness"
Scenery III (bar 153-220): "Struggles"
Scenery IV (bar 221-254): "Strength and
Confidence"
Each scenery consists of sets of "leitmotifs." There
are fifteen primary leitmotifs in this piece, and they are
listed as follows:
Scenery I : leitmotifs Al, A2, B1, B2, and C
Scenery II : leitmotifs D1, D2, D3, E, F1, F2
and G
Scenery III : leitmotifs B1, B2, C, D1, D2, D3,
E, F1, F2, G, H, H2, and I
Scenery IV : leitmotifs A1, and C
Each of these is described in detail below.
The Plot and Its Underlying Meaning
The plot describes a terrible memory that happened on a
beautiful island where a group of children were spending
their Christmas holiday. In a few days vacation, they
discovered many strange and wicked things.
On the tenth day of wilderness camping life, the
children noticed that some among them were lost. They soon
viii
found out that the missing children were burnt as a
sacrifice by some "evil creatures." After learning of this
wicked event, they were so scared and frightened that they
wanted to escape.
One peaceful night, they planned to leave by boat. The
weather became- bad and stormy. Unluckily, they were
discovered by the "evils" who pursued them and eventually
caught up with their boat. Then, a horrifying experience
began to unfold.
The battle between the evils and the children was so
great that it created a storm that made the boats shake.
The children fought the turbulence brought on by the evils
as hard as they could. This fight was so hard, however,
that it made some of the children frustrated. As a result,
those who had no confidence jumped into the sea and killed
themselves. Those who had confidence continued to fight for
victory. Suddenly, they heard a beautiful "voice" calling
from above. They felt hope and peace at that moment. At
the same time, a strong sparkling from the sky struck the
"evils" in their boat. Finally, the rest of the children
were saved and the "evils" were all killed.
The underlying meanings of this story relate to human
character, and four lessons are described in this piece.
The first relates to how we look at "beauty." When we
see beautiful things, we trust in them easily. That "trust"
parallels the decision made when the children saw the
ix
"beautiful island." On the contrary, we realize that we
cannot judge a thing only by its appearance.
The second lesson describes what we do when we are in
difficult times. When we face difficulty, the first
response for us is to escape from it. That is similar to
the response that occurred when the children saw those
wicked things. The underlying meaning is that we need to
face difficulty instead of escaping it. We need to find out
why we have this difficulty and how to solve it. We also
learn to try to treat each difficulty as a training that
builds maturity. Once we understand this, we will overcome
difficulty easily because we have learned a process that
will guide us throughout the whole journey of life. If
there is no difficulty for us to suffer, we will not
understand what happiness is.
The third lesson describes how we overcome difficulty.
The most important factor is "confidence." Notice that the
children who have confidence finally achieve victory. The
underlying meaning is that we need to have confidence in
order to build our hope. Once we have hope, we will have
strength. Moreover, strength will give us the drive to move
onwards. If we can stand the difficulty and continue to
move onwards, we are half way on the route to success.
The fourth lesson describes what we need to notice when
we are in difficulty. When we have difficulty, we are
usually blinded by things that we need. In fact, we need to
x
remain calm and the solution will occur easily. This is
similar to the "insight" or "strength" that the children got
from the sky when they felt hope and peace. -The underlying
meaning is that whenever we have difficulty, we need to be
calm and try to figure out the solution. We need to
remember not to be distracted by other needs that we think
are important.
In conclusion, the underlying meaning of "The
Reflection" is that we need the right attitude in order to
face the world. Although the writer only described four
kinds of attitudes, certainly these are not all that we
need. The writer hopes that members of the audience will
appreciate the meaning of this composition by discovering
themselves more fully.
The Symbolic Meanings of the Leitmotifs
The following discussion identifies measures with
numbers and beats within measures as fractional values,
written to the right of a decimal point. For example, mm.
5.2 means the second beat of the fifth measure.
xi
Leitmotif Al in mm. 4 - 5.2, played by flute,
characterizes the "peaceful" and "beautiful" environment of
this island. [see figure 1]
Al Nature
Fl. -- _ Ietc.
p
[Figure 1 Nature]
Leitmotif A2 in m. 1, played by double bass, symbolizes
the frightened heartbeat of the children when reliving this
horrible memory. [see figure 2]
A2 Mystery
D.b.
ppp
[Figure 2 Mystery]
The strings from mm. 4 - 32 create the strange and
mysterious environment that underlies the story.
xii
Leitmotif B1 in mm. 12.4 - 13.1, played by the
vibraphone, brings out the effect of time passing, or
symbolizes "memory.1 " [see figure 3]
B1 Memory
V b. 1 t %etc.
[Figure 3 Memory]
Leitmotif B2 in mm. 32.4 - 34, played by the flute,
symbolizes the peaceful and happy life the children had
during that Christmas holiday. [see figure 4]
B2 Happiness
Fl.
etc.
[Figure 4 Happiness]
Leitmotif C in mm. 50.4 - 53.3, played by the horn,
characterizes the righteous, powerful strength that can
conquer those wicked evils on this island. [see figure 5]
C Righteous and Powerful
et.c.
[Figure 5 Righteous and Powerful]
xiii
The passage containing this horn theme (leitmotif C),
with its accompaniment in the harp and the strings, creates
the feeling that the children have a more wonderful and
peaceful life than they ever had before.
The harp arpeggios create a light texture in mm. 79 -
88 that suggests the disappearance of this peaceful life
(scenery of peace and beauty).
Leitmotif D1 in the beginning of section II, played by
the bassoon, characterizes the evil, or the wicked things
began to happen. [see figure 6]
D1 Wicked Evils
(non-legato)
[Figure 6 Wicked Evils]
Leitmotif D2 in m. 98, played by the clarinet,
describes the mysterious and horrible nature of the evils.
[see figure 7]
D2 Strangeness
C1. I.
(in Bb)
mf
[Figure 7 Strangeness]
xiv
Leitmotif D3 in m. 108, played by the wind instruments,
characterizes the evils' dancing after they burnt one child
to death. [see figure 8]
D3
etc.
[Figure 8 D3]
Leitmotif E in mm. 99 - 100, played by the violins,
describes the happy and peaceful life the children had on
the other side of the island. [see figure 9]
E Peaceful Nature
1Virn.
2~
Mp
[Figure 9 Peaceful Nature]
In mm. 112 - 133, leitmotif Di begins to build as an
ostinato in the cello. This symbolizes the action of those
wicked evils beginning. [see figure 10]
Dl
VFC.etC.
f
[Figure 10 D13
xv
Leitmotif Fl in mm. 114 - 116, played by the flute and
violin, characterizes the success of the evils. This
symbolizes a vigorous evil dancing. [see figure 11]
F1 Evil's Offering
ffFl./Vln.
[Figure 11 Evil's Offering]
Leitmotif F2 in mm. 119 - 122, played by the flute and
the piccolo, characterizes the mocking laughs of those
evils. [see figure 12]
F2 Mocking Laugh
F].
etc.
[Figure 12 Mocking Laugh]
From mm. 112 - 133, each time the Fl theme comes in,
the bass voice rises up a step or half step. This
symbolizes the so-called "successful" work the evils did.
xvi
Leitmotif G in mm. 133 - 134, played by the cello,
describes the "evils' planning." [see figure 13]
SIc.
D.b.
Planningr essa"P""I Li,
mf
.0--m-0 -%.m0
etc.
[Figure 13 Evil's Planning]
In mm. 139 - 152, the cello ostinato duet with the
vibraphone ostinato symbolizes the celebrating of the
sacrifice of the children. The horn passage describes the
sad feeling of the other children who saw these sacrifices
happen.
In mm. 157 - 167, the violin plays out the quaver
leitmotif H1, which symbolizes the strong will of the
children in planning to leave. [see figure 14]
El Confidence
etc.Vr.
mp
[Figure 14 Confidence]
xvii
_ tLJF U
s. I
-
44
h -fp_- ---
In mm. 169 - 170, leitmotif H2, the triplet figure
symbolizes the secret leaving of the children. [see figure
15]
H2 Ready
mp
[Figure 15 Ready]
The thirds in the violin figure in mm. 173.4 - 174
symbolize the meaning "Ready to go."
In mm. 175 - 177, the horn and the harp represent the
waving of the sea. The accelerating tempo means the sea
become more and more rough. [see figure 16]
I Sea Wave
P Hn.
Harp
[Figure 16 Sea Wave]
From mm. 189.4 - 194.2, leitmotif C symbolizes the
children's strength when they had confidence, although the
sea was so rough.
xviii
In m. 194, leitmotif G characterizes the chasing of the
children by those evils. The flute plays out the B1 motive,
which describes the "peace" in their mind. The vibraphone
plays out the B2 theme, which symbolizes the children's
memories flowing in and out of their minds.
In mm. 197 - 200, the violin duet describes the kind of
peaceful life they had. The leitmotif I, which is projected
by the horn and harp, characterizes the sea that was still
so rough.
In mm. 201 - 204, leitmotifs D1, D2, and D3
characterizes the coming of those evils.
In mm. 205 - 212, the horn theme describes the
confidence and the strength the children got.
The passage in mm. 212.4 - 220 characterizes their
struggles with the evils.
In mm. 221 - 222, the flute theme symbolizes the
victory resulting from their confidence and strength.
At the end of the piece, the A leitmotif, which
describes the peaceful and beautiful island, returns to
conclude the whole piece.
xix
Leitmotifs
Leitmotif Al consists of Bb, Eb, and F. The intervals
Eb - Bb - F are perfect 5ths. If we divide the theme on the
note Bb, it is symmetrical. The starting note of the
countermelody at bar 4 is Eb, which is a fifth from the note
Bb played by the flute. In this motive which is played by
the vibraphone, the intervals Ab - Eb - Bb - and F are also
perfect 5ths. When these six notes are divided into two
halves, they are symmetrical, too. Thus, these motives are
basically derived from 5ths. [see figure 17]
Al
I V ife
etc.
P5 Per.5th
Per.5th (P5)1
[Figure 17 Al]
Leitmotif B1 is the repetition of seven notes. They
are Db, Gb, Bb, Ab, and Eb. The intervals Gb - Db - Ab - Eb
xx
- Bb are perfect 5ths. This leitmotif is also based on
5ths. [see figure 18]
P5
P4 (inversion off P5)B1
P4 (inversion of P5)
P5
[Figure 18 B1]
Leitmotif B2 is somewhat different from the above
motives. They are constructed from F, Eb, Db, and A. The
intervals between them are basically a major 2nd, a
diminished 5th, and an augmented 5th. Therefore, this
leitmotif uses 2nds and 5ths. [see figure 19]
Dim.5th (D5)
B2 Maj.2nd (M2)
I etc.
Dim.4th (inversion of Aug.5th)
[Figure 19 B23
xxi
The notes in leitmotif C are Ab, Db, C, and Bb. Again,
the intervals used are basically 5ths (Db - Ab), minor and
major 2nds. [see figure 20]
C
etc.
P4 (inversion of 5th)
[Figure 20 C]
Leitmotif D1 consists of D, A, and G#. The interval
made from G# - D - A is a diminished 5th and a perfect 5th.
As a result, this leitmotif is basically based on 5ths.
[see figure 211
Di
p5 D5
[Figure 21 D1]
Leitmotif D2 is composed of the notes D#, A, D, and G#.
The intervals of these notes are a diminished 5th and a
perfect 5th. Again, this leitmotif is basically composed of
5ths. [see figure 221
xxii
P5
D2
D5
[Figure 22 D2]
Leitmotif D3 consists of C#, G, B, F, and A#. This
leitmotif consists of a diminished 5th, an augmented 5th,
and an augmented 2nd. As a result, this leitmotif makes use
of 5ths. [see figure 23]
D3L
iL O -1 Blo: 1 ! itetc.
ID5
Aug.5th (A5)
[Figure 23 D3]
Leitmotif E consists of Db, C, Bb, F, Ab, and Eb. The
intervals used are perfect 5ths. Thus, this leitmotif
basically employs 5ths. [see figure 241
E
etc.
P4 (inversiOn of P5)
P5[Figure 24 El
xxiii
Leitmotif F1 is composed of Eb, D, F, G# (Ab), and G.
The intervals G - D - G#(Ab) - Eb are perfect 5th and
diminished 5th. F is a major 2nd from the note Eb. Thus,
this leitmotif is basically composed of 5ths and a 2nd.
[see figure 25]
Fl
P5
PF 2
[Figure 25 F11
A4 (inversion of D5)
Leitmotif F2 consists of Eb, D, G#(Ab), G, A, and Bb.
Again, the intervals G#/G - D - A - Eb - Bb are a diminished
5th and a perfect 5th. As a result, this leitmotif also
uses 5ths. [see figure 26]
D5
F2A
I-iML r M T' A L I l .1
7;
D5.P5
P4 inversiono of P5)
P4 (inversion of PS)
[Figure 26 F2]
Leitmotif G is composed of B, F#, A, C#, and G#. Here,
the perfect 5th is introduced by F# and C#. The note G# is
xxiv
L v ACEA --- ru- Ok
L I i mdomom17 1.
i
I I
r I
-L
a major 2nd from F#, while the A and B are the inversion of
a major 2nd from B to C#. In other words, the 5ths and the
2nds are still employed. [see figure 27]
P5 P5
G
etc.
P5 [Figure 27 G]
Leitmotif H1 employs Ab(G#), A, B, C#, D#, E, and F#.
This leitmotif is based on major, minor and augmented 2nds.
[see figure 28]
Hi
A2 min.2nd (m2)
[Figure 28 H1]
Leitmotif H2 makes use of D and C#, which is a minor
2nd interval. [see figure 29]
H2 -
m2[Figure 29 H2]
xxv
Leitmotif I is composed of Eb, F, Ab, Bb, and Db. The
intervals D'b - Ab - Eb - Bb - F are all perfect 5ths.
Again, this leitmotif also employs 5ths. [see figure 30]
P4 (inversion of P5)
P5P4 (inversion of PS)
P5
Ae.c
[Figure 30 I]
In conclusion, we notice that almost all of these
leitmotifs consist of 5ths and 2nds. The composer makes use
of 5ths to elaborate to such an extent that different
characters or meanings are described. It seems that the
leitmotifs of the whole piece are using the pentatonic and
the whole-tone scales, which creates an impressionistic
style. In fact, this piece is exploring the use of 5ths by
the employment of leitmotifs.
xxvi
Harmony
In Section 1, m. 4, the notes in the first chord are
G#(Ab), Db, A and F. The intervals between Db - Ab/A are a
perfect 5th and an augmented 5th, while the note F is a
minor 3rd from Db. Thus, 5ths and 3rd are used. [see
figure 31]
measure 4
*at
p5 A5
[Figure 31 Measure 4]
The second chord in m. 5 is composed of Db, F#, G, and
Eb. The interval G - Db is a diminished 5th. The note Eb
is a major 2nd from Db, while F# is the inversion of a minor
2nd from G. This chord employs 5ths and 2nds. [see figure
32]
measure 5
D5 m2 m2
[Figure 32 Measure 5]
xxvii
v4v
Ax -in :1 dEKe gIIv -- A I
The first chord in m. 6 employs Db, Ab, Eb, C, and Gb.
The intervals C - Gb - Db - Ab - Eb are the diminished 5th
and perfect 5th. Again, 5ths are used. [see figure 33]
measure 6
-C I-
ILI[Figure 33 Measure 6]
The second chord in m. 7 consists of Db, A, D, Ab, and
F. The perfect 5th, diminished 5th, and augmented 5th are
found in D/Db - A/Ab. The note F is a major 3rd from Db.
Thus, 5ths and a 3rd are used. [see figure 34]
measure 7
D5 A5
P5 D5
[Figure 34 Measure 7]
The last chord in m. 12 is composed of Db, B, F, and A.
In Db - A and B - F, the intervals are the augmented 5th and
xxviii
diminished 5th.
diminished 3rd.
figure 35]
In addition, the interval B - Db is a
Here, 5ths and a 3rd are employed. [see
measure 12
TfIT
[Figure 35
A5 D5
Measure 12]
The chord in m. 51 consists of Gb, Bb, C, F, Eb, Ab and
Db. The intervals C - Gb - Db - Ab - Eb - Bb - F are
diminished 5ths and perfect 5ths. Again, the 5ths are also
used. [see figure 36]
measure51 FI
Ar A-%k fic X WW Appm-
TL ff--
t4 --
mapf V,
[Figure 36 Measure 511
The chord in m. 53 is composed of B, Db, Bb, Gb, F, Eb,
and Ab. Gb - Db - Ab - Eb - Bb/B - F form perfect 5ths,
augmented 5th and diminished 5ths. [see figure 37]
xxix
4+A iffi41
M ILt Mk
ADZ-. V & AdW Ao' I qm
4v 11 Lola A 9v I
la 11 ow awla- 4w 11 fF - I
measure 53
[Figure 37 Measure 53]
The chord in m. 54 contains Bb, Db, Gb, F, C, Ab, and
Eb. The intervals Gb - Db - Ab - Eb - Bb - F - C are
perfect 5ths. [see figure 38]
measure 54
[Figure 38 Measure 54]
The first chord in m. o is composed of A, Db, F, Ab,
and Eb. The intervals Db - A/Ab - Eb are perfect Sths,
diminished 5th and augmented Sths. The note F is a major
2nd from Eb. This chord makes use of 5ths and 2nds .
[see figure 39]
measure 60
A5 P5 P5 D
[Figure 39 Measure 60a]
xxx
The second chord in m. 60 contains B, D, Gb, Bb, and F.
Here, there are three pairs of 5ths. Gb - D and Bb/B - F
form an augmented 5th, a perfect 5th, and a diminished 5th.
Therefore, 5ths are still employed. [see figure 40]measure 60
A5d CZ D5[Figure 40 Measure 60b]
The third chord of m. 60 consists of Db, D, Gb, B, and
F#. Again, there are three pairs of 5ths. Gb - Db/D and B-
F# form perfect 5ths and an augmented 5th. [see figure 41]
measure 60
P5 A5 PS[Figure 41 Measure 60c]
The chord in m. 79 is composed of Gb, Bb, and Ab. The
intervals are all major 2nds. [see figure 42]
measure 79
7
[Figure 42M2 M2
Measure 79]
xxxi
ff f IL 27
The chord in m. 97 contains Gb, A, and Eb. The
intervals Gb - A - Eb are an augmented 2nd and a diminished
5th. The intervals used here are a 2nd and a 5th. [see
figure 43]
measure 97
[Figure 43
A2 D5
Measure 97]
In m. 175, the chord in bar 175 is composed of Gb, Bb,
Ab, and Eb. This implies the chord Gb, Bb, Db, F, Ab, C and
Eb. The intervals Gb - Db - Ab - Eb - Bb - F - C are all
perfect 5ths. [see figure 44]
measure 175
.11
7F- vq,- I[Figure 44 Measure 175]
In conclusion, the harmony used in this piece, employs
the 5th as a dominant factor. Here, we notice that the
composer explores the functions of the fifths not only in
the leitmotifs, but also in the harmony.
xxxii
Compositional Techniques
In this piece, the composer uses several compositional
techniques that help to bring out the surface and underlying
meanings. The following paragraphs describe these
techniques.
Composing by Using a Plot:
As in a tone poem, the music in this composition is
suggested by a plot. Unlike many small chamber ensemble
works, this is not purely an abstract composition. Each
leitmotif is composed to suit the character that the plot
requires. The flow of the whole work is controlled by the
flow of the plot. For instance, in the first section, the
writer put herself in the position of the main characters
(the children). When she imagined the beautiful and
peaceful island, she tried to compose a "plain" motive that
makes her feel peaceful and beautiful.
Composing by Organizing Timbres:
The instrumentation of this piece captures the timbres
that describe the mood or character suggested by any scene
of the story. Different combinations of instruments create
different sound effects. The whole piece is an experiment
in organizing and combining sounds.
xxxiii
Composing by Symbolism in Sonority or in Rhythm :
By using this technique, the writer imagines the whole
scene that happened on the island: how the bird sings, how
the wind flows, how mysterious the island is, and how scared
the children are. She uses music to describe them. For
instance, the augmented or diminished sonority creates a
mysterious character, while the perfect 5th interval creates
a peaceful and beautiful character. Both characters are
part of the nature of the island.
In addition, the repeated rhythmic figure on the note
Db builds a mysterious effect like a heart beat, while
several fast and irregular rhythmic figures describe the
rapid movement of birds flying across the sky.
A trill played by the clarinet symbolizes a bird
calling, while the cowbell produces different rhythms to
symbolize the sounds of small animals and insects, like the
frog or the cricket.
Composing by Organizing Textures:
Various melodic fragments build a polyphonic texture
that helps to describe the "nature" of the island scene.
For example, in mm. 12-32, the Al and A2 leitmotifs sound
together with the irregular B1 material, which is
interrupted by rests. Together, these parts form a
polyphonic texture. This texture clearly describes the
xxxiv
characteristics of the island's nature because of the
irregular placement of the melodic fragments.
The next example is the free flowing of countermelodies
from mm. 69-78. They build a polyphonic texture that
describes the beautiful and happy life felt in relation to
"goodness."
Composing by Using Different Pitch Centers:
The use of different pitch centers helps to build an
out-of-tune effect. From bar 12 onwards, sixteenth note
runs in the vibraphone center around Db and Eb. Leitmotif
B1 combines with the previous dissonant materials (mm. 1-
12), which center primarily around the pitch Bb. Thus, a
fresh "old traditional effect" was created to represent
something that passed, which are memories.
Composing Using Isorhythmic Technique:
In leitmotif B1, the isorhythmic technique is used.
The seven notes are grouped as a cycle to repeat
continuously to blur the normal sense of beat or pulse.
When the B1 theme sounds together with a theme that is
grouped normally, it creates a very special effect. Again,
the writer used this effect to describe the peaceful and
beautiful nature of the island scene.
xxxv
Composing with the Collage Technique:
The collage technique is the overlaying of two or more
distinct themes. In another words, it is similar to a
painting in which colors are drawn layer by layer. It is
either the mixture of color, or the combination. Inside
this piece, the writer combines the leitmotifs by their
meanings as if they were colors.
Notice that the material from bars 1-12 is repeated.
In a musical sense, this second use of materials in bars 1-
12 functions as a layer which builds the base of the
picture. This is covered by another layer that is leitmotif
B1. It also serves as a bridge that lets the music flow on
to the next passage more naturally.
In the same manner, the memory motive (Bi) is used as
the bridge to move on to other passages. A new leitmotif
B2, which centers around the pitch F, sounds together with
B1, which centers around the pitches Db and Eb. This
combination of two kinds of color create a "fresh" mood that
symbolizes the nature of the island.
Composing by Using Contrast:
The using of a lyrical theme in contrast with
dissonances is another type of technique that symbolizes
"goodness." In addition, with the support of expressive
harmonies, the whole texture becomes homophonic. This
texture is exactly contrasting to the previous texture. It
xxxvi
is extremely effective in describing the concept of
"perfect," which is the righteousness and power that can
conquer the evils.
At the beginning of section II (mm. 94-105),, two
leitmotifs with different characters are placed side by
side. The use of contrasting themes is a technique that
intensifies the spirit of the piece.
Composing -by Sound Effect:
In mm. 79-89, a texture that consists of a glissando in
the harp and the free flowing of other countermelodies is
used to describe the gradual fading away of the children's
memories. Because the sound of the harp disappears so
easily, it is effective in symbolizing the disappearance of
those memories.
From mm. 175-190, the arpeggios of the harp also help
to describe the flowing of the sea wave. With the changing
of the tempo, leitmotif I symbolizes the transformation of
the calm sea to a rough sea.
Composing with the Ostinato Technique:
In mm. 112.3-152 (the end of section II), the ostinato
line played by the double bass and cello continues
throughout the passage to build the climax. This ostinato
effect together with the irregular accent of the beat and
the diminished interval help to create a kind of horrible,
violent, and exciting texture.
xxxvii
Sunmary
"The Reflection" is a composition for small
instrumental ensemble that consists of strings, winds,
brass, percussion, and harp. This piece contains three
major aspects. The first one is the function of
transmitting messages through music. This is explained by
the description of the structure, the plot and its
underlying meaning, and the symbolic meanings of the
leitmotifs. The second aspect is the exploration of
different functions of fifth. This is explained through the
motivic aspects of the composition, and its use of
harmonies. The third aspect emphasizes meaning, sound
effect and timbre which help to bring out the message. This
is explained through this piece's compositional techniques.
The following paragraphs further explain these three aspects
in detail respectively.
First, the composer tries to compose a piece in order
to transmit messages. Through a detail description of the
structure, the plot and its underlying meaning, and the
symbolic meanings of the leitmotifs, we will understand how
music transmits meaning. In another words, it is also an
experimental piece which proves the existence of music's
expressive function.
Second, this piece contains lyrical and vigorous
passages that makes use of leitmotifs and harmonies which
xxxviii
are basically constructed by fifths. As a result, this
piece presents different functions of fifth through
different musical passages. Similarly, it is like an
experimental piece that helps to prove the various functions
of fifth.
Third, this piece is composed through the using of a
plot, organizing timbres, symbolism in sonority or rhythm,
the use of different pitch centers, the isorhythmic
technique, the collage technique, the use of contrast, the
sound effect, and the ostinato technique. Thus, it is a
piece that emphasizes meaning, sound effect, or timbre.
xxxix
THE REFLECTION
Instrumentation
Piccolo (picc.)Flute (Fl.)Oboe (Ob. )
Clarinet in Bb (Cl.)Bassoon (Fag.)
Horn in F (Hn.)Trumpet in C (Tr.)
Bass Trombone (B. Trb.)
Vibraphone (Vib.)Marimba (Mar.)Cowbell (Cowb.)
Glass Wind Chimes (Gwc.)Horse Tail (Ht.)
Bass Drum (B. Drum)Crash Cymbals (Cymb.)Castanets (Cast.)Triangle (Trgl.)Celesta (Cel.)
Harp (Harp)
2 Violins I (Vln. I)2 Violins II (Vln. II)
2 Violas (Vla.)2 Cellos (Vlc.)
2 Double Basses (D. b.)
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REFERENCES
Adler, Samuel. The Study of Orchestration. 2nd ed. NewYork: W. W. Norton & Company, Inc., 1989.
Baczewski, Philip. Vox Organalis: Discussion and AnalysisReading Copy. [Denton, TX: 1989].
Baczewski, Philip. Vox Organalis: Study Score. [Denton,TX: 1989].
Burkhart, Charles. Anthology for Musical Analysis. 4th ed.New York: Holt, Rinehart & Winston, Inc., 1986.
Harrap's Reference. Harrap's Illustrated Dictionary ofMusic & Musicians. London: Clark Robinson Limited,1989.
Randel, Don M. The New Harvard Dictionary of Music.London: The Belknap Press of Harvard University Press,1986.
Stravinsky, Igor. The Rite of Spring. New York: DoverPublications, Inc., 1989.
Turabian, Kate L. A Manual for Writers of Term Papers,Theses, and Dissertations. 5th ed. Chicago: TheUniversity of Chicago Press, 1987.
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