The Second Star To The Right Piano Sheet

[Urbano Bozman]

INFORMATIONFORM (To be completed and submitted by ALL Major in Music, BA students going through the review process for the first time in Spring 2020 and all students currently on deferral from their Fall 2019 review.)

*Finding your GPA*: Log on to Self Service Banner and click on the Student link. Next, click on Degree Audit (Review of your current academic progress). It should take you directly to your degree audit. All the information required for your form will be found here. At the top, under the maroon bar entitled Student View you will find your Overall GPA.

*Finding your total number of Core Hours Completed*: Scroll down until you come to the maroon bar entitled General Education Core Curriculum. You will find your total Credits Earned already calculated for you on the right hand side of the maroon bar.*

*Finding your Music Course Grades*: Scroll down until you come to the maroon bar entitled Major in Music, BA. Under this section you will find Departmental Recital, Aural Skills, Music Theory, Applied Lessons, and Major Ensembles.

*Major Ensemble Entries*: Along with the name and grade for your four major ensembles, you must circle the semester you took that ensemble and indicate the institution (see above) where you were enrolled in that course. NOTE: Use your Degree Audit for this entry, the section will say Major Ensemble and will list the courses by First Semester Freshman (aka Freshman I on the form), Second Semester Freshman, etc.

*Finding the total hours you've completed towards your Minor or Second Major*: For minors, on your Degree Audit scroll down until you come to the maroon bar entitled Minor in ___________(your minor will be listed). You will find your total Credits Earned already calculated for you on the right hand side of the maroon bar. For a second major, on your Degree Audit you will see a drop down arrow in the box where your music major is listed. Click on the arrow and change to your other degree. Then, scroll down until you come to the maroon bar entitled Major in ____________(your second major will be listed). You will find your total Credits Earned already calculated for you on the right hand side of the maroon bar.

STATEMENT OF PURPOSE (To be completed by ALL Major in Music, BA students going through the review process for the first time in Spring 2020 and deferral students instructed to re-write their statement after their Fall 2019 review).

INTERVIEW (To be completed by ALL Major in Music, BA students going through the review process for the first time in Spring 2020 and deferral students instructed to re-interview after their Fall 2019 review.)

A sign-up sheet will be available in Danton Bankay's office, Music 101. You will be allowed to sign-up for your interview time as soon as you have submitted all of your required paperwork (Information Form & Statement of Purpose).

For the interview, be prepared to summarize your career goals and ideal job as well as how you believe a BA with your chosen minor or second major will allow you to achieve those goals. You will also be asked questions regarding your academic information included on your Information Form and in your Statement. Your appearance and professionalism in your interview will be considered in your overall review.

Students must have taken and passed the Piano II Proficiency or be enrolled in Piano II at the time of review and successfully complete the course, with a grade of C or better. If enrolled in Piano II during the semester of the review, students must take and pass the Piano II Proficiency in order to be considered for upper level courses.

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When contemplating terms such as 'tradition' and 'influence', almost immediately a quote from the British novelist William Somerset Maugham comes to my mind: 'Tradition is a guide and not a jailer'. At first glance this is a superficial statement, but still it attracts me, as it contains what I believe are two key aspects:

First, a creative artist, still being socialised by the inventions of the past, is never limited to the expressions and habits of previous centuries. In this respect, he is indeed, so-to- speak, free to coin his own cultural and creative identity, declaring this his 'new invention'.

He can either use tradition as an inspiration or, as in the case of many of the Avant-garde members of the 20th century, he can reject it on purpose, hoping that by doing so he has 'deleted' all remnants of the past and freed himself from the punishing and reactionary elements of his predecessors.

In this latter case - and I hope you will agree that to a certain extent all creative artists face such a quandary - if he has been a part of society and cultural life, he can indeed state that he has been free of influence. But he cannot declare that he has not noticed other voices of creative expression, nor that one or two minor, let's say, 'patterns', ideas or expressions that we would label part of 'tradition' did not inspire him, either directly or indirectly.

To be influenced or not: this might not be the question the artist himself would pose, but as analysts and researchers I think we simply cannot forget how powerful the influence of the past is in general and what limitations a belief in tradition can imply.

When I claim that the British composer Edward Elgar created a certain element of tradition by composing his Pomp and Circumstance Marches, which other composers - in my case, another British composer Malcolm Arnold - might have used as a model, I need to explain three things: what I mean by the term 'compositional model'; why I have chosen a particular concert march or overture to refer to; and, of course, how I am using the term 'tradition'.

Models are often described as giving evidence of the smallest essentials of an idea. In the case of music historiography or musicology, the preference for and application of models in music analysis has long been a nightmare. For composers, however, the term 'model' often goes hand-in-hand with 'influence'. Composers have been educated for centuries in composing based on stylistic models. In today's music composition and theory education, this has survived in writing classes as the mandatory pastiche.

The concert overture and concert march genre has been a relatively stable musical form in the previous centuries, and although its design has varied - the French Baroque overtures obviously cannot be compared to the Brahms Academic Festival Overture - British composers in particular have a long record of preferring this compositional form.

The original meaning of 'overture' or 'march' as a piece designed for a functional purpose within a ceremony or a dramatic work was even extended, particularly in the 19th century: the word 'concert' became the functional purpose and thus the keyword, and through this new 'environment' the concert room opened new possibilities for composers. The more a piece by a particular composer became successful there, the more it became an expression of its time - and contemporaries picked up on it, either simply for monetary reasons or because they believed it could give them an appropriate frame for their own compositional identity. A repetitive pattern was born: the model.

The Pomp and Circumstance Marches do not surprise with an ambiguous and ambivalent form. The musical language is not as advanced as in theEnigma Variations or The Dream of Gerontius, nor are the forms that Elgar chooses unusual or unexpected for his time: usually symmetric ABA forms, with some sort-of extra-codas or a rondo form such as in March no. 2.

Elgar insists on his subjects, either by re-stating middle trio subjects at the end of his marches, re-capitulating and performing them with the greatest nobility, or by literal repetition within the current form section. Development is not the keyword, but an adherence to musical mono-subjectivism seems to be his credo. This habit is most obvious in his second march, a sort of rondo-march with its three distinct but nonetheless not far developed subjects. It would be outrageous to expect a kind of development section within this rondo-march, but if we project a rondo form onto it, we can identify three subjects, as follows:

This may be the first hint towards Malcolm Arnold, though it is not obvious in his great symphonic works, such as Symphonies no. 2 and 6. Whether his subjects are taken from the concert stage or the world of film, Arnold also likes to cut short the emphasis on development. Instead of 'leading through' his ideas, as the German term Durchfhrung suggests, he sometimes lets his mind wander free.

Comparing Malcolm Arnold and Edward Elgar may appear to be a difficult task, other than the fact that both were knighted and both have been largely identified with one particular piece: in Elgar's case the Proms'Pomp and Circumstance; in Arnold's case the River Kwai March.

At first glance, the similarities end there. Perhaps one can argue that both were composers of popular and functional music and that neither balanced their compositional techniques on the question of whether they intended to compose - in our terminology - a serious or non-serious, let's say, 'functional' piece. I do not want to ignore the idea of real musical development in Elgar's style, but I agree with Charles Edward McGuire's observation that 'in no essential way does Elgar's popular and functional music for Empire and the First World War differ from the rest of his output' (McGuire 2004, p. 214). This is true whether or not we value any functional work from a serious perspective.

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