Post on 21-Oct-2020
TRANSFORMATIONS
by
NICOLE MARIE PORTLEY
A THESIS
Presented to the School of Music and Dance
and the Graduate School at the University of Oregon in partial fulfillment of the requirements
for the degree of Master of Music
March 2015
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THESIS APPROVAL PAGE
Student: Nicole Marie Portley Title: Transformations This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Music degree in the School of Music and Dance by: Dr. Robert Kyr Chair Dr. David Crumb Member Associate Professor Lydia van Dreel Member and J. Andrew Berglund Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2015.
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© 2015 Nicole Marie Portley
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THESIS ABSTRACT Nicole Marie Portley Master of Music School of Music and Dance March 2015 Title: Transformations
“Transformations” is a three-movement work that is approximately 17'30" in
duration and is scored for full orchestra. The piece is a tone poem and employs extended
tonal pitch content. Each of the three movements is based upon a cell of planing intervals:
the cell of I. Molto Moderato consists of two parallel fifths played by the double basses;
the cell of II. Adagio is three intervals (a seventh, third, and fourth) sounded first by the
violins; and the cell of III. Allegretto is four intervals (a sixth followed by three fourths)
played by the bassoons, violas, and double basses. The planing motifs, which evoke both
medieval and contemporary popular styles, recur throughout the piece with varied pitch
content (including inversions) and in a variety of orchestrations (e.g. in
"transformations," as implied by the title).
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CURRICULUM VITAE NAME OF STUDENT: Nicole Marie Portley GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED:
University of Oregon, Eugene McGill University, Montreal, Canada
DEGREES AWARDED:
Master of Music, Composition, 2015, University of Oregon Bachelor of Science, Biology, 2003, McGill University
AREAS OF SPECIAL INTEREST:
Music Composition and Recording Piano Performance of New Works Piano Performance of Chamber and Orchestral Solo Repertoire French and Russian Language (Professional Fluency)
PROFESSIONAL EXPERIENCE:
Judge, Oregon Music Teacher's Association Composition Contest, Lane County, Oregon, 2014
Administrative Coordinator, Oregon Bach Festival Composers Symposium,
Eugene, Oregon, 2013
Participant, Jake Heggie, Stephen Hartke, Michael Fiday, and Libby Larsen master classes, 2013
Founding member, Ova Novi Ensemble, Eugene, Oregon, 2012–2014
Graduate Teaching Fellow in Composition, University of Oregon, Eugene, 2012–
2013
Composer Participant, Brian McWhorter trumpet studio, Pius Cheung percussion studio, and Estelí Gomez (vocal performance) residencies, 2012–2013
Music Composition, Selected Repertoire:
Living, a song cycle for soprano and string trio, text by Denise Levertov (10 songs, 36'00")
Voyage for string quartet (3 mvts, 15'00") The Trap for chamber orchestra (2 mvts, 10'30") Trio for piano, trumpet, and flugelhorn (2 mvts, 5'00") Two short pieces for percussion quintet (2 mvts, 5'00") Tango sketches for violin and piano (2 mvts, 6'00")
Recordings of New Music:
Living, an album of classical music featuring a song cycle for soprano and string trio, composer, 2015
Which Way is Jupiter, a contemporary popular music album, composer, 2014
DRRT, a contemporary popular music album, arranger, 2012 Stumptandas, an album of Argentine tango (orquesta tipica) music, pianist,
2011
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Performance on the Piano of New Works by University of Oregon Composers:
David Eisenband, Crystal Frost, David Horton, Noah Jenkins, Avery Pratt, Brandon Scott Rumsey, Christopher Stark, Ryan Truitt
Performance on the Piano of Chamber and Orchestral Solo Repertoire:
Beethoven Ghost trio Beethoven Triple Concerto Brahms Horn trio in Eb major Gershwin Rhapsody in Blue Hindemith flute, horn, and trombone sonatas Part Fratres and Spiegel im Spiegel with violin Saint-Saens clarinet sonata Schubert Fantasia in F minor for four hands Shostakovich viola sonata Vocal repertoire including Bernstein, Faure, Floyd, and Handel
GRANTS, AWARDS, AND HONORS:
Brandon Scott Rumsey Award for Composition, University of Oregon, 2014
Outstanding Student in Composition, University of Oregon, 2012
Fulbright Graduate Fellowship, Ichthyology, Institute for Biology of Inland Waters, Borok, Russia, 2003–2004
Boren Undergraduate Fellowship, Biology, Université Cheikh Anta Diop, Dakar,
Senegal, 2000–2001
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ACKNOWLEDGEMENTS
I would like to thank the composition faculty (Robert Kyr, David Crumb, Terry
McQuilkin) for taking me into their fold and giving me a place to learn and grow over the
past four years. Particular recognition is due to Dr. Kyr for the valuable mentorship and
advice that he provided, going beyond what would be expected of the average teacher-
student dynamic. I appreciate it greatly. I would like to also note other faculty and staff
that contributed to my experience while at the university: Lydia van Dreel, Laura Wayte,
Lance Miller, David Riley, and David Mason. This phase of my life was somewhat rigid
in its nature—it seemed necessary that it be so in order to successfully make the
transition into becoming an artist without losing balance elsewhere in life. I think (hope!)
that this rigidity, coupled with the solid mentorship of those listed above and others, has
allowed me to gain skills that will provide much freedom in years to come. In this
respect, I feel deeply blessed.
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TABLE OF CONTENTS Movement Page I. MOLTO MODERATO....................................................................................................1 II. ADAGIO.......................................................................................................................50 III. ALLEGRETTO............................................................................................................86
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INSTRUMENTATION LIST
WOODWINDS: 2 Flutes 2 A Clarinets 2 Oboes 2 Bassoons BRASS: 4 French horns 3 Trumpets 2 Trombones 1 Bass Trombone 1 Tuba STRINGS: 10 First Violins 10 Second Violins 10 Violas 8 Violoncellos 6 Double Basses PERCUSSION: 1 Harp 1 Timpani 2 Multi-Percussion (bass drum, brake drum, castanets, cymbals [hi hat, suspended
cymbal], glockenspiel, tam tam, tambourine, triangle, tubular bells, xylophone, wood block)
C Score
2 Flutes
2 Oboes
2 Bb Clarinets
2 Bassoons
12
F Horn
34
2 C Trumpets
C Trumpet
2 Trombones
Bass Trombone
Tuba
Timpani
Castanets
Wood Block
Harp
Violin 1
Violin 2
Viola
Violoncello
Contrabass
Without Rush q. = 60
Solo
p
tacet throughout
Without Rush q. = 60
p
p
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'Transformations' for Orchestra I. Molto Moderato
Nicole Portley
3 32
2
2
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Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
Xyl.
Tri.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f mp
124
f mp
f mp
mp
mp
mp
mp
fff
f ff
mf
mf
p cresc. mp mf
f mpffsub.
p cresc. mp mf
f
f
(4.)
3
3
3
3
3
3
3
3
3
3
3 3 33 3
( )
( )
Div.
( )
( )
30
Fl. 12
Ob. 12
Cl. 12
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
Xyl.
Tri.
Vln. I
Vln. II
Vla.
Vc.
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mp f ff
Tempo I q. = 60F128
mpmf
ff
mf
mf
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sub.mf
ff mp
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Tempo I q. = 60F
fff
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molto rit.
1.
3 3 3
3
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3
3
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3
3
3
3
3
3
gliss.gliss.
molto rit.
Div.
3 3 3
pizz.
ff
31
Fl. 12
Ob. 12
Cl. 12
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
Xyl.
Tri.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f ff f
130
f
ff mf
ff mf
p ff f molto dim. ff f molto dim.
p ff f molto dim. ff f molto dim.
mf mp f mf molto dim. mp
mf mf
ff
f
mf f
ff ff
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3
p
3
3
3
3
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To Br. D
gliss.gliss.
3
32
Fl. 1
Fl. 2
Ob. 12
Cl. 1
Cl. 2
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
Xyl.
Br.D.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf f
Stark, IntropsectiveG133
mp mf
fmp mf
mf
mf
p
mp
mf
Solo
pp mf
f
p pp
mf mp p pp
f mp
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mf mp
mf
f
mf p mf
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3
2
p mf
mf 2
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pp
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3
33
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
Xyl.
Br.D.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf pp sub. f p
137
pp p
p pp
sub.pp
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sub.pp
mf
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f
sub.pp
sub.ff
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p mf sub.pp
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sub.pp
sub.p mf
sub.p
mf
3
3
mf ff
mp
mf
mf f
mp
mf mf
p mf
34
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
Xyl.
Br.D.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf ppsub.
140
mf sub.pp
mf
mf sub.pp
mf
mf sub.pp
mf
ff
mf mf
mf mp mf
mfsub.pp mf
mf sub.pp
mf sub.pp
ff
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mf p mp
mp
mf sub.p
2
sub.pp
mf
mf
35
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
C Tpt. 12
C Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Xyl.
Br.D.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f mp sub.ff
With More FullnessH144
mp
f
ff
mf
ff
f sub.ff
ff
f ff sub.
mf
ff ff
With More FullnessH
f
pizz.
ff f
ff
ff
arco
f
f
f mf
3 3 3
mp
mp
mp
mp
mpmp
mp
mp
mp
gliss.
mf
gliss.mp
mp
gliss.
3
gliss. gliss.
Unis
gliss.
div. gliss. gliss. div.
36
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 12
Hn. 3
Hn. 4
C Tpt. 1
C Tpt. 2
C Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Xyl.
Br.D.
Vln. I
Vln. II
Vla.
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146
f
mp
mp mf
ff
mf
ff
mp mf
mf mp
mf mp
mf
mf mp
f ff mf
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ff mf
mf f mf f mf
mf
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mf
mf
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ff
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mf mp
mf ff
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mf
mf
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f
mf
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3
mf
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gliss.
gliss.
Unis Unis
37
Fl. 12
Ob. 12
Cl. 12
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
Xyl.
Br.D.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f pp
PurposefulI148
f
f pp
f pp
f
f
mf
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arco
p
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pizz.
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fp
2
2
2
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38
Fl. 12
Ob. 12
Cl. 12
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
Xyl.
Br.D.
Vln. I
Vln. II
Vla.
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150
mp
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39
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
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Br.D.
Vln. I
Vln. II
Vla.
Vc.
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f ff f
151
mf mf
f f
mf mf
f f
mf mf
f
f
prominent
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40
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
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Br.D.
Vln. I
Vln. II
Vla.
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ff ff ff ff
153
mfsub.ff
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ff f
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41
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
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Xyl.
Br.D.
Vln. I
Vln. II
Vla.
Vc.
Cb.
ff
155
mf ff
ff
mf
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mf
f
f
mp
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42
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
Xyl.
Br.D.
Vln. I
Vln. II
Vla.
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ff ff mp f f
156
ff ff mp
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43
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 12
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
Timp.
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Br.D.
Vln. I
Vln. II
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p mf
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mf mp p mf
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prominentCodaJ
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2
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44
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 12
Bsn. 2
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
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Vln. II
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mf mp mf mf
162
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div.
45
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
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Xyl.
Br.D.
Vln. I
Vln. II
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f mp mf mf f
165
mf fmf f f
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div.
div.
46
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
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Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
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Br.D.
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Vln. II
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168
mf f mf f mf
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47
Fl. 1
Fl. 2
Ob. 1
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Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
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48
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
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Tba.
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Vln. II
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ff
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ff
ff
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ff
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ff
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ff
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div.
div.
Div.
49
2 Flutes
2 Oboes
Bb Clarinet 1
Bb Clarinet 2
2 Bassoons
12
F Horn
34
2 C Trumpets
C Trumpet
2 Trombones
Bass Trombone
Tuba
Castanets
Wood Block
Harp
Violin 1
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Viola
Violoncello
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mf
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Div. Unis 3
Div. Unis
Unis
50
Fl. 12
Ob. 12
Cl. 12
Bsn. 12
Hn. 12
Hn. 34
Hn. 4
C Tpt. 12
C Tpt. 3
Tbn. 12
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Unis
51
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
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Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
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Hp.
Vln. I
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mp mf p
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52
Fl. 1
Fl. 2
Ob. 1
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Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
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13
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53
Fl. 1
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Ob. 1
Ob. 2
Cl. 1
Cl. 2
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Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
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W.B.
Hp.
Vln. I
Vln. II
Vla.
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17
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54
Fl. 1
Fl. 2
Ob. 12
Cl. 1
Cl. 2
Bsn. 1
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Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
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W.B.
Hp.
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55
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
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Hn. 12
Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
Tba.
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W.B.
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23
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mf
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56
Fl. 12
Ob. 12
Cl. 12
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Hn. 34
C Tpt. 12
C Tpt. 3
Tbn. 12
B. Tbn.
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W.B.
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Vln. I
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mf mpmf
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57
Fl. 12
Ob. 12
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C Tpt. 12
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W.B.
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31
mp f sub.mp
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58
Fl. 12
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Tbn. 12
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Glock.
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Fl. 1
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C Tpt. 12
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60
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61
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62
Fl. 1
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