Académique Documents
Professionnel Documents
Culture Documents
2012
Recommended Citation
Bernier, Lucas James. "The percussion ensemble music of Robert Moran." PhD diss., University of Iowa, 2012.
http://ir.uiowa.edu/etd/3430.
by
Lucas James Bernier
December 2012
2012
CERTIFICATE OF APPROVAL
_______________________
D.M.A. ESSAY
_______________
___________________________________
David Gier
___________________________________
David Gompper
___________________________________
William LaRue Jones
___________________________________
Kristin Thelander
To Robert Moran
ii
ACKNOWLEDGMENTS
First and foremost I must thank Dan Moore. I have the privilege of calling him
my teacher, mentor, and friend. The wisdom, guidance, and support he continues to
provide are more than I ever could have imagined. For this, I am forever grateful. I would
also like to give a special thank you to Liesa Moore. Thank you for your friendship and
Gompper, Dr. William Larue Jones, and Dr. David Gier. These individuals have
supported me through two degrees, served on numerous recital and exam committees,
I owe a great deal of gratitude to Robert Moran for his music, humor, and for
allowing me to write about him. He has been more than supportive throughout the writing
My family also deserves a big thank you. I want to thank my Mom for putting up
with my drumming in the house, my Dad for encouraging me to read, my brothers Ben
for always having my back, and Chris for being my inspiration to pursue music.
Thank you to my teachers at both The University of Iowa and Minnesota State
University Moorhead who have also been encouraging throughout my education and
professional career.
Finally and most importantly, I would like to thank my wife Niki. There is no one
person who has been more supportive and encouraging. Without her unending love and
patience, this document and degree would not be possible. As my editor and critic on
many projects, she has helped me organize my thoughts and write clearly. There are no
words that can describe the amount gratitude I have for her. Her emotional support has
helped me through the most challenging times of three degrees and her ideas about life
iii
TABLE OF CONTENTS
LIST OF TABLES............................................................................................................. vi
CHAPTER
I. INTRODUCTION ............................................................................................1
Education ..........................................................................................................7
The San Francisco Years ................................................................................10
Northwest, Northeast, and Northwestern........................................................11
New York........................................................................................................12
Philadelphia ....................................................................................................13
1990s...............................................................................................................14
2000 and Beyond ............................................................................................15
V. BOMBARDMENTS NO.2.............................................................................39
iv
VI. BY ANY OTHER NAME ..............................................................................49
Analysis .........................................................................................................66
VIII. CONCLUSION...............................................................................................72
BIBLIOGRAPHY..............................................................................................................92
v
LIST OF TABLES
Table
7.2 Stirling: It’s Raining Cats and Dogs, Themes, Groups, and Tonal Centers.............66
vi
LIST OF FIGURES
Figure
5.2 Bombardments No. 2, Example of event from upper left corner of score ................45
5.3 Bombardments No. 2, Example of event from upper left corner of score ................46
vii
6.12 By Any Other Name, Mvt. 3, mm. 15-19 ..................................................................59
7.1 Stirling: It’s Raining Cats and Dogs, Score Pages 1-2 ............................................65
7.2 Stirling: It’s Raining Cats and Dogs, Group A-Section 1........................................67
7.3 Stirling: It’s Raining Cats and Dogs, Group E-Section 1 ........................................67
7.4 Stirling: It’s Raining Cats and Dogs, Group B-Section 1 ........................................67
7.5 Stirling: It’s Raining Cats and Dogs, Group C-Section 3 ........................................68
7.6 Stirling: It’s Raining Cats and Dogs, Group B-Section 4 ........................................69
7.7 Stirling: It’s Raining Cats and Dogs, Group E-Section 7 ........................................69
7.8 Stirling: It’s Raining Cats and Dogs, Group D-Section 6........................................70
viii
1!
CHAPTER I
INTRODUCTION
Robert Moran is a critically acclaimed American composer who has written for
percussion since the 1960s. He studied composition with some of the most notable names
collaborated extensively with Philip Glass, John Cage, Roman Haubenstock-Ramati, and
others. His career has spanned five decades and nearly every genre of contemporary
music including many works for percussion ensemble. He has received major
commissions from performers, ensembles, and dance companies throughout the world
including the Scottish Ballet, Houston Grand Opera, Minnesota Opera, American
Moran’s relevance in percussion dates back to the early 1960s — a period that
yielded relatively little in the way of innovative or significant literature for the serious
percussion ensemble. Early percussion works by Moran were well regarded in their day,
but since have been forgotten. His Divertissement Number One for electric frying pan and
any variable ensemble, popularly known as The Popcorn Piece, has been frequently
performed, but often not attributed to him. His innovative graphic composition
Bombardments No. 2 for five percussionists, written in 1964, was widely performed at
the time, but though still found in university percussion libraries across the country, is
rarely performed today. Moran’s dozen or so works for percussion ensemble, the majority
written before 1971 and after 2006, are relatively unknown and infrequently
performed. This period of inactivity in composing for percussion could account for him
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1
Robert Moran, email correspondence with Lucas Bernier, February 23, 2012.
2!
classical music should help to bring the name Robert Moran back into the collective
Moore and the University of Iowa Percussion Ensemble, known as Iowa Percussion, have
brought old and more recent music by Robert Moran to the attention of audiences. One of
Moran’s latest compositions for percussion ensemble, By Any Other Name, was
performed by Iowa Percussion on the New Literature Session at the Percussive Arts
for chamber ensembles, orchestras, operas, and dance companies who also writes
regularly for the percussion ensemble. Robert Moran and his compositions for percussion
The need for this study originates from a void in research and general knowledge
concerning Robert Moran and his music. Little scholarly literature has been written about
him, although a simple Internet search frequently returns his name in association with
graphic notation, opera, and contemporary music. This document will focus on his
percussion writing, and an overview of his other compositions will be presented in order
Purpose
compositional style while providing a detailed view of his music for percussion
ensemble. This document will provide historical and biographical information and
insight into Moran’s compositional process that might aid in performance of these works.
Moran has utilized multiple approaches to composition throughout his career and
his percussion works reflect these stylistic variances. Roughly half of his percussion
3!
works are written using graphic or proportional notation; the others are traditionally
notated. Analysis of both types will be applied to performance practices of his percussion
ensemble compositions.
recordings of his works. This research topic stemmed from this formative first-hand
experience and from a desire to learn more about Robert Moran and his music.
Procedures
literature and interviews with Robert Moran and others. This primary source information
will be invaluable in providing firsthand insight into his life and background.
Four compositions were chosen for analysis. Each is significantly different from
the others, and each exhibits Moran’s style in different ways. The compositions are
Bombardments No. 2 (1964), Obrigado (1995), Stirling: It’s Raining Cats and Dogs
(2007), and By Any Other Name (2008). Three of the four selections have also been
Analyses of traditionally notated scores will include basic formal analysis with
particular attention to harmonic, rhythmic, and thematic content. Graphic scores will be
analyzed in such a way that will provide possible realizations of the score as well as
interpretive suggestions.
Limitations
interpreting and providing performance suggestions for graphic pieces, therefore the
4!
analysis of these works will be more subjective. Works that use traditional notation will
Robert Moran has enjoyed a storied career of over 50 years as a composer and he
has written hundreds of compositions. Although it is beyond the scope of this project to
delve into his other works, an overview of compositions and compositional style will be
presented to illustrate the depth and breadth of his work throughout his half-century of
composing.
There are surprisingly few resources directly focused on Robert Moran. Other
than basic biographical information, his name is only mentioned in various articles
regarding avant-garde music and graphic notation. However, two dissertations include
compositions.2 His analysis of Moran’s Night Passage, composed for the Seattle Men’s
Chorus, provides thorough detail focusing on harmonic content and how those harmonic
covers multiple compositions, including Moran’s graphic score Four Visions.3 Brooks
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
2
Patrick O. Coyle, “Significant Male Voice Repertory Commissioned by American Gay Men’s
Choruses” D.M.A. diss., University of Cincinnati, 2006.
!
"!Richard
James G. Brooks, “Structural Functions of ‘Musical Gesture’ as Heard in Selected
Instrumental Compositions of the Twentieth Century: A Graphic Analytic Method,” Ph.D. diss., New York
University, 1981.
!
5!
describes his approach to interpreting graphic notation, but leaves room for further
Multiple dissertations and articles have been written about graphic notation and
perform a graphic score. Dissertations from Rachel Julian-Jones4 and Scott Shepherd5
alternative notational systems, both documents fail to adequately provide suggestions for
performances of graphic scores. Articles such as “Visual Music”6 by Stuart and Sylvia
Smith describe the phenomenon of graphic notation. Though no analysis is included, the
composers, including notable names such as Stravinsky, Berio, Bernstein, and many
others. This now-famous collection gathered a single page of a composition that each
composer was working on at the time. While there is little information regarding the
Smith and Nicola Walker Smith presents interviews with several composers. Their
interview with Moran provides excellent detail into his background, education, and
compositional process. Though limited in length and scope, the first-hand account is
Selected Chamber Works,” M.A. Thesis, University of California Los Angeles, 1977.
!
6
Stuart Smith and Sylvia Smith, “Visual Music,” Perspectives of New Music 20:1/2 (1981) 75-93.
!
7
This work inspired Dan Moore to ask Moran to compose the percussion opera Bats in the Belfry,
an Opera in Five Acts and Four Murders for Four Solo Voices and Large Percussion in 2010.
6!
Numerous articles and dissertations have been written about other important
composers for percussion along with analyses of their works. No such research has been
conducted about Robert Moran. This document is intended to fill that gap in research.
7!
CHAPTER II
BIOGRAPHY
studied with master composers. He has held teaching positions at multiple universities.
received commissions from all over the world. He has composed in nearly every genre of
contemporary music over the past five decades, yet his original style defies labels and
categorization. This chapter will provide a detailed overview of the life and
Education
music at a young age. His parents frequently took him to the opera, where young Robert
became fascinated with the genre, and enrolled him in a drama course for children at
Denver University at age seven.9 Though his formal education in music did not begin
until much later, this early exposure to opera and drama was clearly influential in his
career.
Moran, the institution offered nothing in the realm of music composition, so he decided
to pursue it on his own. During a family vacation to Europe in 1957, an opportunity arose
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
8
Robert Moran, email correspondence with Lucas Bernier, November 23, 2011.
9
Geoff Smith and Nicole Walker Smith, New Voices: American Composers Talk About Their
Music (Portland: Amadeus Press, 1995), 200.
10
Robert Moran, interview with Lucas Bernier, St. Paul, MN, September 10, 2011.
8!
for him to study music in Vienna.11 Moran took a break from his university education to
study twelve-tone composition with Hans Erich Apostel, who was a student of both
Arnold Schoenberg and Alban Berg.12 Apostel only accepted a small number of students,
so this was a fortunate opportunity for Moran. It marked the beginning of his formal
one of his first lessons, Apostel was editing the individual parts of Berg’s opera Wozzeck
and handed the original manuscript to Moran. The fact that he was actually holding
Berg’s manuscript left him nearly in shock, as he describes the score as being “like the
Bible to composers.”13 In another lesson, Moran remembers having this exchange, which
he described as typical of his study with Apostel:
I would say, “Mr. Apostel, I just bought the score of the Webern Symphony and I
can’t find the twelve-tone row. It’s not laid out like I would think.” He [Apostel]
said, “Wait a minute, wait a minute.” Then he would go over to the desk and pull
out a packet of letters from Webern. He’d pull out a letter and say, “Here it is,
Webern wrote me about this new symphony he was writing and here is the row.
So write it down, put it down in the score.” So I would get a pencil and I would
mark 1, 2, etc. on the notes directly from Mr. Webern’s letter. That was Apostel.14
Moran mastered twelve-tone composition and the art of variation under Apostel,
whom he credits as an excellent teacher.15 In Vienna, Moran was not only studying
composition, but was also attending a seemingly endless banquet of superb live music,
ranging from Wagner at the Vienna State Opera to the Modern Jazz Quartet. During this
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
11
Moran, interview, 2011.
12
George W. Gruber, “Apostel, Hans Erich,” In Grove Music Online, Oxford Music Online,
http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music/01097 (accessed
December 10, 2011).
13
Moran, interview, 2011.
14
Ibid.
15
Ibid.
9!
After studying in Vienna, Moran briefly returned to Denver, then moved to San
Francisco where he completed his undergraduate degree at San Francisco State College.16
There, according to Moran, the composition teacher even had him write the syllabus and
College in Oakland, California. The early 1960s proved to be an opportune time to study
at Mills College because both Luciano Berio and Darius Milhaud were faculty members.
He completed his Master’s degree in composition under the tutelage of both men.
classmates included Phil Lesh and Tom Constanten, who later formed the Grateful Dead,
and the now-renowned minimalist composer Steve Reich. The community at Mills
College offered direct contact and interaction with world famous composers and
musicians. During his studies with Berio, Moran was encouraged to write for ensembles
of varying instrumentation, which, in a way, led to Moran’s affinity for graphic notation
Studying under Milhaud brought Moran into contact with virtuosic artists who
were Milhaud’s close associates and friends: the other five of “Les Six,” Pablo Picasso,
Jean Cocteau, Gertrude Stein, and others.18 Moran had a cordial relationship with
Every time he would say “You’re going back to Vienna after you leave here?
Would you like me to write a letter of introduction to Universal Edition?” That
was Milhaud. Same thing with John Cage. They would bend over backwards.
“Can I write you a letter here? You must contact this person there.”19
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
16
San Francisco State University, “SF State Facts 2011-2012,” San Francisco State University,
http://www.sfsu.edu/~puboff/sfsufact/ (accessed August 29, 2012).
17
Moran, interview, 2011.
18
Milhaud was one of Les Six, a group of French composers that also included Georges Auric,
Louis Durey, Francis Poulenc, Arthur Honegger, and Germaine Tailleferre.
19
Moran, interview, 2011.
10!
As he was finishing his Master’s degree in 1963, Ravi Shankar invited Moran to
study with him in Bombay, India. He was also invited to assist Berio on a new
composition in Europe. In order to aid his decision, he consulted the I Ching.20 Moran
chose to assist Berio in Milan, but only remained there for a brief stay before returning to
Vienna. During his second stay in Vienna, Moran took one of his graphic scores to
Universal Edition, a music publishing company that he jokingly refers to as the “Mafia of
composer, worked at Universal Edition at the time and happened to be quite interested in
graphic notation. According to Moran, he presented his piece Four Visions to Ramati,
saying, “I have written it and I dedicate it to you.” Ramati replied, “That’s very lovely.
Moran returned to the United States later that year and began teaching at the San
literature, Wagner’s Ring Cycle, and piano, he also co-directed the New Music Ensemble
During his years in San Francisco, Moran was in close company with influential
individuals in the creative arts. He lived around the corner from Janis Joplin at the top of
Casper Hill, and the two became close friends — even walking their dogs together.24
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
20
The I Ching is an ancient text in which images are randomly selected by tossing coins or sticks.
This is a popular device used for composing aleatoric music.
!
21
Moran, interview, 2011.
!
22
!Ibid.
!
23
Ibid.
24
Moran, interview, 2011.
!
11!
Moran developed close relationships with people like contemporary American artist
Jasper Johns, and composers David Tudor and Christian Wolff. He also taught the now-
famous pianist George Duke. Moran describes the artistic and social atmosphere of those
years: “There was John Coltrane playing Ascension in jazz clubs, Nina Simone, and
parties with John Cage.”25 Moran was living a life surrounded by the arts and surrounded
by figures that occupied the pinnacle of the arts. He states, “It was just an amazing time,
an amazing time.”26
In addition to his time at the San Francisco Conservatory, Moran held various
positions in academia. None were full time positions, which he preferred because it
State University in Oregon and taught courses about Wagner’s Ring Cycle and opera
literature.27 He stayed there for two years before venturing to Germany to serve as a
composer-in-residence for the city of West Berlin.28
Next came a residency at the State University of New York in Buffalo from 1975
to 1977. The contemporary music program there was started by Lukas Foss, and Moran’s
responsibilities were to work with the New Music Ensemble and compose. He recalls: “It
was basically two years of being in insufferable Buffalo. But, it didn’t make a difference
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
25
Ibid.
26
Ibid.
27
Ibid.
28
Robert Moran, “Biography,” Robert Moran,
http://members.macconnect.com/users/r/rbtmoran/biography.htm (accessed December 10, 2011).
29
Moran, interview, 2011.
12!
Illinois, for one year. There he started the New Music Ensemble and completed one of his
waltzes written by some of the best-known modern composers including John Cage, Lou
Harrison, Philip Glass, Milton Babbitt, and Charles Wuorinen.30 He and Robert Helps
compiled the project, which, according to Moran, began with a humorous phone
conversation:
I called up my friend Bob Helps, who’s a concert pianist and composer, and I
said, “I’m really slipping. I’ve just written a waltz. I think I’ve lost my mind.” He
said, “Don’t worry about it, I’ve lost mine too. I’m just working on a waltz here.”
His was Waltz Mirage and it’s quite wonderful. We invited his Bernstein and
Copland friends to contribute a waltz. We also invited Frank Zappa, and I even
wrote a letter to Boulez saying, “We’re doing this waltz project and we’d love to
have you write a waltz. My friend has a $5 bet that you can’t write a waltz.” I had
a very charming letter back saying, “Thank you for the invitation, but
unfortunately I can’t write the waltz because I am very busy.” We received
twenty-five new waltzes and not one was a commission. The rules were: it’s a
waltz if you call it a waltz! It could be easy or extremely difficult, five minutes in
length or open, like Cage. That’s how it happened.31
New York
New York City and was able to compose full time, living solely on commissions.32 In
1984, Moran and renowned minimalist composer Philip Glass shared a residency at the
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
30
Ibid.
31
Smith, New Voices, 202-203.
32
Moran, interview, 2011.
!!
13!
Third Street Music School Settlement,33 which led to an important collaboration, The
Philadelphia
Later in 1984, Robert Moran settled in Philadelphia where he still lives.35 The
premiere of The Juniper Tree came just a year after his move,36 but this important
collaboration began in New York.37 According to Moran, one of the board members
approached him about writing an opera for the children at the school. Moran replied,
“Well, that sounds like fun, but why don’t I write a one-act opera and find another
composer to write another one-act opera?”38 The only other composer he could think of
was Philip Glass. According to Moran, Glass responded, “That sounds like fun, but I
think it would be more fun if we wrote an opera together. That means you can do all of
the work and I’ll just pick up the checks [laughs].”39 So the creative process began and
the two debated about topics for the plot. Moran turned to fairy tales “because they’re
primal, everyone gets it, all the elements are there, and it’s supposed to be for kids.”40 A
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
33
!The Third Street Music School Settlement is the oldest community music school in the U.S.
(started in 1894) located in New York City.!!!
!
34
The Juniper Tree is an opera that was commissioned by the American Repertory Theatre in
Cambridge Massachusetts. The opera was co-composed by Robert Moran and Philip Glass with the libretto
by Arthur Yorinks. The plot is based on a tale by the Brothers Grimm.
!
35
Moran, interview, 2011.
36
Robert Moran, “Biography.”
http://members.macconnect.com/users/r/rbtmoran/biography.htm. (accessed December 10, 2011).
37
Nathan Rubin, John Cage and the Twenty-Six Pianos of Mills College: Forces in American
Music from 1940 to 1990, a History (Moraga, CA: Sarah's Books, 1994), 111.
38
Moran, interview, 2011.
39
Ibid.
40
Ibid.
14!
friend directed him to Maurice Sendak, who was unable to collaborate, but directed them
to a collection of stories.41 Upon reading The Juniper Tree, Moran proclaimed, “This is
pure opera. I mean it was cannibalism and ruthless brutality to children and redemption
and all this stuff.”42 Philip Glass was less excited by the story. Moran responded, “Are
you kidding? You’ve got two kids; you know they’ll love it. It’s the parents that’ll turn
green and freak out.”43 Moran and Glass divided the writing of the opera; Arthur Yorinks
wrote the libretto. Directly after the premiere, the Houston Grand Opera approached them
1990s
The 1990s marked a successful period for Moran, especially for his operas and
choral works. The success of The Juniper Tree led to more commissions. David Gockley
commissioned Moran to write the opera Desert of Roses. The Minnesota Opera also
programmed Desert of Roses and commissioned Moran to write another opera, From the
Towers of the Moon. He had world premieres of two operas in consecutive months.44
Also during this time various recording projects were taking place, including releases on
In 1995, Night Passage was commissioned and premiered by the Seattle Men’s
Chorus. In just the first half of the 1990s, Moran had four new operas performed by
major ensembles in the United States. According to Moran’s website, in the 1990s, he
wrote 35 works that were premiered around the world by notable ensembles and
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
41
Maurice Sendak is the well-known author and illustrator who wrote the popular children’s story
Where the Wild Things Are.
42
Moran, interview, 2011.
43
Ibid.
44
Ibid.
15!
soloists.45 Although he composed numerous other chamber works during this time,
Robert Moran has shown no decline in activity since the turn of the twenty-first
began collaborations with Innova Records, which produced and released four albums
Numerous percussion works were written for and premiered by Iowa Percussion
including Kboco, Stirling: It’s Raining Cats and Dogs, By Any Other Name, Meister
Ekhard and the Point of No Return, Bats in the Belfry, and Cabinet of Curiosities.
In 2011, Trinity Wall Street and organist Robert Ridgell commissioned Moran to
write Trinity Requiem (scored for children’s chorus, organ, harp, and four cellos) to
commemorate the tenth anniversary of the September 11, 2001, terrorist attacks in New
York City. In October 2011, Moran had another large premiere titled Buddha Goes to
Bayreuth, for two choruses and two string orchestras. Two more premieres came in
and The Lottery performed by Ballet West in Salt Lake City, Utah. Robert Moran’s career
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
45
Moran, interview, 2011.
46
Ibid.
47
“Robert Moran,” http://www.innova.mu/composers/robert-moran, (accessed January 26, 2012).
16!
CHAPTER III
“And we’ll have plenty of time for going blah, blah until you run for the exit.”48
the five decades he has been composing, Moran has written for nearly every genre of
contemporary music. When questioned about his style, he answered with another
question: “Wouldn’t it be different for each piece?”49 With his breadth and depth of
compositions and determination not to be pinned down to any one category, he has been
able to successfully escape any sort of stylistic captivity. He notes that many composers
and artists have failed due to the confining descriptions of critics, who:
…always want to pigeonhole. And I just don’t want to get bored, and so you’ve
got to keep going on and that confuses them.…And I think the pieces, whatever
you’re doing, should determine the costume that you’re putting on. You don’t
want to wear the same costume all the time. I don’t.50
“Nobody wanted to perform them and in all honesty, not too many wanted to hear
them.”52 His early studies of twelve-tone music with Apostel benefited his entire career,
because Apostel would not let him touch the piano, requiring Moran to hear the sounds
first.53 This helped him to truly understand what was being written on the page. He
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
48
Moran, interview, 2011
!
49
Ibid.
50
Ibid.
51
Moran, phone interview with Lucas Bernier, September 15, 2012.
!
52
Smith, New Voices, 199.
53
Ibid,198.
17!
moved away from twelve-tone music shortly after his studies, and toward graphic music
and large-scale “city-pieces.” These early works focused heavily on sound, texture, and
color. Later in his career, Moran made a progression back to tonality. He categorized his
stylistic output as “whole-city events, meditative pieces using drones, and minimalist
works with repeated rhythmic patterns.”54 However, his musical output has produced
more than three categories can contain, including opera and choral works, theatrical
chord progressions, much of his writing is based around the concept of tonal centers and
gradually shifting harmonies. For this, some critics have labeled Moran a minimalist,
although he disagrees with any sort of label.55 As his style has changed over the course of
his career, Moran has moved to a more direct musical language described as being for the
“pure listener.”56
The remainder of this chapter divides his works into various genres and briefly
discusses selected compositions representative of each genre. This is not a conclusive list,
but will provide the reader with an overview of Moran’s compositional style.
City Pieces
Moran may be best known for his four “city pieces,” immensely large
compositions written for entire cities. The first, written for the city of San Francisco,
happened almost by accident. According to Moran, by 1969 the music and artistic scene
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
54
Rubin, John Cage and the Twenty-Six Pianos of Mills College, 111.
55
Smith, New Voices, 203.
!
56
Cornall, Liner Notes to Mantra.
18!
in San Francisco was fading.57 A large music festival was proposed and Moran was
invited to a planning meeting, much to his dislike, as “it was all terribly hippie
nonsense.”58 When asked if he had any ideas, Moran replied, “Well, I’ll do a whole city
piece and use all the skyscrapers.”59 The planners thought it was a great idea, and 39
radio broadcasters, at-home participants, and many others. The title and length of the
work resulted from the chance operations of the I Ching. Moran called for 39
automobiles with their horns amplified and placed on San Francisco’s Twin Peaks. Three
performers on a moog synthesizer were also utilized and those 40 sounds were mixed and
sent to three radio stations and one television station. In addition to the audio from Twin
Peaks, video from cameras placed around the city and six airplanes circling overhead
provided “a visual fantasy montage” that was broadcast on television.61 Around the
perimeter of the video was a simple lighting score that directed at-home participants to
turn their house lights on and off. 62 Paul Crowley, a talented lighting technician,
programmed and coordinated the lighting of the skyscrapers. Even the audience and cast
of the musical Hair paused their show to participate.63 According to figures from the
His next three city works follow a similar formula: multiple musical ensembles,
light shows, dancers, actors, etc., resulting in citywide mixed media events. Hallelujah,
Minutes for 39 Autos and premiered on April 23, 1971.65 The work called for 20
marching bands, 40 church choirs, multiple rock bands, organs, and carillons, and light
shows projected on synagogues.66 The music was based on old Moravian hymns and
The third city piece, Pachelbel Promenade, was written for Graz, Austria and
Moran’s last city piece, From the Market to Asylum, was written for Hartford,
Connecticut. Premiered in June 1982, it featured music, actors, puppeteers, acrobats, and
dancers.68 After From the Market to Asylum, Moran moved in a new direction. He
explains, “It was at that point when you realize that the phenomenon of doing that type of
thing is over. It’s a different period. Things change, besides I have done that and it was
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
65
Moran Website, “City Works.”
66
Moran, interview, 2011.
67
Ibid.
68
“Public Art,” from News and Notes, in Umbrella Magazine 5:3 (1982): 74,
http://journals.iupui.edu/index.php/umbrella/article/viewFile/1034/983 (Accessed October 1, 2012).
!
69
Moran, interview, 2011.
20!
Moran often pushes the envelope and tests boundaries of contemporary music.
While some of his ideas for pieces may initially seem rather unconventional, his sense of
One such piece is Divertissement Number Three, also known as The Lunch Bag
Opera. It premiered in October 1971 in the London Banking Centre, sponsored by BBC
Television. This work calls for ensemble members to walk around any financial center at
lunchtime wearing upside down body-sized paper lunch bags playing small plastic toys at
random underneath the bags. The contrast of the absurdity of the bags and the seriousness
experience.
One, also called The Popcorn Piece. This work was inspired when Moran lifted the cover
off his electric popcorn popper too soon, and popcorn pieces went flying in every
direction. His dog, Charlotte, began leaping in the air to catch the popcorn. Despite the
mess in his kitchen, Moran thought the grace of Charlotte twirling through the air was
beautiful and wanted to turn the “dog popcorn ballet”70 into a staged performance. In true
Moran comical fashion, he instructs the ensemble to wear over-sized circus sunglasses
with five lines representing the musical staff taped on the lenses. A lidless popcorn
popper is placed in the center of the stage. As the popcorn flies, the musicians play what
they see as the popcorn appears on the musical staves on their glasses. The piece begins
with the musicians waiting to play their instruments. Tension builds waiting for the first
kernel to pop. Then as the popcorn starts popping faster, a climax arises with the popcorn
flying everywhere. Then the piece dies down, and no one knows when the last kernel will
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
70
Moran, interview, 2011.
21!
pop. The musicians are instructed to maintain a straight face and serious demeanor
throughout. The absurdity of the popcorn contrasts with the seriousness of the musicians,
performance. In a way, this could be viewed as a comical answer to serial or other highly
complex music that could take years to learn yet essentially sounds like an improvisation.
Moran claims that the piece is no such reaction, saying with a wry smile, “no backlash,
just popcorn.”72
Drone Pieces
Moran’s style shifted in the 1970s toward drone compositions, chamber, and
orchestral works. Moran continues to this day to write for ensembles of varying
children’s chorus, string orchestra, brass ensemble, six percussionists, and a harp.
His drone pieces move and develop slowly over a long period of time. While the
drones are not necessarily based on a harmonic pedal point, often long sustained tones
serve a bass line for the work. At times, proportional notation will be placed above the
drone allowing for a freer interpretation and a slow expansive result. Glenn Watkins’
term “non-pulsed minimalism” could be applied here in that an “ebb and flow of sound
masses” is positioned on top of a slow moving non-pulsed series of drone pitches.74 For
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
71
A designation associated primarily with the serial music written in the 1950s by Nono,
Maderna, Stockhausen, and Boulez, and promoted by them in the 1950s at the Darmstadt summer courses.
Moran often uses this phrase when referring to extremely difficult and complex music.
72
Moran, interview, 2011.
73
Moran Website, “Chronological Index.”
74
Glenn Watkins, Soundings: Music in the Twentieth Century, (New York: Schirmer Books,
1988), 576. !
22!
instance, the composition Salagrama can easily last over thirty minutes (Figure 3.1) and
the drone pitches are based on Kepler’s idea of the Music of the Spheres.75 Moran’s
length.
Dance Pieces
Many of Moran’s pieces were written specifically for dance while choreography
has been added to others. His compositions have been paired with dance since early in his
career when the Bavarian State Opera choreographed his Silver and the Circle of
Messages in 1972. The Waltz Project — a collection of solo piano pieces, was later
choreographed by Peter Martins and the New York City Ballet,77 and the Phyllis Lamhut
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
75
Dan Moore, Liner Notes to Cabinet of Curiosities.
76
All figures, unless specified otherwise, are Copyright © by Charlotte Benson Music Publishers
and Used by Permission.
!
77
NYC Ballet, “The Waltz Project,” NYC Ballet http://www.nycballet.com/ballets/w/the-waltz-
project.aspx (accessed November 28, 2012).
!
23!
Dance Company among others.78 Numerous other dance companies and ballets have
Moran has developed a style that works easily for choreographers. Dance works
or ballets will often require a set amount of time for each piece. Moran will then compose
individual repeatable sections. Using this technique he found it was easy to tailor a
performance to the needs of the dancers by allowing them to collaborate with the
musicians to determine for themselves the number of times each section should be
repeated. Choreographers can then select which sections they like best, those that fit with
composition cut from a performance due to the previously mentioned reasons, Moran’s
entire composition will be performed, though perhaps some sections heard more than
others.
Moran has written multiple operas, including commissions from the Houston
Grand Opera and the Minnesota Opera. He has had an in interest in opera since he was
young. He feels that opera is an all-encompassing artistic experience and states: “Opera
includes drama, music, humor, sex, and violence, all of the elements that make up movies
and television in modern entertainment.”80 When asked if opera represents the real
Moran, he replies:
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
78
“Robert Moran,” WQXR, http://www.wqxr.org/#!/people/robert-moran/ (accessed November
28, 2012).
!
79
Moran Website, “Chronological Index.”
80
Moran, interview, 2011.
24!
Oh yes, when I was a little kid I was taken to the opera, and I didn’t need to know
or want to know what the words meant. Operas were my fairy tales. It [opera] was
always popular. It’s goofy and fun and passionate. Now, in the USA, we see a
decent amount of opera on TV.81
Moran often dismisses the question when asked about his compositional process.
He states that he does not think of it as a process, rather he just creates. When composing
choral or operatic works Moran notes that “when the libretto is already in place, the
immediately hearing musical ideas and visualizing characters.83 Frequently for Moran,
plots and musical direction will just occur naturally. On occasion he will map out some
sketches, but it depends on the piece.84 The topics of Moran’s operas range from serious
to humorous: fairy tales as in The Juniper Tree and Desert of Roses (based upon the Story
of Beauty and the Beast), horror stories like The Dracula Diary, social issues in Night
One of Moran’s newest operas was written in 2010 for Dan Moore and Iowa
Percussion. Bats in the Belfry is subtitled “an opera in five acts and four murders for four
solo voices and large percussion.” This is another piece with unusual instrumentation,
which calls for percussion ensemble accompaniment rather than a typical pit orchestra.
Graphic Scores
Moran turned primarily toward graphic notation beginning in the mid-1960s and
moved away from it near the end of the decade, but still employs it today when needed.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
81
Smith, New Voices, 201.
82
Moran, interview, 2011.
83
Smith, New Voices, 200.
84
Ibid.
85
Robert Moran, “Remember Him to Me,” Robert Moran,
http://members.macconnect.com/users/r/rbtmoran/Remember%20Him.htm, (accessed December 9, 2011).!
!
25!
Moran composed a multitude of graphic scores during that time and some of these works
helped him gain international notoriety by acquiring publishing contracts with Universal
This style of notation began as a way to free both composers and musicians of the
bounds of conventional notation. Early graphic score pioneer Earle Brown began with
However, the concept of graphic notation inherently leaves the composer with far
less control over the composition. While serial compositions adhere to exact details over
every musical element, graphic notation is nearly the complete opposite granting control
to the performer. The performers are now in some sense becoming co-composers. While
traditional notation gives, in a sense, only one correct option in performance (i.e., playing
the right notes versus the wrong notes), graphic notation allows for more multiple correct
improvisation.”87 But, at the same time since there is no standardized way of interpreting
graphic scores, improvisation and interpretation are naturally at the forefront of any
performance.
as a haphazard or undisciplined art form — just as some may assume that modern artists
such as Jackson Pollock are merely splattering paint. However, this concept does not
“It’s what Cage always talked about, when he talked about being responsible for
your own actions…because you can hear if it’s just someone diddling around on a
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
86
Julian-Jones, D.M.A. diss., 23.
87
John C. O’Neill, “Recent Trends in Percussion Notation,” Percussive Notes 18:1 (1980): 20.
!
26!
clarinet. That’s not the piece, it sticks out, it’s very clear you’re not listening to
other people.88
developed including Earle Brown’s concepts of mobility taken from artist Alexander
three dimensional mobile where the piece may realign itself and change during the
performance.90 Herbert Brün utilized what is called graphic analog, which is actually just
a “slice” of the process of a pictorial representation.91 In actuality, each graphic score will
most likely be different than the next depending on the composer’s intentions and goals.
A common idea often emerges regarding all notation is that the score is not music, rather
it only represents the music. The true music is what the performer performs and the
listener hears, and not what is printed on the page. That can also be true of graphic scores,
Brün notes:
The graphic displays turn into scores as soon as an interpreter translates their
structural characteristics into the instructional code of another medium (music,
movement, etc.) and following his translation recreates the simulated process by
analogy."92
function and not by its appearance. The fact that a note-head may be replaced by a bird or
With any performance art there are elements and practices that must be adhered to
in order to present effective and engaging performances. These include preparation and
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
88
Moran, interview, 2011.
89
Stuart Smith and Sylvia Smith, “Visual Music,” 84.
90
Ibid, 87.
91
Ibid.
92
Ibid.
93
Sylvia Smith, “Scribing Sound,” Percussive Notes Research Edition 23:3 (1985): 35.
!
27!
practice. Graphic works and complex serial pieces, they are often just as complicated
musically, only in different ways. The term realization is used to describe an individual
interpretation of a graphic score. In order for actual music to be made, the performer must
interpret the symbols, graphics, pictographs, circles, dots, squiggles, and everything in
between and then transform or realize them into audible musical content.
Graphic notation became a medium that Moran needed at the time and he began
first with proportional notation. While studying at Mills College with Berio, he was asked
speaking and singing choruses. With this type of diverse tonal palette, Moran was able to
hear intricate colors and textures in his head, but was unable to achieve the desired results
through traditional notation. Likewise, members of the ensemble and chorus could not
read the challenging manuscript with limited rehearsal time. Berio then introduced Moran
to proportional notation and “it just went click, I got it.”94 Percussionist and composer
Michael Udow states that notational systems can “extend the sonic possibilities rather
than set acoustical limitations” and that “a good composer will find the best way to notate
desired sounds.”95 This type of notation allowed Moran to draw out sound from the
musicians without intricate and complex notation. Musicians were now able to
Though the majority of his compositions since that era moved away from
graphic notation, he will still occasionally write in that style. His most recent graphic
composition is Cabinet of Curiosities (2010). Some of his early and more noteworthy
graphic pieces include Four Visions for flute, harp, and string quartet, Interiors for
variable ensemble, Elegant Journey with Stopping Points of Interest for variable chamber
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
94
Moran, interview, 2011.
95
Michael Udow, “Visual Correspondence Between Notation Systems and Instrument
Configurations.” Percussive Notes Research Edition 18:2 (1981): 16.
96
Moran, interview, 2011.
28!
ensemble, and Bombardments No. 2 for percussion ensemble. When asked why he moved
It just happened and then you move on to the next… I did enough of the graphics
and that moved into tonal sort of drone pieces, slow things that kept shifting and
didn’t need that notation any more. It was moving into something that needed to
be clearer in its repetition of sound than this. Equally valid, but it was time to put
on a different costume.97
Moran collaborated with early graphic composers like Christian Wolff, Morton
Feldman, and John Cage employing multiple approaches when composing graphic
scores. One such technique is purely artistic without reference to musical symbols or
notation (Figure 3.2). Scores that do not employ musical symbols often look more like a
work of art than a musical composition. This allows for freedom of interpretation and
staves, clefs, notes, rhythms, etc. are utilized, but in very non-traditional ways (Figure
3.3). His graphic scores may or may not contain performance notes. Dan Moore writes:
The majority of Moran’s percussion pieces were written either at the beginning or
later in his career, with a large gap from roughly 1970 to 1994, then another hiatus from
1996 to 2006 simply because “nobody asked for them.”99 Moran had composed five
percussion works before 1971: Eclectic Boogies (1962), Variations for Six (1963),
Bombardments No. 2 (1964), Bank of America Chandelier (1968), and Borrby Boogies
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
97
Moran, interview, 2011.
98
Moore, Liner Notes to Cabinet of Curiosities.
99
Moran, phone interview, 2012.
29!
(1970). While these works were specifically written for percussion ensemble, many of his
other graphic scores were written for a “variable ensemble” of unspecified instruments
Moran wrote only two works for percussion ensemble between 1971 and 2006.
However, these two pieces came from notable commissioning parties. His first
percussion composition after 24 years was Rocky Road to Kansas (1994). This 34-minute
composition was commissioned by the ARGO record label and has been used by dance
companies in Toronto and Philadelphia.100 The second, Obrigado, occurred shortly after
in 1996.
The 2000s marked a period of great productivity for Moran in the genre of
percussion ensemble, mainly due to the collaborations between Dan Moore and Iowa
Armando Duarte. The premiere took place at the University of Iowa and performed by
Iowa Percussion. This piece is intended for choreography, but can also be performed as a
To date, the collaboration between Iowa Percussion and Moran has resulted in six
new works: Kboco (2006), Stirling: It’s Raining Cats and Dogs (2008), By Any Other
Name (2008), Meister Ekhard and the Point of No Return (2008), Cabinet of Curiosities
(2008), and Bats in the Belfry (2010), and two CD releases for Innova Records.
From serious operas and orchestral pieces, huge city pieces, and avant-garde
theatre works to intimate chamber works and solo compositions, he has composed in
nearly every genre for seemingly every instrumental combination. Walter Simmons, a
music critic for Fanfare magazine, put it best when he wrote, “Moran has passed through
most of the ‘isms’ that have comprised the contemporary music landscape of the past 50
years.”101 Moran has arrived at a style described by Dan Moore as “beautiful and
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
100
Moran Website, “Chronological Index.”
101
Dan Moore, Liner Notes to Cabinet of Curiosities: The Graphic Percussion Scores of Robert
Moran, Dan Moore and Iowa Percussion, Innova 792, CD, 2011.
102
Ibid.
31!
CHAPTER IV
OBRIGADO
ensemble. Each of these works contains a different style of composition. Obrigado and
By Any Other Name utilize traditional notation, Bombardments No. 2 is a fully graphic
score, and Stirling: It’s Raining Cats and Dogs utilizes a combination of both traditional
and proportional notation. These works also reflect various time periods of Moran’s
compositions from the mid-1960s, 1990s, and more recently from the 2000s. Three of the
selections have been recorded and commercially released. Obrigado and Stirling: It’s
Raining Cats and Dogs appear on Mantra104 and Bombardments No. 2 on Cabinet of
Curiosities.105
the 25th anniversary of the Kennedy Center for the Performing Arts in Washington D.C.
Leonard Slatkin conducted the premiere performance given by the percussion section of
This work is inspired by two trips to Rio de Janeiro that Moran took in 1990 and
1992. While in Brazil, he presented lectures and met with multiple folk-music ensembles.
Obrigado, Portuguese for thank you, is inspired by the complex rhythmic patterns found
though not essential to the integrity of the overall composition, augments the harmonic
and rhythmic texture. Moran notes that Obrigado “works well without the piano, but is so
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
103
Robert Moran, email correspondence with Lucas Bernier, Feb. 23, 2012.
!
104
Robert Moran, Mantra, Innova 714, CD, 2008.
!
105
Robert Moran, Cabinet of Curiosities, Innova 792, CD, 2011. !
32!
much more fun with it.”106 The instrumentation for each of the four percussionists utilizes
small multi-percussion setups (Table 4.1). The 1996 premiere did not include the piano
part. Iowa Percussion is credited with the first performance of the full work with piano.107
Player Instruments
Percussion I vibraphone, 3 wood blocks, 3 timbales
Percussion II vibraphone, tam-tam, chimes
Percussion III marimba (4.3 octave), 3 temple blocks
Percussion IV timpani (B, E, F#), bass drum
Piano (optional) piano
Table 4.1. Obrigado, Instrumentation
Obrigado has thirteen repeated sections. The overall number of repeats for each
section is undetermined and left to the musicians to decide, although Moran does instruct
the performers to begin at Section 1 and traverse through the work in a sequential fashion
without jumping back to a previous section. The number of repeats should also fluctuate
from section to section. This work is written in the style of his dance pieces incorporating
Despite the number of repeats for each section, the overall thematic form can be
considered in two ways. The first is a simple ternary form (ABA), which classifies
broader thematic sections (rather than individual sections) as formal landmarks (Table
4.2).
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
106
Moran, email correspondence, Feb. 23, 2012.
107
The premiere of the full version of Obrigado took place on October 28, 2007 in Iowa City, IA,
by the University of Iowa Percussion Ensemble directed by Dan Moore.!!!
33!
Table 4.3 shows a segmented breakdown of each individual section. With this
While each A section is slightly varied in some fashion, the overall character and
harmonic content remains the same, making the A sections remarkably recognizable and
providing thematic stability. For example, A and A4 are nearly identical, but A4 is varied
rhythmically (Figures 4.1 and 4.2). Likewise, sections with the same classification letter
contain similar identifiable content, but may be presented with different variations.
Obrigado, like many of Moran’s works, is based around tonal centers. The work
is primarily rooted in E major, but also moves to related keys (E minor and G major)
during the middle sections. Harmonic chord progressions at the phrase level are present
and align with common harmonic practices. As expected, Moran’s harmonies make use
of non-chord tones, and with often random or misplaced notes. These tones provide not
only dissonance, but also foreshadow other chords. Though many of these harmonic
workings can be analyzed and described in various levels of detail, Moran was not
specifically concerned with applying compositional devices. When asked about the
Ha, Ha. How would I know? I just composed the thing for the percussion in the
National Orchestra, [Washington] D.C., and the 25th Anniversary of the Kennedy
Center. I just felt that a tonal center with a few notes that “do not fit” can make it
structurally weak enough to fall into the next center. I guess this is done internally
since I do it all the time. I write out the sound cluster or a group of notes in a
tonality, make sure that a few simply don't fit and use those pitches to move on
into the next set. It's sort of like a game I have with myself.108
The final section returns to the primary tonal center of E major, and the work ends
with a direct dominant-tonic authentic cadence. This cadence provides finality and a bit
of humor. Throughout Obrigado, Moran implies, avoids, and distorts the traditional
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
108
Moran, email correspondence, February, 2012.
35!
dominant-tonic relationship, and uses a strong cadence that brings the piece quickly to a
Rhythm
Moran states that many of the rhythms in Obrigado were inspired by the complex
patterns heard in Brazilian folk music.109 However, other than syncopation, exact
references to those particular rhythms are not evidently apparent, leaving the rhythmic
Typical of many of Moran’s pieces is the use of unison figures and rhythms.
Unison rhythms will be placed in two or three parts while the remaining part(s) move in
and out of unison, sometimes occupying the rests between the other players and
timpani highlight beats 1 and 2.5 in the first measure, but quickly shifts to unison
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
109
Robert Moran, Obrigado (Philadelphia: Charlotte Benson Music Publishers: 1995).
36!
rhythms with player III in the second measure. Unison rhythms also shift from players I-
For rhythmic contrast Moran often uses eighth-note triplets against the straight
eighth notes. These do not appear, however, until the A theme returns in Section 9.
Roughly the last third of the piece contains triplet figures, which distinguishes the last A
active patterns. Section 6 is a typical example of Moran’s use of space where all players
play in unison. The syncopated placement and isolated attacks may result in a somewhat
With an abundance of unison or paired figures, the texture remains fairly dense
throughout. The texture typically becomes thin during sections where rests are
Table 4.3, each repeated section such as A1, A2, A3, etc. is altered in some fashion. The
main theme presented in the A sections contains an ascending and descending melodic
arc in the first measure followed by three syncopated eighth-notes (previous figure 4.1).
timbales and woodblocks of player I follow closely the same melodic contour as the
marimba and vibraphone. This pairing helps to solidify the thematic material not only
with pitch, but also with percussive punctuation. With this technique of orchestration, the
woodblocks also become melodic instruments. Player III requires temple blocks, which
are used in the same manner. At times the temple blocks and wood blocks are also
allowed to take over thematic interest that can be heard at the end of Section 4 and
Section 11, and are shown in Figure 4.6 and Figure 4.7. These unique orchestrations are
and texture. Elements of syncopation, tonal centers, and timbre combinations utilized in
this piece can also be found in many of his later percussion ensemble compositions.
Obrigado is appropriate for advanced collegiate ensembles and serious enough for
professional groups.
39!
CHAPTER V
BOMBARDMENTS NO. 2!
“You just move in with tanks and clear the place out.”110!
School Percussion Ensemble under the direction of Paul Price in 1965. This work is
collegiate percussion libraries across the country.111 Despite its ubiquitous nature,
Bombardments No. 2 is rarely performed today, perhaps because many percussionists and
educators have set it aside due to the challenges of interpreting graphic notation.!
Because of Moran’s interest in the visual arts, he has always enjoyed graphic
composition because “you can hang them up” as artwork.112 This type of score might be
described as Augenmusik, or eye music, where the musical score is initially more
symbolic or meaningful to the eye rather than to the ear.113 Bombardments No. 2 is the
elements and modified score-like images with non-musical and completely artistic
symbols. Though many of Moran’s graphic scores do not include directions or any
navigational suggestions, this work is prefaced with a detailed set of instructions and
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
110
Moran, interview, 2011.
111
A basic search for the score on WorldCat quickly returned over 70 entries for universities
across the United States.
!
112
This quote from Moran is in reference to the fact that many of his graphic scores tend to be
artistic as well as musical, so one could literally hang it up on the wall as piece of art.
113
Dart Thurston, "Eye music," In Grove Music Online, Oxford Music Online, Oxford University
Press, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music/09152,
(accessed November 28, 2012).
40!
At the time Moran was composing the piece, he felt that the work made total
sense with regard to how the performers should move through the graphics.114 This work
was composed at a time when graphic notation was a relatively new tool for composers.
Some of the first entirely graphic compositions, those without reference to any musical
symbols, occurred in the early 1950s. Earle Brown’s December 1952 was a pioneering
work in this medium along with others by Morton Feldman and Christian Wolff.115
Moran noted that percussionists immediately succeeded with graphic notation whereas
performed as a solo piece for any graduate-level percussion recital at the Manhattan
School of Music. Moran gleefully remarked: “It’s like moving into academia with a
vengeance. You just move in with tanks and clear the place out. I thought it was
interesting that this [Bombardments No. 2] got you partly through graduation.”117 !
!
1950s where visual shapes or patterns are used in lieu of, or in combination with,
traditional notation.118 In the liner notes of the 2011 Innova recording, Cabinet of
Curiosities: The Graphic Percussion Scores of Robert Moran, Dan Moore noted that: !
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
114
Moran, interview, 2011.
!
115
Glenn Watkins, Soundings: Music in the Twentieth Century, (New York: Schirmer Books,
1988), 566.
116
Moran, interview, 2011.
117
Ibid.!!
!
118
Anthony, Pryer, "Graphic Notation" In The Oxford Companion to Music, edited by Alison
Latham, Oxford Music Online, accessed December 2, 2011.
41!
Composers turned to graphic or alternate notation in the early 1950s and 60s as a
way to effectively express their ideas. Graphic composers were particularly
interested in unlocking the creative energies of classical musicians, who were not
typically predisposed to improvisation. As Moran said, “There had to be a way to
get these uptight classical musicians to loosen up and let go, and graphic notation
seemed to be the way to get them to do it.”119 !
!
In the score of Bombardments No. 2 Moran states, “If a conductor is not used,
performers treat the work as a free improvisation.”120 When performing graphic works as
No. 2 and many other graphic scores can be treated as a dialogue. Moran’s instructions
include three basic rules of engagement: agreement, when all players agree on musical
style, tempo, harmonic material, and other points; disagreement, when some or all players
disagree; and indifference, where performers neither agree nor disagree yet continue to
listen and interact with each other. If an ensemble is actively listening and constantly
engaging each other with these rules, a graphic composition can become a unique musical
For the novice performer of graphic notation, Bombardments No. 2 and many
other graphically notated scores might initially appear overwhelming and difficult to
interpret. When performing a graphic score, many decisions must be made by the
attitude, and tempo, to name only a few. This is a very different experience from a
traditionally-notated piece where many of these decisions are already made for the
musicians.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
119
Moore, Liner notes to Cabinet of Curiosities.
120
Ibid.
42!
Instrumentation
The first challenge for percussionists when learning a new graphic score is
determining instrumentation. Many of Moran’s graphic scores are written for a “variable
ensemble,” meaning any combination of performers and instruments. This opens the door
choose.
traditional instruments and vice versa. Mixing instruments or keeping them in families —
provide a cohesive feeling for a graphic composition. In this author’s opinion, two factors
should be observed when making these choices: the title of the piece and the visual
appearance of the score. If, for example, the score is linear and abstract, perhaps metallic
and articulate instruments could be selected. If the score uses circular figures, instruments
that impart a warm and legato sound might be considered. Matching the timbre of
however, there are no right or wrong interpretations of this music. As John Cage is often
quoted as saying, “Nothing is a mistake. There’s no win and no fail, there’s only
make.”121
creative method of allowing individuality into a composition. Care should be taken when
will make for more sonic interest. In certain situations, avoiding more than one of the
same types of instruments is preferred while at other times it can make perfect sense.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
121
This quote is taken from “Ten Rules for Students, Teachers, and Life” complied by Sister
Corita Kent and is often attributed to Cage who is mentioned directly in Rule Number 10.
43!
In planning for the recording of Cabinet of Curiosities, Dan Moore spent months
planning a singular instrumentation for each track of the recording. He writes, “More
than 100 instruments and implements were used to create this recording. Much care was
taken to ensure that each track features a unique instrumentation, and only a few standard
His efforts did not go unnoticed. In his review of Cabinet of Curiosities, music
This is the sort of thing that can elicit enormous self-indulgence, and end up
sounding homogeneous from one piece to another. Let me testify right now that
this is not the case here. In fact, this is one of the finest releases I’ve ever heard to
take the indeterminacy bull by the horns and make refined, engaging, and varied
music from it.123
way to begin learning graphic notation and exploring new timbres. This can be as simple
as using the handle of a marimba mallet to strike the resonators or as unusual as dropping
ping pong balls on marimba bars. The main objective is to allow for as many new and
both traditional instruments and found objects. The performance instructions suggest
extended techniques by using “wooden mallets or coin” and “attack made with hand.”124
While the specific instrumentation for Bombardments No. 2 is listed, other instruments
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
122
Moore, Liner Notes to Cabinet of Curiosities.
123
Robert Carl, "Interiors II: Uncharted lands. Elegant Journey. Salagrama. Cabinet of Curiosities.
Meister Eckhard and the Point of No Return. Electric Boogies. Bombardments." Fanfare: The Magazine
For Serious Record Collectors 34:6 (2011): 319-320.
124
Robert Moran, Bombardments No. 2 (New York: C. F. Peters Corporation, 1966).
44!
Player! Instrumentation!
Player 1! high hat, 1 pair of bongos, 1 snare drum (without snares), guiro, 3
suspended cymbals, 2 gongs (high, low), 3 timpani, 4 cowbells, marimba!
Player 2! triangle, car coil, maraca, 1 snare drum (with snares), 2 brake drums, 2 pairs
of bongos, 3 temple blocks, 3 tom-toms, symphonic chimes!
Player 3! piano (top removed), celesta, radio, anvil, bass drum, wind chimes (metal
and tubular), 3 wood blocks, small metal cricket (toy)!
Player 4! triangle, car coil (lower than player 2), 1 pair of bongos, 2 tabla, 2 cowbells,
3 timpani, wooden wind chimes, 2 brake drums, xylophone!
Player 5! finger cymbals, claves, 1 drum (low pitch), 3 suspended cymbals, 2 gongs
(medium, low), 2 pairs of bongos, 3 roto-toms, 4 temple blocks, vibraphone!
Table 5.1. Bombardments No. 2, Instrumentation!
Bombardments No. 2, Moran instructs the performer to “start at any point and move in
any direction.”125 It could be read like a traditional piece, left to right and down the page,
or just the opposite. The possibilities are seemingly endless. For some graphic scores,
jumping randomly from point to point may be another option. The beauty of this art form
lies in its infinite possibilities and unpredictability. Different navigational paths can be
When performing graphic scores, care should be taken for the music not to sound
contrived. A piece that is allowed to develop organically will create a more interesting
journey for the listener. Performers can use personal intuition and taste to create a
Like any other piece of music, a graphic score must be rehearsed. Practicing
different ways of interpreting a graphic score might include setting parameters such as
time limits, or providing predetermined formal schemes. Limiting the number and type of
instruments that may be used can create opportunities to fully explore a single instrument
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
125
Moran, Bombardments No. 2.
45!
essence, when navigating the notation, the performer becomes a co-composer of the piece
Symbols
graphic score naturally contains different symbols and each symbol has a different
meaning. Learning a graphic piece is often like re-learning how to read music. In
and groups of measures as a phrase. Moran defines these groups of symbols as events.
Figure 5.1 shows a singular symbol and Figure 5.2 shows that symbol as part of an event.
Just as traditional scores are comprised of numerous phrases and sections, graphic scores,
Figure 5.2. Bombardments No. 2, Example of event from upper left corner of score
Copyright © 1966 by C. F. Peters Corporation. Used by Permission.
46!
In the instructions for Bombardments No. 2, Moran frequently uses language such
as “note suggests” and “perhaps use of.”126 This gives the performers an idea of
possibilities, but nothing necessarily concrete. For example, in Figure 5.1 Moran suggests
an instrument of a car coil.127 If a performer does not have a car coil, but still chooses to
play that symbol, another instrument must be selected — perhaps a similar sound or
Moran often uses solid dots or circles of various sizes. He suggests that the size of
the circles should correspond directly with dynamics — larger dots imply louder notes,
and smaller dots softer notes. The length of the horizontal lines tied to the dots can
govern duration. Pitch level may also be assigned to these dots depending on their
position on the page. These are not necessarily fixed or determined pitches, but imply a
Figure 5.3. Bombardments No. 2, Example of event from upper left corner of score
Copyright © 1966 by C. F. Peters Corporation. Used by Permission.
track was overdubbed as a reaction to the previous track(s). Table 5.2 shows Moore’s
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
126
Robert Moran, Bombardments No. 2 (New York: C. F. Peters Corporation, 1966).
127
Moran states “car coil” although the intended instrument is a large car spring taken from the
suspension of an automobile.
!
47!
instrumentation. Though it is not exactly what Moran prescribes in the original score,
many similarities exist. When asked about the original instrumentation, Moran replied: “I
!
Track! Instrumentation!
Track 1! Snare drum (snares off), hi-hat, ride and crash cymbals, bongos,
almglocken, small gong, water buffalo bell!
Track 2! Two guiros, Puerto Rican scraper, three bullfrog scrapers, five high pitched
blocks, seashell wind chimes, bamboo wind chimes, rawhide maracas!
Track 3! Wind-up toy drumming bear, five nipple gongs, triangle, two cowbells,
brass maracas, small splash cymbal, key wind chimes, metal wind chimes!
Track 4! Three tom-toms, wind gong, sound tube, two small suspended cymbals!
Track 5! Toy piano, crotales, Chinese gong, maracas, old toy music egg!
Table 5.2. Bombardments No. 2, Instrumentation for Dan Moore’s solo realization !
!!
Variables such as instrumentation, improvisation, and personal interpretation will
will serve as a constant for this analysis, which will provide insight into performances of
Even with a graphic score and a multi-tracked recording, distinct formal sections
are apparent in Moore’s eleven-minute realization. His journey through the score begins
with spacious sound effects including that which sounds like a wind-up-cymbal-crashing
toy bear. Drums enter around 0:36 foreshadowing their important role later in the work.
By 1:01, the toy bear returns as well as other introductory material, closing the first
The next section begins at 1:28 with the presence of a steady scraper. Tom-toms
and bongos contrast against the opening material with more active and metrically stable
figures. As this section progresses, themes are being introduced, and tempos increase and
solidify. A hierarchy of instruments also forms with primary thematic instruments being
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
128
Robert Moran, phone interview, 2012.
48!
form a melodic theme, which appears at approximately 2:40. Other timbres such as
woodblocks often accent or highlight parts of the theme. A woodblock closes this section
at 4:07.
In contrast, long spacious tones occupy nearly the next three and a half minutes.
This ethereal character is provided mostly by ringing metal instruments such as gongs,
cymbals, wind chimes, and bells. Moore is playing in agreement with the other tracks at
this point. Staccato attacks on suspended cymbals, struck with drumsticks rather than soft
mallets, demarcate the next section. This lasts for roughly thirty seconds before a gong
The next section begins at 7:47 with rapid, bombastic drum figures and staccato
interjections — a completely contrasting mood from the ethereal gongs. A steady groove
forms, creating a solid foundation for the toy piano at 8:21. Aside from the almglocken,
the toy piano is the only other pitched instrument to hold a steady theme, while muted
As the steady beat dissipates, other mallet instruments enter, bongo and tom-tom
interjections relate back to earlier in the piece, and shakers and scrapers tie together
previously heard music. The final two minutes provides a brief summary or recap of the
entire work. However, the hi-hat makes its first appearance and provides a new timbre
until legato cymbal hits and scrapes fade out to close the performance.
Moore’s journey through the score took the listener in many directions. The
indifference were utilized; improvisation was at the forefront of the performance; and
launching point. Moore’s successful solo realization can be used as a model for future
performances. With the considerations and methods presented in this chapter, the author
hopes for a resurgence of this work back onto the concert stage.
49!
CHAPTER VI
The marimba quartet By Any Other Name,130 composed in 2008, was written for
and dedicated to Dan Moore and Iowa Percussion. During the summer of 2008, the Iowa
River flooded the Voxman Music Building, forcing the School of Music to relocate into
gift written to ease the tension of the flood and the relocation to new facilities.131
By Any Other Name is written in three contrasting movements. The outer
movements are lively and rhythmically intricate while the second movement is slow and
introspective. This is a challenging work to perform, though that was certainly not the
intention of the composer. Moran notes: “Well, I’ll just write an easy piece for marimba
There are two main challenges: rhythm and harmony. These challenges pertain
mostly to the ensemble performance. The individual parts are not extremely demanding,
but they do require advanced preparation. Technical complications arise due to some
writing that might not be considered idiomatic to the marimba. Un-nested rhythms133
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
129
Moran, interview, 2011.
!
$"%!By
Any Other Name is scored for three 4.3-octave marimbas and one 5-octave marimba.
Though a 5-octave instrument is designated, a 4.5-octave marimba could be used. Simple octave
transpositions make it possible to perform using a 4.5-octave instrument without sacrificing musical
content.
!
131
Dan Moore, Program Notes, By Any Other Name, University of Iowa New Literature Session
Concert, Percussive Arts Society International Convention, November 10, 2011.
!
132
Moran Interview, 2011.
133
The concept of nested and un-nested rhythms is adapted from Joel Lester’s book, The Rhythms
of Tonal Music. There he describes evenly grouped patterns (i.e. two eight-notes subdivide into four 16th
notes) as nested rhythms. Unsynchronized subdivisions occur when odd groupings such as eighth-note
triplets against two eighth-notes are paired together. Therefore any polyrhythmic pattern that does not fit
(nest) within the framework of hierarchy could be considered an un-nested rhythm.!!
50!
appear among the four parts frequently causing challenges in ensemble execution.
Harmonic dissonances used throughout the piece are subtle. Generally, an interval of a
fourth or ninth may be present, creating slight tension within the chord, and this effect
can often sound like an error. Understanding these potential pitfalls will aid the
performers and director when learning the piece, especially from an ensemble standpoint.
The first movement, Munich Miniature- Var. 1, is short, quick, and many subtle
compositional nuances may go unnoticed upon first hearing. Moran writes that this
movement:
Was inspired by a note written to me, complete with drawings, from the five-year-
old son of a friend in Munich, a choral member there. The note, in the most basic
of German, told about his kindergarten class and their pet “haus maus,” with only
minimal information on “Mimi” the mouse.134
primarily quarter and eighth notes. The interest lies in syncopation and the use of unison
rhythms. Frequently throughout the movement, simple rhythms will be placed in three
marimbas while the fourth marimba will have a moving line or will occupy the spaces
between the other three. In Figure 6.1, the bass fills in many of the rests of the other three
parts.
Unison rhythms among all four parts also occur frequently. There is a stark
contrast between these block chords, especially when one or two lines emerge suddenly
out of the texture (marimba 3 and marimba 4 in Figure 6.1, measure 6).
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!
134
Moore, Program Notes, By Any Other Name.
!
Score Munich Miniature - Var. 1 51!
Robert Moran
Edited By Dan Moore
# >œ ‰ >
Fast q = 126
j 3 j j > 3
# œ ‰ œ œ # œ œ c # œ ‰ ‰ # œ. # œ œ œ. œ. Œ # œ. œ. œ. œ. Œ
5
&c œ ‰ # ˙æ #œ ‰ Œ Ó 4 # œ. œ. œ. œ. ‰ œ. . . 4
> > f> > > >
Marimba 1
ƒ ! Ï ! P
j 3 j j #œ 3
& c # œ ‰ # œ ‰ ˙æ #œ ‰ Œ Ó 4 # œ. œ. # œ. œ. ‰ œ. # œ ‰ > œ œ œ c # >œ ‰ ‰ # œ. # œ. # œ œ. œ Œ # œ. œ. œ. œ. Œ 4
> > > > f > >> . .
Marimba 2
ƒ ! Ï ! P
& c # œ ‰ œ ‰ ˙æ
j
#œ ‰ Œ Ó 3 j ‰ #œ
4 # œ œ # œ. œ ‰ œj c #œ #œ œ Œ # œ. œ. œ. œ. 3
4
> > > .. . .# œ > œ œ œ # œ > > > œ. œ. œ. œ. # œ # >œ
Marimba 3
3 #œ # œ j j > . Contrast
>3
Mrb. 2 & 4 Œ # œ œ œ œ Œ . # œ Œ # œ œ ’ ’ Œ ‰ ‰ c ‰ ‰ œ œ œ ‰ œ # œ œ ‰ JŒ c
7
The texture alternates between dense and transparent orchestration.
. ... . ‘ # œ # œ. œ. # œ. œ. œ. œ. # œ. . 4
p > > > >
created primarily by rhythmic ƒ p !In general, loudƒdynamics
cresc. activity and dynamics.
3
3 & 4 Œ with a Œthicker Œ texture Œ # œ and ‰ jsubtler
‰ j dynamics c ‰ ‰allow ‰ œ a43 thinner ‰ # œj Œ c
7
# œ
# œ. œ. œ. œ. . # œ. # œ œ ’ ’ ‘ œ # œ œ # œ œ
œ. . > . > > > >
correspond while softer for
> # >œ œ. œ. # œ. œ. œ. œ.
Mrb.
p
texture. Eighth-note triplets are often placedƒin a single
cresc.
p ! part, creating ƒa two-against-three
? 43 Œ # œ œ œ œ Œ # œ œ Œ # œ œ ’ ’ ‘ Œ # œ # œ œ # œ œ # œ # œ œ. # œ. c # œ. ‰ >œ # œ. # >œ œ. ‰ >œ 43 # œ # œ >œ >œ # >œ >œ
. . . . . . > >
c
Mrb. 4
polyrhythm in relation to the other marimbas. However, . . . unison
. rhythms provide for > > more
p cresc.
ƒ p ! ƒ
transparency of texture, allowing the listener to grasp the content without being distracted
Harmony
Like many of Moran’s other works, By Any Other Name is harmonically based
around tonal centers. While there are no sharps or flats in the key signature, the first
measure indicates the tonal center of F#, but the third-less voicing keeps the harmonies
neutral. It is not until measure three that the A# appears indicating a tonality of F# major
For example, in measure five, a C# major chord (V) quickly returns to F# (I) in measure
six. Another device used throughout the movement is that of non-chord tones. In measure
four, the D# in the bass appears to change the chord to D#m7, but on beat two the F#
Score Munich Miniature - Var. 152!
# >œ ‰ >
Fast q = 126
j 3 j j
5
> œ. œ
&c œ ‰ # ˙æ #œ ‰ Œ Ó 4 # œ. œ. œ. œ. ‰ œ. # œ ‰ œ œ # œ œ c # œ ‰ ‰ # œ. # œ. œ. . Œ
> P >adds f> >motion
> > to the
Marimba 1
quickly returns. Thus, the D# does not change
ƒ ! Ï ! but rather
the tonality,
j Œ Ó again # œ. œ ‰ j 8-9.
43 # œ.inœ. measures
c # œ 6.1).
‰ ‰ This j ‰ The
# œ perfect
bass lineMarimba
(previous
2 &Figure
> # >œ ˙ # >œ ‰occurs
æ idea
. œ. # >œ > >œ >œ >œ
c #œ ‰ ‰#œ
> . # œ. # œ. œ. œ. Œ
ƒ ! Ï ! P f
fourth interval in measure seven places a B natural against the F# causing slight tension,
& c # œ ‰ œ ‰ ˙æ j 3
#œ ‰ Œ Ó 4 # œ œ # œ. œ ‰ œj # œj ‰ # œ œ œ œ c # œ # œ # œ œ œ œ œ. œ.
Œ
but it quickly resolves to >A# >on!the offÏ>beats. This B serves . . as . a non-chord
. > tone, but also > > > > . .
Marimba 3
ƒ ! Ï ! P f
> > > # œ. >œ # œ. # >œ
& 43 Œ œ. # œ. œ. œ. Œ œ. # œ. Œ œ #œ ’ ’ Œ # œ # œ ‰ # œj ‰ # œj œ œ œ. # œ. c œ ‰ œ
10
‰
7
Mrb. 1 ‘ . . . .
p p ! ƒ
ƒ
cresc.
> . >
& 43 Œ # œ. œ. #œ
œ. œ. Œ . # œ. Œ Œ #œ #œ ‰ j ‰ j # œ œ œ c # œ ‰ ‰ œ. œ œ‰ œ
7
Mrb. 2 #œ œ ’ ’ ‘
> > # œ. œ. . . œ. . .
p cresc. ƒ p ! ƒ
& 43 Œ Œ #œ Œ Œ #œ ‰ j ‰ j c œ. ‰ œ
7
. # œ. ’ ’ ‘ ‰ ‰ œ #œ
# œ. œ. œ. œ. #œ œ > # œ œ. œ # œ
. œ œ. œ
. œ. . > >
Mrb. 3
p cresc.
ƒ > p ! . . ƒ
? 43 Œ # œ. œ. œ. œ. . . > > . > . > œ. ‰ >œ
Mrb. 4 Œ #œ œ Œ
#œ œ ’ ’ ‘ Œ # œ # œ œ. # œ. œ # œ. # œ. œ. # œ c # œ. ‰ œ # œ # œ
p cresc.
ƒ p ! ƒ
Figure 6.2. By Any Other Name, Mvt. 1, mm. 7-12
Copyright © Robert Moran 2008
Upon first listening, it may seem as if G major remains constant, but the E in the
bass forces the harmony into E minor in measure 22. This is a common aspect of Moran’s
53!
writing: harmonically, he employs subtle changes such as incorporating the parallel major
Moran explores other key centers such as A major and F major, but only briefly.
The shift to A major corresponds directly with a new theme in measure 33: marimba 1
contains an ascending three note figure (C#, D, E). This theme is also presented with a
Thematic Material
series of four eighth-notes where the third note leaps above the others (previous Figure
6.1). Another theme that frequently recurs is a simple two-note motif: a pair of eighth
notes with a major or minor second descending interval as shown in marimba 1 measures
Moran uses a quote from Philip Glass’s opera Satyagraha as the melodic basis for
this movement. In the last scene of that opera, the tenor sings an ascending E Phrygian
scale repeatedly for, as Moran says, “something like 30 times. So I decided to turn it
around, and have the marimbas play that scale, but downwards! It is all about subtle
colors.”135 This main theme is set as a two-bar phrase and is presented 19 times
Only once does Moran break the symmetrical two-measure phrase. In measure 18
he inserts an extra measure that elongates the cycle, creating a three-measure phrase —
The theme is generally presented in the bass (marimba 4), but throughout the
movement it is passed around to all of the voices and doubled in unison or at the octave,
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
135
Moore, Program Notes, By Any Other Name.
55!
The harmonic content in this movement is direct and simply stated. As the E
Phrygian mode supports the thematic material, the tonal center is correspondingly based
around E minor. However, there is a prevailing descending motion innately due to the
falling line that creates a D minor chord resolving to E minor. The first beat of every
The second beat of the figure (subdividing the 6/8 meter in two: 1, 2, 3 | 4, 5, 6) is
challenging to interpret harmonically. The second beat can be interpreted in two ways.
The D minor triad naturally stays throughout the measure and leads directly downward
resolving to E minor. Another interpretation is that the second beat could be considered
an A minor chord where a C natural is present in measures 12, 19, 27, and 35 (Figure
6.8).
56!
Aside from these four measures where the C is present, only the pitch A exists.
The note D is also occasionally present along with the C as shown in measure 10
(marimba 2, Figure 6.9). This added pitch creates harmonic color regardless of the
octave Fs in marimba 1 clash with the Es in marimba 3 and 4, thickening the sonority
before the harmony quickly resolves to D minor on the next downbeat (previous Figure
6.8).
57!
While the primary theme is repeated throughout the movement, Moran places
subtle colors and textures in the remaining parts. Non-thematic voices are often used as
contrapuntal activity helps to outline the primary motif. Moran tends to place an
ascending line directly against the theme or immediately following the theme for melodic
contrast (marimba 3 in Figure 6.7, measure 23; and marimba 1 in Figure 6.10). The
dynamic level reaches a maximum volume of mezzo-forte only once, while the remaining
Rhythm
Rhythmic content in this movement is straightforward. The meter is 6/8 and the
rhythmic lilt subdivides the measure into two beats. A feeling of forward motion is
present with a strong push leading towards the downbeats of each measure.
The pulse changes to a superimposed 3/4-meter briefly in measures 14-18, 24, and
37. While the thematic material remains constant, the supporting marimbas accentuate
Movement 3: Libations
Although Moran calls the third movement a “drinking song or just some basic
party music,” this movement is by far the most demanding of the entire composition.136 It
contains the most notes, the fastest tempo, and most complex rhythms.
Thematic Material
measure one, marimba 1 states the melody, which can be condensed into a simple four-
Throughout the movement, slight variations of this four-measure theme occur during the
One such variation occurs in measure 17. The descending motion of the A, G, F#
melody is prominent, but here it is presented in eighth-note triplets as seen in Figure 6.12,
measure 18. Other themes are introduced throughout this movement and varied in a
similar fashion.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
136
Moore, Program Notes, By Any Other Name.
59!
The overall form is not conventional, but the A section returns throughout the
movement with slight variations. Table 6.1 reveals a modified rondo form.
Theme Measures
A 1-8
A 9-16
A 17-20
B 21-32
A 33-40
C 41-48
D 49-64
A 65-72
E 73-80
F 81-84
A 85-92
Coda/Ending 93-96
Similarities in rhythm are evident between the first and last movements. Libations
is much more saturated and less syncopated than Munich Miniatures- Var.1 though many
of the same rhythms appear. Moran presents unison rhythms contrasted with intricate
counterpoint.
The rhythms for each marimba are individually quite simple and consist mainly of
quarter notes, eighth notes, and eighth-note triplets. However, rhythmic interplay exists
when all four parts are combined. The main challenge is that one player may be playing
triplet groupings against the other three playing straight eighth notes. These un-nested
rhythms appear frequently and almost immediately from the first measure, resulting in a
The culmination of rhythmic activity of the entire marimba quartet takes place
during the final section beginning in measure 85 (Figure 6.13). Though no new rhythms
are introduced, there is a constant stream of eighth-note triplets. The triplet line is passed
based on rhythmic content. Since one or more voices usually carry an eighth-note triplet
figure against straight eighth notes, a polyrhythm is created, thickening the texture.
Likewise, the pitches of these triplet figures are often arpeggiated chords or groupings of
wider intervals that are not always evenly spaced, which adds a denser harmony and
thicker texture. In contrast, a thinness of texture results from simpler and unison rhythmic
Harmony
progression. He does, however, employ variations and extended harmonies that are
typical of his writing. While it is impossible to say that the harmony is the melody, it can
62!
be implied that the chord progression does serve as a landmark and recognizable feature
when listening to the piece. In the initial A theme, a chord progression appears:
nature. The movement uses recurring motifs and unexpected harmonic motion. The
By Any Other Name is a quirky mix of contemporary and classical writing. Upon
first hearing, many subtle details pass by too quickly to notice. Moran displays total
variations, and at times a playful melody. Moran creates an intriguing palette that is both
engaging for the untrained audience member as well as the veteran percussionist. By Any
Other Name appears as one of his more serious compositions, though one would not
surmise that by his inspirations or descriptions of the work. Though many musical
elements are similar between this work and his others for percussion ensemble, the
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63!
CHAPTER VII
Stirling: It’s Raining Cats and Dogs was commissioned in 2007 by Moran’s
neighbors Patricia and Michael Scullin. Stirling is the name of the Scullin’s black poodle
that Moran would often babysit. The premiere performance occurred in 2008 and was
performed by Iowa Percussion. During the composing process, Moran asked the
ensemble members to make a list of their three favorite percussion instruments. Upon
receiving the list Moran said, “That’s splendid – we’ll use them all, along with the 18
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
137
Moran, Liner Notes to Mantra.
!
138
Ibid.
64!
Stirling are elements of his city pieces, graphic and proportional scores, tonal centers,
Though written for a large ensemble, the players are divided into five small
groups. In essence, each group plays their own individual chamber work. However, the
music for each group is related by various elements forming a cohesive and thoroughly
crafted composition. Moran refers to Stirling as “more of a musical landscape in rain than
a traditional percussion ensemble work.”139 In addition to the five small groups, a pre-
recorded rain sound-scape plays for the duration of the piece and two or more players
with rain sticks are instructed to navigate around the stage and throughout the audience.
Moran notes that the pre-recorded rain should not be a “background sound,” but rather a
The conductor’s score does not contain all of the individual parts, but only
provides a visual guide showing when to cue the five groups in and out. Though Moran
notes that the length of the piece should be a maximum of 16 minutes, the conductor
ultimately determines the length of the work. Each page is visually divided in half to
maintain uniformity of duration for each page. Moran instructs the conductor not to use a
stopwatch or timing device and to take a more creative role rather than simply a
The score provides little information other than tempo and the relative time of
each cue. As each group enters, the overlapping entrances phase in and out among
multiple groups creating intricate textures and thematic material. Due to the nature of the
composition, performances of this piece will inherently be different each time. However,
musical elements, ideas, and thematic material will remain consistently intact. For the
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
139
Moran, Stirling: It’s Raining Cats and Dogs (Philadelphia: Charlotte Benson Music, 2008).
65!
purpose of this document, the recording from the CD Mantra140 will be reviewed as a
Figure 7.1. Stirling: It’s Raining Cats and Dogs, Score Pages 1-2
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
140
Robert Moran, Mantra, Innova 714, CD, 2008.
66!
Analysis
Similar to Obrigado, each group performs a number of repeated sections, but will
continue playing the given section from cue-in until cue-out. Various themes and tonal
centers create landmarks of stability throughout the composition. This work utilizes two
main tonal centers: B minor (B, D, F#, E) and G major (G, B, D, C#) both with added 4.
A third contrasting harmonic emphasis is on A (A, C#, E, G#), but occurs less frequently.
Table 7.2 designates primary themes along with sections and tonal centers.
spacious interludes and supporting material. In Section 1, Groups A and E enter with a
melodic theme played by marimbas and xylophone (Figure 7.2 and 7.3).
Following these two sections with the initial thematic material, Group B enters
with supporting figures in the same tonal center. In general, while two groups often have
the melodic theme, others complement with spacious and less active material. This
activity may also have pitched instruments (most always in the same tonal center) that
Figure 7.2. Stirling: It’s Raining Cats and Dogs, Group A-Section 1
Figure 7.3. Stirling: It’s Raining Cats and Dogs, Group E-Section 1
Figure 7.4. Stirling: It’s Raining Cats and Dogs, Group B-Section 1
68!
Pitched percussion instruments do not always contain all of the thematic interest.
Bongos and timpani become a focal point in Group C-Section 3. Although the
instruments are not keyboard percussion, the timpani are pitched within the same tonality
to G, C#, F#. The short, staccato rhythmic figures contain the thematic interest as the
remaining Groups D and E stop. Also, each line contains a different number of measures.
In similar fashion, while each global section may overlap the others, at times each
instrument within individual sections may also overlap other instruments (Figure 7.5).
Figure 7.5. Stirling: It’s Raining Cats and Dogs, Group C-Section 3
While much of this melodic material remains staccato and rhythmically steady,
various other themes present a contrast in texture with longer, legato tones. Group B-
Section 4, for example, enters with long rolls in the timpani, setting a base for tied whole
The next melodic entrance occurs in Group E-Section 7. This quarter note based
theme foreshadows a similar aesthetic in Moran’s marimba quartet By Any Other Name.
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141
In Figure 7.7, Marimba 1 should play a C# in measure 3, beat 1.
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Figure 7.6. Stirling: It’s Raining Cats and Dogs, Group B-Section 4
Figure 7.7. Stirling: It’s Raining Cats and Dogs, Group E-Section 7
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When analyzing the middle sections of Stirling (Sections 6-9), many themes begin
spiraling around one another due to overlapping entrances among the five groups. The
between sections, brief interludes occur. For instance, in Group D-Section 6 the prepared
piano and toy piano provide a muted staccato sound effect, also in the same tonality
linking the sections, but not necessarily containing a primary theme (Figure 7.8).
Figure 7.8. Stirling: It’s Raining Cats and Dogs, Group D-Section 6
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Stirling: It’s Raining Cats and Dogs is a large-scale work for percussion
ensemble. There are logistical concerns that may prohibit the programming of this piece.
For one, this work requires a minimum of 20 musicians. Also, only music schools with
active percussion programs are likely to own the quantity and diversity of instruments
While Stirling:It’s Raining Cats and Dogs is not a traditional percussion orchestra
composition in the same style as Crown of Thorns by David Maslanka or Palace of Nine
Perfections by Eric Ewazen, it presents a different set of musical challenges. Timing and
coordination are crucial elements for the conductor, who cues each group to enter and
exit. Rushing through these events interrupts the meditative feeling of the composition,
while dragging can impede the natural flow causing listeners to lose focus. Within each
small group, individual parts may not be the most technically demanding, but musical
sensitivity and a keen ear is essential. Comfort with improvisatory techniques will also
aid in successful performances. In the five years since it was written, Stirling: It’s
Raining Cats and Dogs has had just one performance to date. Though daunting in size
and scope, the multitude of compositional techniques, musical elements, and educational
CHAPTER VIII
CONCLUSION
years in contemporary music, and, at age 75, shows no signs of slowing down. He has
studied with Luciano Berio and Darius Milhaud and has collaborated with celebrated
composers John Cage and Philip Glass. Moran has received commissions from around
the world and has released numerous recordings on labels such as Argo, BMG, and
Innova Records.
small-scale, or left entirely to the discretion of the performers. Flowing throughout all of
his wide-ranging music, however, is his unfailing sense of expressive and emotionally
beautiful music that Moran has been quoted as calling “shockingly romantic” and
“disgracefully pretty.”143 He follows where his interests lead him, which is usually on to
something new, and which makes him delightfully impossible to categorize as a
composer.
His style has shifted throughout the course of his career to many different forms
of composition. Aside from his city pieces and dance works, Moran is not necessarily a
music, experimented with John Cage and indeterminacy in the 1960s, and participated
with Haubenstock-Ramati, Christian Wolff and others in creating graphic scores. His
work with Philip Glass resulted in many more opportunities and opera commissions. His
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
142
Moran, email correspondence with Lucas Bernier, July 30, 2012.
143
Cornall, Liner Notes to Mantra.
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success. Moran has been able to adapt, adopt, and incorporate many different genres. He
is able to reference and seamlessly draw from his diverse background and experiences to
Moran has little interest in conforming to a single compositional trend and even
preferring simply to create what moves him. Moran composes for the art of music and for
what he finds to be emotionally inspiring, which might not always be what critics,
Throughout the research process of this document, this author has become even
more intrigued with this iconic American composer. The hope for this document is that
others will continue to investigate the music of Robert Moran, perform his compositions,
and commission new pieces. Moran is humbly dedicated to his art form. Upon the author
thanking him for his music and his willingness to be a part of this project, he simply
replied: “Thanks for the compliment. The music is really for you.”144
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144
Moran, email correspondence, 2012. !
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APPENDIX A
Obrigado (1995)
Publisher: Charlotte Benson Music Publishers
Premiere: March 1996, Kennedy Center, National Symphony Orchestra,
Leonard Slatkin, Director, Washington DC.
Instrumentation: Player 1: vibraphone, 3 wood blocks, 3 timbales
Player 2: vibraphone, tam-tam, chimes
Player 3: marimba (4.3 octave), 3 temple blocks
Player 4: timpani (B, E, F#), bass drum
Player 5: piano (optional)
Notes: Written at the request of the National Orchestra, Washington DC, for
the 25th Anniversary of the Kennedy Center. The piano is not
required, but in the words of Moran, it is “so much more fun with it.”
The premiere was performed without the piano part. The premiere
with the piano part was given by Iowa Percussion, Dan Moore, Director, in
2008. Recorded on Mantra Innova 714.
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Kboco (2006)
Publisher: Charlotte Benson Music Publishers
Premiere: 2006, Iowa Percussion, Dan Moore, Director, Iowa City, IA.
Instrumentation: Player 1: 3 tom-toms, vibraphone, chimes!
Player 2: bongos, timpani (1 drum), 3 blocks (medium temple !
blocks), tam-tam !
Player 3: marimba, bongos, 3 toms, glockenspiel !
Player 4: 3 wood blocks, bongos, xylophone, bass drum!
Player 5: marimba, 2 suspended cymbals !
Player 6: vibraphone, 3 tom-toms, snare drum!
Player 7: piano/prepared piano, celeste
Notes: Some instruments may be replaced: for example, timbales for bongos in
Player 4, Chinese bangu for snare drum in Player 6, Chinese toms for tom-
toms in Player 3. Recorded on Mantra Innova 714.
Interiors (1964)
Publisher: Charlotte Benson Music Publishers
Premiere: 1965, Charlotte Moorman New Music Festival, New York, NY.
Instrumentation: variable ensemble
Notes: Graphic score. Recorded on Cabinet of Curiosities, Innova 792.
Salagrama (1979)
Publisher: Charlotte Benson Music Publishers
Premiere: 1979, Graz Styrian Festival, Graz, Austria.
Instrumentation: Organ, variable percussion instruments — Moran notes that it is
most effective with bells, chimes, and gongs.
Notes: Written for the restoration of the organ in the Grazer Dom. Recorded on
Cabinet of Curiosities, Innova 792. Performed once in the Mt. Holyoke,
MA, area with two organs and Chinese percussion.
APPENDIX B
CONCERT PROGRAMS
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