ABSTRACT. Professor Robert Gibson, School of Music. Calling Tunes is a seventeen-minute piece in three movements for violin,

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1 ABSTRACT Title o Document: CALLING TUNES: A PIECE IN THREE MOVEMENTS FOR VIOLIN, CLARINET, VIOLONCELLO, AND PIANO Nathan Lincoln-DeCusatis, D.M.A., 2008 Directed by: Proessor Robert Gibson, School o Music Calling Tunes is a seventeen-minute iece in three movements or violin, clarinet, violoncello, and iano. The title reers to the common jam-session activity o calling tunes, which reresents an exression o common knowledge between musicians within an unrehearsed, imrovisation-based ensemble. Each individual in the grou shares a common reertory that is used as a backdro to music-making a collection o not only melodies and chords, but a world o erormance ractices, music theory, and cultural memory that is drawn uon to create music without the need o rior rehearsal or lanning. Calling Tunes strives to cature this unrehearsed, imromtu quality as i the iece had been created by an inormal gathering o musicians extemorizing on some kind o shared musical language. Each movement ocuses on a single originating motive that is develoed and transormed throughout like an imroviser embellishing a amiliar tune. The irst movement, Montunos, is based on the iano vam o Aro-Cuban salsa music, which is oten characterized by o-the-beat syncoation and harmonization in thirds. The montuno that oens this movement combines these traditional qualities with metric

2 irregularity and an ambiguous harmony that roduces an otherworldly, out-o-tune quality. The second movement, Canzone, acts as an introsective, lyrical interlude within the iece that begins as a chord rogression without a melody. The long lines in each instrument combine to orm three- and our-note chords that imly leeting diatonic collections that slowly bleed into each other at a glacial ace. The real canzone is saved until the end where the cello channels the revious glimses o tonality into a inal coda-like cantabile statement. The third movement, Variations on a Ri, takes the simle idea o a G major triad (irst resented in the clarinet in mm. 4 44) and bends it through multile ermutations and harmonic contexts. This movement is ramed by two ast sections in a galloing comound meter whose volatile, slightly uninished texture sums u the attitude o the entire iece a comosed musical narrative that seems to have been created in the moment out a subconscious musical language.

3 CALLING TUNES: A PIECE IN THREE MOVEMENTS FOR VIOLIN, CLARINET, VIOLONCELLO, AND PIANO By Nathan Lincoln-DeCusatis Dissertation submitted to the Faculty o the Graduate School o the University o Maryland, College Park, in artial ulillment o the requirements or the degree o Doctor o Musical Arts 2008 Advisory Committee: Proessor Robert Gibson, Chair Jerrold Levinson Robert Provine Mark Wilson Lawrence Moss

4 Coyright by Nathan Lincoln-DeCusatis 2008

5 Table o Contents Table o Contents ii Calling Tunes ii

6 Nathan Lincoln-De Cusatis Calling Tunes: A Piece in Three Movements or Violin, Clarinet, Violoncello, and Piano (transosed score)

7 I. Montunos Violin Clarinet in Bb Violoncello Piano q = 105 sul tasto...sul ont. izz. arco steady gliss. bend as much as ossible steady gliss. sul tasto...sul ont. heavy, ercussive (quasi montuno) 4 sul ont. izz. ord.

8 2 7 sul I ast izz. gliss. arco 11 m izz. m

9 15 arco gliss. m m m izz. m 19 arco m

10 m m m

11 5 28 1

12 6 4 oco sul ont. 6

13 ord.

14

15 48 ricochet 9 izz. 50 izz., leggiero m m izz., leggiero

16 10 5 m m 56 m m

17 11 58 m s m m 60 m m m

18 12 6 m arco 66 arco m m

19 1 68 sub. m 71 izz.

20

21 77 lontano, misterioso arco (breathe where needed) con edale

22

23 17 85 edale semre 88 (distant) (distant) (distant)

24 18 91 cresc. oco a oco cresc. oco a oco 95 m

25 97 19 izz. 100 arco

26 : m

27 m m 111 m m

28 m m 118 Fast q. = 170

29 m m

30

31 147 cresc. oco a oco cresc. oco a oco cresc. oco a oco e = x

32 156 Temo di Prima q = 105 izz. arco izz izz. arco izz. izz. arco m

33 27 16 m izz. arco 166 izz. arco arco izz. m

34 izz. m arco 17 izz.

35 izz. arco m m m m 180 m

36 0 182 arco m m m m

37 1 II. Canzone Static, timeless Violin 1 q = 56 Clarinet in Bb m Violoncello Piano 7 m m m m m m

38 2 11 m m m m m m m m m m m m 15 m m

39 18 m 6 m 22 m 5

40 m m m m m

41 5 2 m m m m m m 6 m m 6 m m

42 6 40 m m 4

43 46 m 6 sul A m 7 49 m m m

44 8 52 m m 55 m m m

45 9 59 molto cantabile m 6

46 40 67 m m 69

47 41 III. Variations on a Ri Violin Clarinet in Bb Violoncello Piano 1 q. = 116 sub. sul ont. 6

48 ord.

49

50 44 9

51

52

53 izz. arco izz. arco

54

55

56 m

57 accel. 122 q = 206

58

59 5 15 sub. s 19 m m m m

60 rall. q = 172 ed. semre rit. sul ont. sul ont. m m

61 Temo di Prima sul tasto, non vib. sul ont. 164 sul tasto, non vib. ord. m ord. sul tasto, non vib. m m m

62 ord. m ord. m 179 sul tasto, non vib. m m m m m m m

63 ord. m m izz. 192

64 m m

65 59 21 m m m m m 220 izz. arco m izz. m m m m m

66 228 arco m m izz. m m 60 Suddenly Faster 25 (q = 200) arco arco

67

68 m

69 6 258 m m m m m m 264 m m m m m m

70

71

72

73

74 1 68