ABSTRACT. Music Theory & Composition Division School of Music. The initial concept of Unfading Echoes is to combine the elements of both
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1 ABSTRACT Title of dissertation: UNFADING ECHOES Chao-Jung Wu, Doctor of Musical Arts, 2011 Dissertation directed by: Professor Thomas DeLio Music Theory & Composition Division School of Music The initial concept of Unfading Echoes is to combine the elements of both Western and Eastern music in a profound way; the violin and the Chinese fiddle erhu, are used to symbolize the two cultures. The erhu a Chinese traditional instrument is normally tuned to D4 and A4, which is the same as the two middle strings of the violin. Comparing its timbre with the violin s, the erhu emphasizes higher overtones; its fundamental is weaker than some of the partials, which gives its sound a nasal quality. The traditional Chinese piece for the erhu, The Moon Reflected in Er-quan, which is often considered one of the most important masterpieces in China, inspired this work in various respects. In small scale, its pitches, melodic contour, and its rhythms are thoroughly utilized in Unfading Echoes; in larger scale, the ways of varying theme, the slow pace, the ambiguous edges between sections/phrases have also considerably influenced the design of this piece. The piece can be divided into three major sections (see table 1 & figure 1). Proportionally, the sum of section I and II is roughly equal to section III; the overall plan also suggests that the contour design reflects quasi-symmetry.
2 m.# Duration (seconds) I(i) 0 00 ~ Note Detuned violin solo I I(ii) ~ Tape enters I(ii) ~ I(ii) ~ II II 7 00 ~ III III(i) ~ Only tape III(ii) ~ Violin cadenza III(ii) ~ Tape re-enters III(ii) ~ III(ii) ~ III(iii) ~ III(iii) ~ III(iii) ~ Table 1 table of Unfading Echoes. Figure 1 Overall plan (dark violin, light tape)
3 The timbral evolution, mainly established by the tape, includes two phases. From the beginning to 11 0 is a progress of tape splitting from the violin as its extension and eventually draws emphasis on the attack sound, which finally accumulates to white noises. The second phase starts after the violinist s cadenza at 1 17, where the tape shifts its function from a violin s follower or competitor to a main character. Finally, the two detuned strings at the beginning are designed to relate to the open strings of the erhu. The unusual tuning gives listeners a clue which remains unsolved until its reoccurrence at the end when the intro phrase of The Moon Reflected in Er-quan becomes the closing phrase of the whole piece. The idea corresponds to the sense of infinity in Chinese esthetics endless cycles.
4 UNFADING ECHOES for violin and tape by Chao-Jung Wu Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2011 Doctoral Committee: Professor Thomas DeLio, Chair Associate Professor James Fry Professor Denny Gulick Associate Professor Mark E. Wilson Dr. Daniel Zimmerman
5 Unfading Echoes is dedicated to my parents, my brother, my husband, and Chun-Hsin Jenny Wu.
![If desired, the soloist may perform m.127~147 with tempo ad lib.; use Version [B] with separated sound-files.](/docs-images/79/79752574/images/6-2.jpg "* In m.1~20, play on open strings as much as possible. * In m.")
![20 Version [B]: two stereo sound files: a sound engineer or a pedal (if tape is controlled by violinist) is](/docs-images/79/79752574/images/6-5.jpg "needed to trigger the second clip. Clip 1 (0 00 ~10 00 ): starts initially with violinist.")
6 Notes Violin Two violins are required; one normal tuned and another detuned as: The piece starts with detuned violin; the violinist should change to specified violin when indicated. If desired, the soloist may perform m.127~147 with tempo ad lib.; use Version [B] with separated sound-files. * In m.1~20, play on open strings as much as possible. * In m.10~20, finger the notes as if playing with normal-tuned violin. Tape Version [A]: one stereo sound file, total length: ca. 20 Version [B]: two stereo sound files: a sound engineer or a pedal (if tape is controlled by violinist) is needed to trigger the second clip. Clip 1 (0 00 ~10 00 ): starts initially with violinist. Clip 2 (1 12 ~end): starts at m.127 with violinist s cue. Notation (square notehead) use left hand tap on ricochet fingerboard aprrox. pitch accel. highest pitch on indicated string wide vibrato (if specified, vibrate with indicated pitch) behind bridge (on string specified) or pitch ad lib short gliss up/down after reach the pitch longer gliss up/down after reach the pitch snap pizzicato (Bartók pizzicato)
7 Violin q 0 Con sord. j L 4 7 niente F π π 4 Senza sord. 5 π fl π π θ 7 fl θ π, Θ 1'00" 1'07" 10 αe Θ α e ú Ï niente e ( ( θ niente Tape 1'02" 1'05" 1'08" * Tuning: 1
8 1'14" 1'18" 1'22" 1'2" 12 e A 1'1" (echo) 1'14" 1'18" niente θ, niente e ord.... sul ponticello ú ( 1'2" niente '0" 1'5" 1'40" 1 4 ord. Con sord. ord.... sul tasto π ord. e '1", 2 1'8" α α Θ
9 1'45" 1'49" 1'5" 1'57" 19, π Senza sord. niente 2 niente N N 1'47" θ θ 1'52" α φ '58" α 2'00" 2'04" 2'09" 2'14" 2 N N * Change to normal tuned violin '05" α (echo) n n, arco n n n n n n n n n n n n n 2'10" α,, µ 2'17"
10 2'21" 2'28" 2'4" 27 arco Μ,, sub. 5 5 ord. sub. 5 2'22" l l Θ l l (metalic) 5 5 Θ 2'5" 2'8" µ 2'40" 2'4" 0 arco 2'4" 4 φ 7 α µ (gliss down) α
11 2'52" 2'57" '01" 2 4 α 5 (let ring) }}}}}}}}}}}}} (gliss down) α α 2'58" α b µ α '05" α α φ '07" '1" '19" 5 arco µ α sub. µ µ! 5 '21"!
12 '25" '1" 8 '27" α µ µ α '7" Θ '5" 5!!!!!! fl 4 '8" '4" '50" '5" '40" ã ã ã ã ã fl α α α '4" φ '4" α α ) (sharp pizzicatos) Ν Ν Ν Ν Ν φ
13 4'00" 4'05" 4'09" 44 4 arco α µ sub. sul ponticello ord. µ 4 α µ π '04" '14" 4'21" 4'25" 47 4'18"!,, }}}}}}, Θ α ::::: : : : : : : : π (noises) (gliss down) 7 : : : : 4'28"
14 4'29" 50 α 4 4'" µ. α 4'0" α : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : 4'8" 4'42" 52 arco α α : : : : ; ; ; ;: : : µ α µ : ; ;; ; ; ;; ; ;: : : : 4 4 arco, ; ; ;; ; ;: : : : α α ; ; ;; ; ; ; (noises) ;; ; ;; ; ; ; ; ; : : : : : 4 4! fl 8
15 4'47" 4'52" 4'5" 54,, arco α α α µ µ 5 4'48" 4'50" α 4'49" µ α µ!! π α! 4'59" θ!!! α '0" 5'09" 57 5 arco, α µ θ!! : : : : :: : : : ::::: α
16 5'1" 5'21" 59 4 α 5, µ α α α arco π }}}} ) (gliss up to C) 5 5 α α φ αα φ :::: 5'27" 5'1" 5'5" 1,, α, α µ 5 α α θ π α arco α µ : : : : : : : : : : ;;; ; ::: : ::; ; ;;;;;:: σ 10 ö ö ö µ ö ö (self-gliss pitch) 5'8"
17 5'9" 5'4" 5'47" 4 α µ ν ν ν 4 σ π α α α? '51" 5'5" '00" σ 4 µ α α arco α α!, sub. π µ,, 5 :4 µ, Θ α 11
18 '05" '10" '14" '18" '22" 70 α α sub. α ( α α µ µ arco Ν 4 '07" ö ö ö µ '24" α '2" '1" '7" Ν Ν φ α α ν α Ν 5'" ), α 12 µ Ν sub. µ µ )
19 '4" '49" '55" 78 ( Θ Con sord. Θ '44" 7 arco Θ ord. Ν Ν π 5 fl '57" '00" 7'0" 7'12" 7'17" 81 5 Senza sord. Ν niente α α Ν, sub. 4 α, ord.... press hard... ord., }}}}} 7'04" α α 7'10" α µ }}}}}}}}}}}}}}}}}} α 7'1" 7'14" }}}}}}}} ( gliss up)
20 7'22" 7'2" 7'1" 7'" 85 α }}}}}}}}}}}}}}}} 7'25" αçç α ( Ν Ν Ν Ν π Ν 7'29" ç ç Ν 5 5 }}}}}}}}}}}}}}}}}}}}}}}}}}}} ç 5 (gliss up) 7'8" α 7'41" α α µ 7'42" 7'48" 7'55" 89 7,,,,,,, arco Θ µ Ν 7'45" ) α α µ 7'50" α (gliss up) }}}}}}}}}}}}} 14
21 8'02" 8'09" 8'1" 8'19" 92 Ν Ν α Ν Ν Ν µ 8'07" ç ç fl sub. 8'11" ç α 8'14" ç ord.... press hard... ord. }}}}}}} 8'2" 8'27" 8'1" 8'" 9 φ φ, }}}}}}}}}}}}}}}}}}}}}}}}}} α α µ 5 Ν Ν Θ φ φ 8'0" arco Ν Ν 8'" non Vibrato
22 8'41" 8'47" 8'5" ν Ν µ Ν Ν Ν Ν 4 Ν π 8'48" φ z z z z z z z z z zzz z z zz z '57" C '58" 9'04" 9'10" C C C ν ν pitch ad lib. θ sub. µ ν θ ( sub. 9'12" ) µ 1
23 9'14" 9'18" 9'2" 10 9'1" π Ν Ν Ν Ν Ν µ µ Ν Ν α α Ν Ν,,,,, 9'27" CC '27" 9'" Ν C C C C CC C C C C CC CC C C Ν µ Ν µν Ν 9'2" ) φ θ µ µ µ 17
24 9'8" 111 sub. θ µ µ 9'44" 9'41" 5 ) ) ) ) ) µ µ '45" 9'51" 9'5" α [ ( 5 9'49" α α 5 }}}}}}}}}}}} Ν α α Ν µ µ Ν ν1 ord. Ν1ν Ν (let ring) 0/ 0/ 0/ 5 4 0/ 18
25 n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n 10'00" 10'10" 115 0/ 7 5 0/ 0/ a C α α α C 7 7 a C α CC CC C C C C C 5 5 0/ D a α Θ a Θ a 4 LLLLLLLL Ï Ï 4 4 αa C CC θ C 2 a α a 2 α C b C n n n n n n n n n n n n n n n '18" 10'24" 10'29"
26 n n n n n n n n n n n n n n n 10'4" 10'40" 10'48" n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n 7 7 ) fl 5 B E C C C D ZLZ \ \ \ \ 11'00" 11'08" 11'15" 11'22" ZZZ HH (white noise) H Θ a Θ a W NN OO MHHHH 7 (white noise) 7 [ XÏ 7 ú Ï Ï ú )))))))))
27 127 (11'0") q β 0 tempo ad lib. (* square notehead: left hand tap on fingerboard) ric....ord. gradually press hard θ θ fl π flπ 10 ord. 5 5,,, θ,, + ord. sul ponticello Θ! Θ µ sub. gradually press hard press hard ponti µ µ :2 5 Θ, θ 7 θ :4 θ,,, sub. α µ! sub. λλλλλλλλλ ric....ord. 14 ord. α wide vibrato 4 5,,,,,,, ric....ord. ord., sub θ Θ µ? µ Θ! fl sub. π flsub. sul tasto 140 ric....ord. (quick gliss down) θ α 5 ¹ ¹ e e e e fl π e ¹ ¹ e ¹ e¹ ¹ ¹ ¹ e e e e e e e ν approx. pitch ¹ 5 9 θ :8 θ 21
28 142 5 ν?,, 14 + µ,,,, -,, + 5 ric....ord. ric....ord. α ric....ord. θ α ric....ord θ α µ! ¾ ¾ ¾µ µ µ + Τ ric....ord. 7 5! Cue Clip 2 Ver. [A] 1'12" Ver. [B] 0'00" a tempo α fl sub. 1'17" 0'05" 2 1'24" 0'12", µ, 4 1'27" 0'15" press hard... ord. ¾ '12" 0'00" φ 1'18" 0'0" 1'19" 0'07" 1'21" 0'09" α '25" 0'1"
29 '2" 0'20" α 1'5" 0'2" α,,, ν 1'8" 0'2" sub. α 1'40" 0'28" α α 1'42" 0'0" α niente 5 (metalic)!!!!! 154 1'4" 0'4" 1'47" 0'5" 1'5" 0'41" 4 α µ α µ CAA AAA AA A 2 A A A A A A A α A AA A
30 15 α α ric....ord. µ 14'01" 0'49"? sul ponticello θ? '05" 0'5" ord. Ÿ}}}}}}}}}}}}}}}}}}}}}} Μ fl 14'0" 0'54" θ µ 14'08" 0'5", '1" 1'01" 14'19" 1'07" 14'2" 1'14" sul tasto ord. trem. ord.... sul ponticello π 5 5 5??? α 24
31 11 14'0" 1'18" θ α α '4" 1'22" 14'5" 1'2" α '7" 1'25" arco ord. wide vibrato λλλλλλ Θ, π α 14'41" 1'29" α µ 14'4" 1'1" 14'47" 1'5" 14'52" 1'40" ,????????? 14'50"???? 1'8" (birds-like) (behind bridge) sul A X???????? α Θ 4 25
32 17 14'57" 1'45" arco α 5 15'02" 1'50" sub. θ µ '07" 1'55"?? '08" 1'5" arco 15'1" 2'01" 5 15'17" 2'05" α θ α sub α
33 15'2" 2'11" 15'0" 2'18" 172 α, µ α niente α µ α 4 α 15'25" 2'1" CC αc CC 15'29" 2'17" α α α '4" 2'22", λλλλλλλλλ wide vibrato 15'9" 2'27" µ gradually wide vibrato 5 15'4" 2'1" ord., µ niente '5" 2'2" µ 27 15'42" 2'0" '4" 2'4" α? 15'47" 2'5"
34 15'49" 2'7" 15'55" 2'4" 177 tremolo crooked bow l.h. ord. ¾ α arco ord. µ 4 15'5" 2'1" α 5 α 15'57" 2'45" C C C C C 4 C C C C CCC C C C C C CC C C CCCCCCCCC C C C CC CC CC 4 4 1'02" 2'50" 1'07" 2'55" 1'1" '01" Θ ¾ 5 ord α 5 5 α 4! fl 5 28
35 1'20" '08" 1'24" '12" 1'1" '19" 1'" '24" 182 4,,, α 4 θϑ α ACC CA 1'5" '2" '40" '28" 1'45" '" 1'51" '9" ,,, sub Ÿ Η }}}}}}}}}}}}}}}}} 5 1'50" '8" α λλλλ ? (gliss up) µ 29
36 189 1'5" '44" 17'01" '49" ord.... sul ponticello ord.... sul ponticello Θ fl 17'0" '54" ord., α, µ 17'09" '57" 17'11" '59" 192, α,, 17'1" 4'04" Ÿ}}}}}}}}}}} approx. pitch eee 17'21" 4'09" α µ ( α gliss tr. between Eb Ÿ}}}}}}}}}}}}}}}}}} sub. π α,,,,,,,,,,,,,,, 17'19" 4'07" 0
37 195 17'2" 4'14" λλλλλλ wide vibrato (Ab) α fl 17'1" 4'19" niente 17'29" 4'17" '" 4'24" µ, sul A 17'41" 4'29" Θ 5 17'4" 4'4" α, 4 D Τ fl Θ 17'44" 4'2" Ÿ 4 4 4
38 17'52" 4'40" sub., 17'57" 4'45" 5 ½ ½ ½ ord.... sul ponticello '0" 4'51" µ Ricochet α α ord '09" 4'57" flsub. α α α '14" 5'02" Θ, ¾ ¾ ¾ ¾ ¾
39 18'17" 5'05" λλλλλλλλλλλλλλλλλλλλλλλλλλλλλλλλλ wide vibrato π 18'2" 5'11" cresc. 18'29" 5'17" 18'5" 5'2" ( (let ring) L j λλλλλ 18'2" 5'20" α µ 5 α! '42" 5'0" 18'47" 5'5" 209 L j * Change to detuned violin. 5 A '50" 5'8" 5 7 7
40 211 18'5" 5'41" π ( ( ( 4 19'00" 5'48" arco, sub. 5 19'05" 5'5" µ C CC π '02" 5'50" α C α C '11" 5'59" 19'15" '0" ( 4 19'19" '07" ( 19'24" '12" fl sub.????????
41 19'28" '1" 19'5" '2" 19'40" '28" 218 sul tasto... ponticello ord. sub α ric....ord. α µ α µ α '44" '2" Ÿ}}}}}}}}}}}}}}}}}}}} ord. 19'48" '" Ÿ Ÿ Ÿ α½ ½ ( ½ (gliss up after trill) Ÿ ½ Ÿ ½ Ÿ ½ Ÿ ½ ½ ½ ½ ½ ½ ½ 19'52" '40" (h) (highest pitch) (let ring) Ricochet ord. (Roll from string Iand II to III and IV.) # 5 # 19'57" '45" ) ) 4 5
42 '58" '4" ric....ord. π λλλλλλ wide vibrato III IV '0" '51" () '09" '57",,,,, 5,,,,,,, ν ν ν ν pitch ad lib. 7 II III on bridge. slow bow. II III II III fl sub. 4 ) ) ) '14" 7'02" (on bridge. slow bow...) 20'19" 7'07" 20'24" 7'12" sub. 20''29" 7'17" gradually ord.... (let ring) 20'17" 7'05" 20'2" 7'04" Τ
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