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Rashomon for Wind Ensemble: a composition and an analytical essay Open Access


Other title
wind ensemble
Type of item
Degree grantor
University of Alberta
Author or creator
Reid, Darlene J
Supervisor and department
Klumpenhouwer, Henry (Music)
Bell, Allan Gordon (Music, University of Calgary)
Examining committee member and department
Gramit, David (Music)
Schroeder, Angela (Music)
Chan, Ka Nin (Music, University of Toronto)
Read, Daphne (English and Film Studies)
Department of Music

Date accepted
Graduation date
Doctor of Music
Degree level
ABSTRACT Rashomon, a composition for wind ensemble, portrays a musical event—the simple motion of rise and fall—from three different perspectives, each assigned to one of the three movements. The underlying form, the basic gestural content, pitch material and instrumentation remain the same in the three movements. Each movement consists of five sections: an introduction, a statement of melodic material, a trumpet statement of melodic material, an ascent to the highest point and a resolution. Rashomon has four main gestural components: compression/expansion, rise/fall, interruption or interjection and the stasis of sustain or residue. The gestural material develops gradually from the start of Rashomon I, where these ideas are introduced, through to the end of Rashomon III. Pitch movement in wind ensemble works structured for advanced secondary school or university wind ensembles needs to be sensitive to the difficulties inherent in the ensemble’s unfamiliarity with atonal patterns. Many instrumentalists at this level find that an increase in dissonance complicates their intonation and large intervallic leaps stretch their technical abilities. The pitch content of Rashomon takes these possible restrictions into consideration in order facilitate a quality performance while maintaining the pitch organization of a modernist work. The use of simple gestural components, perceptual similarity of form, combined with a driving and aggressive nature, aids in the accessibility of the work for the wind ensemble and its audience.
License granted by Darlene Reid ( on 2010-06-22T18:27:21Z (GMT): Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of the above terms. The author reserves all other publication and other rights in association with the copyright in the thesis, and except as herein provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission.
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