Dissertation: Woodwind doubling on folk, ethnic, and period instruments in film and theater music

My doctoral dissertation is now available online through the University of Georgia library:

Woodwind doubling on folk, ethnic, and period instruments in film and theater music: Case studies and a practical manual

It was completed in 2009 so some things are already out of date. Also, lately I’m trying to steer away from the term “ethnic” instruments (“world” instruments seems slightly less problematic until I can find a better solution).

Enjoy(?).

ABSTRACT

Woodwind doubling is the practice of playing instruments from more than one woodwind family. In musical theater and film music, woodwind doublers are valuable for their ability to produce the sounds of a varied woodwind section for a fraction of the cost of hiring a specialist musician to play each instrument.

Since the 1990’s, composers and orchestrators in musical theater and film scoring have shown increased interest in instrumental sounds from outside the traditional symphony orchestra. Many have featured folk, ethnic, or period instruments as solo instruments, bringing authentic sounds to scenes set in faraway locations or historical periods, giving an exotic flair to fictional locales, or simply adding new colors to the usual palette of instrumental sounds.

Composers of film and theater scores have used ethnic woodwinds, in particular, in their scoring. To meet the demand for ethnic woodwind sounds, many prominent woodwind doublers on Broadway and in Hollywood have adopted these instruments, in addition to their usual arrays of modern Western instruments.

Eight folk, ethnic, and period woodwinds recently employed in film and theater scoring have been selected for study in this document: bamboo flutes (especially the Indian bansuri and flutes used by some flutists in Irish traditional music), the Chinese dizi, the Armenian duduk, the Native American flute, the panflutes of Romania and South America, the pennywhistle, the recorder, and the Japanese shakuhachi.

For each instrument, a representative example of use in theater or film music has been selected and transcribed from a commercial audio recording. Each transcription is discussed with emphasis on demands placed upon the ethnic woodwind musician. Additional discussion of each instrument includes suggestions for purchasing instruments, fingering charts, description of playing technique, description of instrument-specific performance practices, discussion of various sizes and/or keys of each instrument, discussion of instrument-specific notation practices, annotated bibliographies of available pedagogical materials, lists of representative recordings (including authentic ethnic music and other music), and information on relevant organizations and associations of professional or amateur musicians.

Read the full text at the UGA library website

New York Times blog: Steve Gorn

The New York Times’s “Lens” blog did a nice piece on Steve Gorn, a woodwind doubler who has turned his primary focus to the bansuri (Indian bamboo flute). Surf on over to see a nice photo and hear audio of an interview/performance. (Both photo and audio feature Gorn’s soprano saxophone playing.)

Steve Gorn on his beginnings as a woodwind player:

I advanced relatively quickly with the clarinet. When I got into eighth or ninth grade I got into a lot of jazz, and I started playing saxophone at that point. Jazz became much more of a focus. I played clarinet in the school orchestra.

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DRQOD: Ghandarvas and powdered wigs

I always enjoy Patty Mitchell’s “BQOD” (Blog Quotes Of the Day) over at oboeinsight. I’m in the thick of dissertation writing these days (technically, it’s “doctoral document” writing, since I’m working on a DMA, not a PhD), and this morning I ran across a couple of items that won’t make it into the finished product but are too fun to keep to myself. And so I present my Dissertation/Document Research Quotes Of the Day:

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