RICE UNIVERSITY. Skitter. Nicolai Lee Jacobsen A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE: Doctor of Musical Arts

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1 RICE UNIVERSITY Skitter by Nicolai Lee Jacobsen A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE: Doctor of Musical Arts APPROVED, THESIS COMMITTEE: Arthur Gottschalk Professor of Composition and Theory, Chair Karim Al-Zand Associate Professor of Composition and Theory Walter B Bailey Associate Professor of Musicology, Chair Alexmder Regier Assistant Professor of English HOUSTON, TEXAS MAY 2010

2 UMI Number: All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI Copyright 2010 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. uest A ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml

3 Copyright Nicolai Lee Jacobsen 2010

4 Abstract Skitter by Nicolai Lee Jacobsen Skitter is a modern take on the classic concert overture exemplified by Rossini's La scala di sieta or Berlioz's Le carnival romain. This short piece is in four parts: an energetic fanfare, a melodic pastoral, a frenetic development of the previous materials, and an exuberant coda. The fanfare introduces much of the melodic material used throughout the work, primarily focusing on an energetic theme with a subtly shifting background. The pastoral section offers a complete contrast: the English horn, and then violas, develop an aria-like melody in an Impressionistic setting. The third section, marked "skittering," develops various motives from the first two sections while pushing toward a climactic set of fanfares. The final section is a light coda in the style of Rossini. Here the music bubbles with energy, driving toward a sudden stop.

5 Acknowledgements I would like to thank Drs. Karim Al-Zand, Walter Bailey, Arthur Gottschalk, and Alexander Regier for their help and advice.

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