- Vincent McDermott
(Joseph) Vincent McDermott (b. Atlantic City,
New Jersey ,United States ,September 5 ,1933 ) is a classically trained American composer and ethnomusicologist. His works show particular influence from the musics of South andSoutheast Asia , particularly thegamelan music ofJava . He is among the first American composers to create and promote new compositions for gamelan.Education
He received a B.F.A. in music composition from the
University of Pennsylvania (1959), an M.A. in music history from theUniversity of California, Berkeley (1961), and a Ph.D. in music history, theory, and composition from the University of Pennsylvania (1966). His composition instructors includedConstant Vauclain ,George Rochberg ,Darius Milhaud , andKarlheinz Stockhausen . Later in life , McDermott was befriended byLou Harrison , the godfather ofAmerican gamelan . It was Harrison who encouraged McDermott to start composing for gamelan.McDermott first encountered gamelan c. 1965 in
Amsterdam . He later studied Javanese gamelan in Indonesia at the Akademi Seni Karawitan Indonesia (nowSekolah Tinggi Seni Indonesia Surakarta ) inCentral Java (1971, 1978, and 1984). He has studied or worked in Surakarta withSumarsam andRahayu Supanggah , and later, in the United States, with Pak Cokro and Midiyanto. In the 1970s he made an intensive study ofHindustani classical music , studying with sitarist Ira Das Gupta, and with renowned tabla player Zakir Hussain.Compositions
Many of McDermott's works are written for standard Western ensembles (e.g. chamber, orchestral, choral, solo, and electronic). In 1969 he began to incorporate sounds and ideas from North Indian music. In 1980 Lou Harrison encouraged McDermott to begin composing for gamelan. He has since composed a number of works for gamelan (some in combination with Western instruments), and has presented gamelan workshops in several Asian nations (including
Malaysia andJapan ), focusing primarily on encouraging new compositions for gamelan. He has received severalFulbright grants andNational Endowment for the Arts commissions. He was a recipient of a "Master's Award" from theOregon Arts Commission .McDermott's compositions have been performed in North America, Europe, and Asia. From the earliest period he was drawn to cross-cultural works, multimedia, and theatrical music. These interests continue to this day. Two of his operas, "The King of Bali" and "Mata Hari", juxtapose gamelan and Western ensembles. Both were written and performed in the U.S. with English texts in the 1990s, and in the new century have been translated into Indonesian and have been/will be performed in Indonesia.
His musical styles have swayed in different directions. His generation witnessed the onset of a wealth of new styles, and in his early days he tried his hand at many of them. By and by he eschewed the poles of abstract atonality and indeterminacy that were much in favor in the 1960s and 1970s. Instead he turned increasingly to modality, melody, and counterpoint, which styles have continued since. His compositional goals are expressivity, depth, and spirituality, yet often with a light heart. In Asia, he advises young composers to borrow what they can from western traditions, saying it will help them speak to international audiences. But he insists the soul of their music as well as many of its techniques must come from their own soil.
Teaching
McDermott has taught at the Hampton Institute (now Hampton University) in
Virginia (1966-67) and at theWisconsin Conservatory of Music inMilwaukee, Wisconsin , where he served for a time as dean and director (1967-1977). In 1977 he began teaching atLewis & Clark College inOregon ; he retired in December 1997 and is now a professor emeritus. While there he began the college's world music program and in 1980 founded its first gamelan, Venerable Showers of Beauty, which was purchased in Java with the help ofRahayu Supanggah andNyonya Nora , and an American patron, Loraine Fenwick. He directed the gamelan and later brought in Javanese musicians to teach (includingMidiyanto ,Supardi , andDarsono ). He also instituted classes in Indian and African music performance withObo Addy . He has since helped to establish gamelan programs at theCollege of William and Mary and theUniversity of Puget Sound .Writings
He has also written articles on various subjects for various music journals.
Current activities
He presently divides his time between
Yogyakarta , Java and the United States. In Yogyakarta, he directs an ensemble called Musica Teatrica Nova.elected Works
*1967 - "Five Bagatelles", piano
*1970 - "Three for Five", flute, sax, tabla, vibes, piano
*1972 - "Komal Usha-Rudra Nisha", sitar, flute, guitar, and double bass
*1972 - "He Who ascends by Ecstasy into Contemplation of Sublime Things Sleeps and Sees a Dream", piano and tape
*1973 - "Time Let Me Plan and Be Golden in the Mercy of His Means", guitar and harpsichord
*1975 - "Magic Grounds", piano
*1975 - "Orpheus", tape and video
*1975 - "Pictures at an Exhibition", tape and slide projections
*1976 - "Siftings Upon Siftings", orchestra
*1977 - "Slayer of Time, Ancient of Days", (cantata), voices, E. horn, harp, cello, percussion, texts from Bhagavad-Gita and Rabindranath Tagore
*1978 - "Rain of Hollow Reeds", tape+1978 - "Smoke of Burning Cloves", solo instrument
*1978 - "A Perpetual Dream, opera for solo voice, tape, dancers/mimes, bonang, and toy piano
*1979 - "Solonese Concerto", piano and chamber orchestra
*1980 - "A Stately Salute", in honor of Lou Harrison, pelog gamelan
*1980 - "Laudamus", chorus
*1981 - "Kagoklaras" (A Different Song), gamelan andprepared piano
*1981 - "Tagore Songs", soprano and guitar
*1982 - "Sweet-Breathed Minstrel I", a mystic poem of Rumi, slendro gamelan, two solo voices, and viola
*1983 - "The Dark Laments of Ariadne and of attis, 2 songs after Catullus", soprano, narrator, viola, tape
*1984 - "The Bells of Tajilor", gamelan slendro/pelog
*1986 - "Fiddles, Queens, and Laddies", soprano, tape, and drums on texts by Lauremce Sterne and Robert Burns
*1990 - "The King of Bali" (opera), gamelan and orchestra
*1991 - "Fugitive Moons", string quartet
*1994 - "Mata Hari" (opera), chamber music group and gamelan
*1994 - "Titus Magnificus", orchestra
*1997 - "Sweet-Breathed Minstrel II", pelog gamelan, two solo voices, and male chorus (3-4 voices), text byJalal ad-Din Muhammad Rumi
*1999 - "Quartet for trumpet, sax, piano, percussion
*2002 - "The Spirit Takes Wings and Soars (or Dragons in the Grachten)", 12-tone gamelan andsaxophone quartet
*2003 - "Divine Songs for voice and gender/vibraphone
*2005 - "A Little Concerto", gamelan slendro/pelog
*2005 - "The Blue Forest", gamelan, chorus, dancers, and shadow puppetry
*2006 - "Cahaya Jiwa (Light of the Soul)", solo voice and instrumentPublished writings
*McDermott, Vincent (1966). "The Articulation of Musical Space in the 20th Century." Ph.D. dissertation. University of Pennsylvania.
*McDermott, Vincent. "A Conceptual Musical Space." "Journal of Aesthetics and Art Criticism", v. 30, no. 4 (Summer 1972), pp. 489-94.
*McDermott, Vincent, with Sumarsam. "Central Javanese Music: The Patet of Laras Slendro and the Gender Barung." "Ethnomusicology" 19:2 (1975).
*McDermott, Vincent. "Gamelans and New Music." "Musical Quarterly", v. 72, no. 1 (1986), pp. 16-27.External links
* [http://www.lclark.edu/~piolog/archive/980206/arts/arts.html Article about Vincent McDermott]
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