DOI

10.17077/etd.am3knh5n

Document Type

Dissertation

Date of Degree

Spring 2015

Degree Name

DMA (Doctor of Musical Arts)

Degree In

Music

First Advisor

Moore, Daniel

First Committee Member

Jones, William L.

Second Committee Member

Eckert, Michael

Third Committee Member

Harvey, Trevor

Fourth Committee Member

Phillips, Damani

Abstract

At the first Panorama in 1963, Anthony "Tony" Williams presented an arrangement of Slinger "Mighty Sparrow" Francisco's "Dan Is The Man (In The Van)" that would set the standard for Panoramas to come. As the competition continued arrangers like Bobby Mohammed, Earl Rodney, Jit Samaroo, and many others continued to present new ideas and techniques that became part of what is known as the "Panorama formula." In its current configuration the Panorama formula can be seen as an amalgamation of techniques introduced by past arrangers, but some argue that the formula has become too predictable and that arrangers who present works continuing to push the boundaries of the competition are often not rewarded, and perhaps punished for their efforts. This document will explore, through the history of the competition and the development of past arrangers, how the formulaic procedures of Panorama have developed. In addition, the recent works of arrangers Ray Holman, Liam Teague, and Andy Narell will be examined to see how they have challenged the expectations of the Panorama judges and the steelband community.

Public Abstract

Since its inception in 1963, the Panorama competition of Trinidad and Tobago has become a chance for steelbands to show off their musical prowess and creativity. Throughout the history of the competition arrangers have pushed the boundaries and expectations of judges and fans, but recent years have shown what some see as an alarming trend towards redundant uses of formulaic procedures. The arrangers that present works continuing to push the boundaries of the competition are often not rewarded, and perhaps punished for their efforts, while recycling techniques can propel arrangers into the final stages of the competition and even lead them to victory. This document will explore, through the history of the competition and past arrangers, how the formulaic procedures of Panorama have developed. In addition, the recent works of arrangers Ray Holman, Liam Teague, and Andy Narell will be examined to illustrate how they have challenged the expectations of the Panorama judges and the steelband community.

Keywords

publicabstract, Andy Narell, Liam Teague, Panorama, Ray Holman, Steelband, Steelpan

Pages

vi, 117 pages

Bibliography

Includes bibliographical references (pages 111-117).

Copyright

Copyright 2015 Aaron Michael Ziegler

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