OVERDUE FINES ARE 25¢ PER DAY PER ITEM Return to Book drop to remove this checkout from your record. AN ANALYSIS OF THE TECHNIQUE AND STYLE OF SELECTED BLACK-AMERICAN COMPOSERS OF CONTEMPORARY CHORAL MUSIC BY Effie Tyler Gardner AN ABSTRACT OF A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC 1979 ABSTRACT AN ANALYSIS OF THE TECHNIQUE AND STYLE OF SELECTED BLACK—AMERICAN COMPOSERS OF CONTEMPORARY CHORAL MUSIC BY Effie Tyler Gardner This study was undertaken in order to introduce and explore the music of five Black-American composers of con— temporary choral music. The five composers chosen for the study were George Walker, Ronald Roxbury, Hale Smith, James Furman and Ulysses Kay. Criteria for the selection of these particular composers was that each is living and pre- sently contributing to American choral literature and each has at least two compositions published thus making their music readily available. Another purpose for this study was to make certain recommendations for the use of the music under discussion in the educational process of students on both the secondary and college levels and in both choral and non—choral settings. The following format was used in order to present the composers and their music: 1. A brief biographical sketch including a complete list of all works. 2. An analysis of five representative choral works. 3. A statement of conclusions concerning the style and technique of each composer. An examination of several historical sources revealed a tradition of choral singing with the Afro-American which began with the transplanted African, progressed through the Spiritual as art music and is prevalent in twentieth century compositions. Further sources revealed that the composers under investigation are indeed writing within the scope of twentieth century American choral idioms. It was found in the analysis that each composer is contributing works of skill and craftsmanship, that there is literature which is suitable for both secondary and college level choral groups, and that the inclusions of the works of Black—American composers has a place in the scheme of music education. To the Memory of Martha Anderson Winn Frank Goodall Harrison and Auntie ii ACKNOWLEDGEMENTS I wish to give recognition and personal thanks to those professors who gave their Special talents and time in help- ing me to complete this dissertation. My deepest appreciation is given to Dr. David Liptak who served in the area of theory and gave generously of his time in reviewing the analytical sections. Special thanks is also given to the additional members of the committee, Dr. Robert Erbes, the committee director, Dr. Robert Sidnell, and to Prof. Richard Klausli whose exper- tise was helpful in the preparation of the chapter concern— ing historical perspectives. I am sincerely indebted to Dr. Robert A. Harris who served as director of my dissertation and whose advice, perceptive criticism, and friendship has been invaluable during the progress of the study. Special thanks must also be given to the five composers, Ulysses Kay, James Furman, Ronald Roxbury, Hale Smith, and George walker, whose willingness to make their works avail- able to me made this study possible. The assistance given by Dr. Dominique de Lerma of Morgan State University and Dr. Evelyn White of Howard University must also be acknow- ledged here. iii Lastly, I am most grateful to my family, my husband, Burgess for his encouragement, to my daughter, Marian and my two sons, Vincent and Derrick for their maturity and patience during the course of this study. Their sacrifice was, by far, the greatest. iv Chapter II. III. TABLE OF CONTENTS LIST OF EXAMPLES . . . . . . . . . . . IDENTIFICATION OF THE PROBLEM . . . . Purpose of the Study . . Importance of the Study . Generalizability . . . Composers to be Studied . Method of Analysis . . . . . Definition of Important Terms Further Organization of the Study HISTORICAL PERSPECTIVES . . . . . . . A.History of Afro-American Choral MuSiC O O O O O O O O O O 0 Summary . . . . . . . . . . . . . Trends in Contemporary American Choral Composition . . . . . Summary . . . . . . . . . . . . . ANALYSIS OF THE STYLE AND TECHNIQUE OF FIVE BLACK-AMERICAN COMPOSERS OF CONTEMPORARY CHORAL MUSIC . . . . . . George Walker . . . . . . . . . Wbrks . . . . . . . . . . Three Lyrics for Chorus . The Bereaved Maid . . . . Take, 0 Take Those Kids Away 0 western Wind . . Sing Unto the Lord Gloria In Memoriam Summary . . . . . Ronald Roxbury . . . . . . . . . works 0 O O O O 0 There Is No Rose of Such Vertu As Dew In Aprille . . . . . Ave Mari a O O O O O O O O O Page viii Hra Homqmmm H 12 12 42 43 53 TABLE OF CONTENTS — CONTINUED Chapter That Yongé Child 0 o o o o o o o summary 0 o o o o o o o o o o Hale Smith . . . . . . . . . . . . Wbrks . . . . . . . . . . . . Two Kids . . . . . . . . . . . In Memoriam - Beryl Rubinstein Toussaint L'Ouverture - 1803 . Summary . . . . . . . . . . . James Furman . . . . . works . . . . . . Four Little Foxes Salve Regina . . The Quiet Life I Have A Dream Summary . . . Ulysses Simpson Kay . . works 0 O O O O 0 Stephen Crane Se Epigrams and Hymn Parables . . . . . Summary . . . . . Summary of Findings IV. IMPLICATIONS FOR MUSIC EDUCATION . . . . . Why Study Afro-American Music? . . . The Use of Twentieth Century Afro- American Choral Music in Choral and Non-Choral Situations . . . Recommendations for Use in Choral Settings . . . . . . . . . . . . smary O O O O O O O O O O O O O O O V. SUMMARY . . . . . . . . . . . . . . . . . FOOTNOTES . . . . . . . . . . . . . . . . . . . . BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . APPENDICES A. Complete Copies of Choral Music Used In The Study . . . . . . . . . . . . vi Page 100 103 105 108 109 116 124 128 130 132 134 143 146 151 159 161 163 169 188 193 204 206 219 219 223 227 243 245 248 255 260 TABLE OF CONTENTS — CONTINUED Chapter Page APPENDICES B. Publishers of Choral Music . . . . . . . 398 C. Thematic Catalog of the Choral Music of Five Black-American Composers . 400 vii Example 10 11 12 LIST OF EXAMPLES Regular and Spiritual Accents Igjgmt to Be Ready . . . . . My Lord, Wha: A Mournin' . . Four-Part harmonization My Lord, What A Mournin' . . arr. Harry T. Burleigh Ev'ry Time I Feel The Spirit Four-Part harmonization Ev'ry Time I Feel The Spirit arr. William Dawson The Bereaved Maid . . . . . . George walker Reduction of “Lullay” motive The Bereaved Maid . . . . . . George walker Shape of melody line (measures 10-23) The Bereaved Maid . . . . . . Pitch shape (measures 44-71) The Bereaved Maid . . . . . . George Walker (measures 86-94) TakeL 0 Take Those Lips Away George walker Reduction of Motive A (measures 3-6, 9—11. 20-22, 25-27) Take, 0 Take Those Lips Away George Walker (measures l4-20) viii Page 19 19 26 27 29 30 59 59 60 60 62-63 64 Examples Page 13 Take. 0 Take Those Lips Away . . 66 George walker (measures 25-27) 14 Take, 0 Take Those Lips Away . . 66 George Walker (measures 27-29) 15 Tgke, 0 Take Those Lips Away . . 67 George walker (measures 29-32) 16 Take, 0 Take Those Lips Away . . 67 George Walker 6-note scale 17 0 western Wind . . . . . . . . . 68 George Walker (measures ll-14) 18 O westepn Wind . . . . . . . . . 69 George walker (measures 9-11) 19 Sing Unto The Lord . . . . . . . 71 George walker Diagram of phrase structure 20 Sing Unto The Lord . . . . . . . 71 George Walker 3-part structure 21 Sing Unto The Lord . . . . . . . 71 George walker (measures 55-57, tenor line) 22 Sing Unto The Lprd . . . . . . . 72 George Walker (measures 19-20, bass line) 23 Sing Untq:The Lord . . . . . . . 72 George walker (measures 10-12) 24 Sing Unto The Lord . . . . . . . 73 George walker (measures 1-6) 25 Sing Unto The Lord . . . . . . . 74 George Walker (measures 7-9) ix Examples Page 26 .§;ng Unto The Lgrd . . . . . . . 74 George walker (measures 7-9) 27 Sing Unto The Lord . . . . . . . 75 George Walker (measures 25-26) 28 Sing Unto The Lprd . . . . . . . 76 George Walker (measures 50-51) 29 Gloria In Memoriam . . . . . . . 77 George Walker Diagram of phrases 30 Gloria In Memoriam . . . . . . . 78 George Walker (measures 1-3) 31 Gloria In Memoriam . . . . . . . 78 George walker Reduction of chord (measure 7) 32 Gloria In Memoriam . . . . . . . 78 George Walker Reduction of cadential harmony 33 Gloria In Memoriam . . . . . . . 80 George Walker (measures 25-29, second soprano line) 34 Gloria In Memoriam . . . . . . . 81 George walker (measures 73-74) 35 There IsgNg Rose of Such Vertp . 93 Ronald Roxbury (measures 1-4, 6-9, soprano line) 36 There Is No Rose of Spgh Vertg . 94 Ronald Roxbury Final cadence 37 As_Qew In Aprille . . . . . . . 95 Ronald Roxbury (measure 5) 38 AsSQew_;n Aprille . . . . . . . 96 Ronald Roxbury (measures 6-8) Examples Page 39 As Dew_;n Aprille . . . . . . . 96 Ronald Roxbury Harmonies (measures 3, 8, 16) 40 As Dew In Aprille . . . . . . . 97 Ronald Roxbury (measure 22) 41 Ave Maria . . . . . . . . . . . 98 Ronald Roxbury (measure 2) Bitonal harmonies 42 Ave Maria . . . . . . . . . . . 99 Ronald Roxbury (measures 8-10) 43 W........... 100 Roanld Roxbury (measures 25—26) 44 Ave Maria . . . . . . . . . . . 100 Ronald Roxbury Final cadence 45 That Yongé Child . . . . . . . . 101 Ronald Roxbury (measures 1-2) 46 That Yongé Child O O O O O O O O 10]- Ronald Roxbury (measures 1-2) 47 That Yanga Child . . . . . . . . 102 Ronald Roxbury (measures 9-13) 48 That Yangé Child . . . . . . . . 103 Ronald Roxbury Final cadence 49 Two Kids 0 O O O O O O O O O O O 110 Hale Smith (measures 1-4, alto) 50 No Kids 0 O O O O O O O O O O O 11]- Hale Smith , (measures 41-42) 51 Two Kids 0 O O O O O O O O O O O 112 Hale Smith (measures 1-4, bass line) xi Examples Page 52 Two Kids 0 O O O O O O O O O O O 113 Hale Smith (measure 40) 53 Two Kids 0 O O O O O O O O O O O 113 Hale Smith (measure 5, measure 8) 54 No Kids 0 O O O O O 0 O O O O O 114 Hale Smith (measures 32-33, 34-35) 55 Two Kids 0 O O O O O O O O O O O 115 Hale Smith (measure 9) 56 Two Kids 0 O O O O O O O O O O O 116 Hale Smith Scale 57 Speme D'Appomne . . . . . . . . 119 Hale S'nith (measure 12) 58 Poeme D'Automne . . . . . . . . 120 Hale Smith (measures 10-11) 59 Poeme D'Appompg . . . . . . . . 120 Hale Smith (measures 1-2) 60 Speme D'Automne . . . . . . . . 122 Hale Snith (measures 29-31) 61 Toussaint L'Ouverture - 1803 . . 125 Hale Smith Structural diagram 62 Toussaint L'Ouvertgre — 1803 . . 125 Hale Smith (measure 45) 63 Toussaipt;§10uverture - 1803 . . 126 Hale Smith (measures 1-3, soprano) 64 Toussaint L'Ouverture - 1803 . . 127 Hale Smith (measures 53-54) xii Example Page 65 Toussaint L'Ouverture - 1803 . . . 127 Hale Smith (measure 74) 66 Four Little Foxes - Spgak Gently . 135 James Furman (measures 8-9) 67 Four Little Foxes - Spgak Gently . 136 James Furman (measure 2) 68 Four Little Foxes - ngk Softly . 137 James Furman (measures 1-4) 69 Four Little Foxes - Walk Softly . 138 James Furman (measures 7-9) 70 Four Little nges - walk Softly . 138 James Furman (measures 14-16) 71 Four Little Foxes — Go Lightly . 139 James Furman Structural diagram 72 Four Little Foxes — Go Lightly . 139 James Furman Main motive 73 Four Little Foxes . . . . . . . . 140 James Furman Comparison of final cadences, Walk Softly, Go Lightly 74 Four Little Foxes - Step Softly . 141 James Furman (measures 1-4) 75 Four Little Foxes - Step Softly . 141 James Furman (measure 15-19) 76 Salve Reg ina o o o o o o o o o o 144 James Furman (measures 1-4) 77 Salve Regina . . . . . . . . . . 144 James Furman (measures 9-13) xiii Example Page 78 Salve Reging . . . . . . . . . . . 145 James Furman (measures 19-22) 79 Salve Regina . . . . . . . . . . . 145 James Furman (measures 30-32) 80 Salve Regina . . . . . . . . . . . 146 James Furman Final cadence 81 Quiet By Day from The Quiet Life . 149 James Furman (measure 1) 82 I Have A Dream . . . . . . . . . . 153 James Furman Peace motive 83 I Have A Dream . . . . . . . . . . 153 James Furman Life motive 84 I Have A Dream . . . . . . . . . . 153 James Furman Tragic motive 85 I Have A Dream . . . . . . . . . . 157 James Furman Freedom.motive 86 Black Riders . . . . . . . . . . . 169 Ulysses Kay Diagram of structure 87 Black Riders . . . . . . . . . . . 170 Ulysses Kay (measure 4) 88 BlaCk Riders O O O O O O O O O O O 170 Ulysses Kay (measure 15) 89 Black Riders . . . . . . . . . . . 171 Ulysses Kay (measures 34-35) 90 Black Riders . . . . . . . . . . . 172 Ulysses Kay (measures 64-66) xiv Example Page 91 Black Riders . . . . . . . . . 172 Ulysses Kay (measures 78-79) 92 Black Riders . . . . . . . . . 173 Ulysses Kay (measures 87-88) 93 Black Riders . . . . . . . . . 173 Ulysses Kay (measures 87-88 instrumental part) 94 Black Riders . . . . . . . . . 174 Ulysses Kay (measures 100-103) 95 Mystic Shadow . . . . . . . . 174 Ulysses Kay Structural diagram 96 Mystic Shadow . . . . . . . . 175 Ulysses Kay (measures 1-7) 97 Mystic Shadow . . . . . . . . 176 Ulysses Kay (measures 30-32) 98 MYStégJSEaQOJ O O O O O O O O 177 Ulysses Kay (measures 36-39) 99 A Spirit 0 O I O O O O O O O O 179 Ulysses Kay (measures 9-11) 100 A spirit 0 C O O O O O O O O O l79~180 Ulysses Kay (measures 27-32) 101 A Spirit 0 O O O O O O O O O O 180 Ulysses Kay (measures 33-35) 102 A Spirit 0 O O O O O O O O O O 181 Ulysses Kay (measures 56-61) 103 A Spirit . . . . . . . . . . . 182 Ulysses Kay (measures 72-75) XV Examples Page 104 War Is Kind . . . . . . . . . . 184 Ulysses Kay Melodic shape 105 war IS Kind 9 O O O O O O O O O 184 Ulysses Kay (measures 1-3) 106 War Is Kind . . . . . . . . . . 185 Ulysses Kay (measures 31-34) 107 War Is Kind . . . . . . . . . . 185 Ulysses Kay (measures 26—28) 108 War Is Kind . . . . . . . . . . 186 Ulysses Kay Melodic shape (measures 46-55) 109 War Is Kind . . . . . . . . . . 187 Ulysses Kay (measures 75-76) 110 Epigrams and Hymp . . . . . . . 190 Ulysses Kay Structural diagram 111 Epigrams and Hymn . . . . . . . 190 Ulysses Kay (measures 6-7) 112 Epigrams and Hymp . . . . . . . 191 Ulysses Kay (measures 4-5) 113 Epigrams and Hymp . . . . . . . 192 Ulysses Kay (measures 30-32) 114 Epigrams and Hymp . . . . . . . 192 Ulysses Kay (measures 33-34) 115 The Old ArmChair o o o 0 o o 0 196-197 Ulysses Kay (measures 20-21, 109-110) 116 The Old Armchair . . . . . . . 197 Ulysses Kay (measures 42-45) xvi Examples Page 117 The Hell-bound Train . . . . . 198 Ulysses Kay (measures 85-90) 118 The Hell-bound Train . . . . . 198-199 Ulysses Kay (measures 77-81) 119 The Old Armchair . . . . . . . 199 Ulysses Kay (measure 53) 120 The Old Armchair . . . . . . . 200 Ulysses Kay (measures 1—2) 121 The Hell-bound Train . . . . . 201 Ulysses Kay (measures 4-5) Ulysses Kay (measures 8-10) 123 The Hell-bound Train . . . . . 202 Ulysses Kay (measures 8-10, 14-15) 124 The Old Armchair . . . . . . . 203 Ulysses Kay (measures 74-80) xvii CHAPTER I IDENTIFICATION OF THE PROBLEM A typical discussion of black music will immediately bring to mind the obvious styles: jazz, blues, soul, gospel, and/or spirituals. Persons entering the discussion will pro- bably be able to name, without too much difficulty, several prominent musicians in each of these categories. Discussions in other areas of musical style, however, would reveal a lack of awareness of the numerous blacks who have consis- tently made contributions. It is not that these contributions have been few in number or of incomparable quality, but that their works and information about them is just beginning to be compiled and given long overdue recognition by publishers, performers and audiences. Scholars are also now beginning to tap this research source. Books and articles are now being published, but the major sources of communication are void of any infor- mation concerning these composers and their works. WarriCk Carter, in his article, "Black Composers: Their Contribution to Serious Music," writes: The exclusion of black composers is the result of one and/or two factors; 1) ignorance of their existence, on the part of the various music history authors or instructors, or 2) knowledge of their 1 2 existence, but a refusal to acknowledge them or their contributions, on the part of the authors and instructors. Of the three most popular music history books and/or series presently used by major colleges and universities, only one (Austin, 1966) includes reference to any of the aforementioned black composers. The list of black composers of contemporary music is an impressive one. Included are such artists as Reward Swanson, Olly Wilson, Steven Chambers, Adolphus Hailstork, Dorothy Rudd Moore, George Walker, Arthur Cunningham, Noel da Costa, Ronald Roxbury, Ulysses Kay, Coleridge-Taylor Parkinson, William Fisher, John Carter, David Baker, James Furman, Robert Harris, Julia Perry, Thomas Kerr, Arthur Evans, Roque Cordero, Hale Smith, Thomas Jefferson Anderson, and Roland Carter. .Many of these composers have been very prolific in all areas of music composition, especially in orchestral works. With the exceptions of Ulysses Kay, George Walker, and T. J. Anderson, these composers are not heard with any frequency. Even the works of earlier black composers such as William Dawson and William Grant Still, whose Negro Folk Symphony and Afro-American Symphgny respectively, dates from the early part of the century, have not received extensive ex— posure. Their contemporaries, Nathaniel Dett, Samuel Coleridge-Taylor, and Clarence Cameron White, have produced piano and vocal compositions which are not nationalistic in sc0pe, but are not performed unless included in an all- blaCk program. This is also true concerning Harry T. Burleigh, whose contributions to the American art song has been out— standing. 3 In a booklet published by the Office of Education in 1971, not one work by a black composer was reported to be performed at children's concerts. Photographs of the audi— ences, however, indicated more than token black representa- tion, racial makeup of the orchestras was and still is almost devoid of black musicians, yet many of these orchestras are often from cities with large black populations.2 A report from Broadcast Music, InC., surveyed the pro- grams of 5,877 concerts given by 582 American orchestras. The only premieres for that season of works by blacks were the Reverie and Rondo and Theatre Set, both by Ulysses Kay. Among the 87 most frequently performed works from the twen- tieth century, there appeared not one black composer (although there were many white composers Cited with works very de- finitely written under black influences). There were, how- ever, 68 performances of compositions by 12 black composers.3 It is not that these composers wish to be recognized as “black artists" but simply as artists. Hale Smith, composer and professor of music at the University of Connecticut said, Place our music not on all-black programs. we can do that for ourselves, for the benefit of our own people. Place our works on programs with Beethoven, szart, Schoenberg, Copland, and the current avant-gardists. we don't have to be called black. When we stand for our bows, that fact will become clear when it should - after the work has made its own impact.4 In his article, "Here I Stand" (1971), Smith also states Unless the work of Afro-American artists (musi- cal and otherwise) is allowed to succeed or 4 fail by comparison - or in competition - with the works of the entire national and world cultures, we will have no valid standards of measurement by which they can be measured and judged on their own merits. This study is based on the need for exposure of the composers and their compositions. The area of emphasis is the work of living, contemporary, black, Choral, art music, composers. Though many of their works have been published, performances of these compositions are not heard nearly as frequently as works of already established black choral arrangers such as William Dawson, Nathaniel Dett, Harry Burleigh, Hall Johnson, Jester Hairston, and others. The main thrust of these composers can be called nationalis— tic, for their choral output has been based on arrangements of Spirituals and the folk idiom of the early black man. These compositions most certainly have their place in the scheme of American musical life and must continue to be per- formed. Now, however, there is a group of young composers whose styles utilize the more progressive techniques of 20th century writings and those source of inspiration does not come from the nationalistic idiom, but from sacred and secular themes not influenced by early black life. It is particularly significant that the choral reper- toire of large cities, whose school populations are 40 to 50 percent black, have little or no literature by composers such as Arthur Cunningham, Hale Smith, or Ulysses Kay. Part of the problem may be that many choral conductors, especial- ly in secondary schools, do not feel comfortable using 5 contemporary compositions with their Choirs. Some conductors are attempting to perform twentieth century compositions but invariably, their repertoire is taken from white American and European composers. HOw much more relevant would a piece by one of the numerous black composers be to this particular population of student? Purpgse of the Study It is believed that Choral groups and their conductors who perform in the contemporary style should be receptive to the discovery of new compositions of merit. Thus, the purpose of this study is three-fold. 1. To show through an analysis the compositional technique of selected black composers of choral music. 2. To place these works before the reader so that he may be aware of their existence and may perceive their essential style and Characteristics. 3. To show that there is a place for the inclusion of these compositions in the educational scheme of music education, both on the high school and college levels. It would have value both in the choral setting and in other Classroom situations such as conducting Classes for teacher training, repertoire classes, general music, high school music major and theory classes, and Classes in twentieth century techniques. Impprtance of the Study This study is important for the following three rea- 6 sons. First, a review of studies on American music indicates that little emphasis has been placed on the twentieth cen- tury black-American Choral composer and.that his art litera- ture has been neglected, even though twentieth century literature is the subject of numerous courses of study in our educational system. Those studies of black-American com- posers that do exist deal mainly with instrumental composi— tions and not with Choral literature. Second, there is an expanding need for an understanding of the unique contribu- tions of the black-American composer to American music other than jazz, soul, blues, and gospel. This need is prevalent in predominantly black schools in large Cities, in white and other ethnic schools in Cities that have a large black p0pu- 1ation, as well as in suburban and small towns that have no black population. The third reason for the study's importance is the need to expose the unpublished works of these composers, for if left unknown, is not society and especially the music world the poorer? According to Evelyn Davidson White, author of the book, Sglected Bibliography of Published Choral Music by Black Compgsers, "the real gems of these com— posers lie in desk drawers," unknown to the musical world. Generalizability It is worth indicating that the findings of this re- search may have impact far beyond the limits of the study itself. First, since the compositions involved are workable 7 for both secondary and higher level choirs, they can be used in any choral repertoire. Second, the theoretical con- cepts of the twentieth century style that are exemplified in these compositions are applicable to any learning situa— tion where musical knowledge is an important ingredient. Compgsers to be Studied The composers selected for this study are all living and have been producing choral literature within the last twenty years. Each has at least two works published by major publishing firms which makes their music readily available from the composers. The music of these composers does not include arrange- ments of spirituals in the tradition of the early nationa— lists. Rather, their music is art literature, both sacred and secular, and ranges from extended serious works of a most provocative nature to lighter pieces of a simpler style. Only composers who utilize twentieth century idioms and composing devices will be studied. These twentieth century techniques include: 1) extended tertian as well as non- tertian approaches to building Chords, 2) increased Chroma- ticism leading to a breakdown of tonality or a constant shifting of tonal center, 3) linear motions to produce harmonies, 4) free use of all twelve pitch classes of the equal-tempered octave, 5) new sound sources such as elec- tronic tapes and choral Sprechstimme, 6) modal, pentatonic, _~_~__. “WH— 8 whole tone and synthetic scales, 7) graphic notation, 8) asymmetrical division of the unit, and 9) random and no- pulse approaches to rhythm. The composers chosen are: Hale Smith, Ronald Roxbury, George Walker, James Furman, and the most recent works of Ulysses Kay. The selection of these specific composers was accomplished through several processes. Contact made to researchers who have studied extensively the subject of Black American music and the writer's perusal of existing written sources yielded an impressive list of composers. Publishing companies were then asked to submit a c0py of all published and unpublished Choral works by each composer. Those persons whose compositions met the above mentioned criteria in compositional style and who had at least two works published comprised an additional list. From this source, the selection was made of five individuals who exhibited compositional skill and craftsmanship. The entries on each composer will contain biographical information, a harmonic, melodic, and rhythmic analysis of his works, and concluding statements summarizing his style. The second Chapter will discuss historically the choral tradition within Afro-American music and will include a study of completed research on current trends in twentieth century American Choral composition. As stated in the purposes, it is believed that the music examined in this study should be used in the education- al process of high school and college music students. A 9 section of this thesis will be devoted to recommendations for the use of the compositions studied in educational situations, both choral and non-choral. Method of Analysis The method of analysis chosen for this study is basi- cally a traditional one which will consist of an examination of the melody, harmony, rhythm, texture, phrase structure and form, contrapuntal devices, and treatment of text of each piece. In the analytical process of the melody the following will be considered: 1) the pitch range showing motion, contour, rise and fall of melodic tension, 2) scale deter- mination (tonal, modal, synthetic, or row), 3) influence of text on the melody, and 4) melodic figure Characteristics. The harmonic analysis will determine 1) a consistency of use of harmonic intervals to make up Chords, 2) the use of pandiatonic, quartal, or tertian harmonies, 3) the use of tonality, modality, polytonality, or polymodality, 4) the use of non-harmonic tones, 5) cadential patterns (affinity to or departure from conventional formulas), 6) modulation (pivot Chord, chromatic, or free types), and 7) harmonic rhythms. The analysis of rhythmic asPects will examine 1) non-accentual rhythms, 2) shifted accents, 3) asymmetric divisions, 4) asymmetric meters, 5) changing meters, 6) rhythmic texture between voice parts and voice parts and accompaniment, 7) use of rests, and 8) textual influence 10 on tempo and meter. Several aspects regarding texture will be determined: 1) independence of parts, 2) tessitura and range of voice parts, 3) number and spacing of parts (lightness or heavi- ness), 4) overlapping, 5) relationship with accompaniment, 6) favorite voicings of a particular composer, 7) how the text governs Changes in texture, 8) use of the voice to produce various effects and sonorities. The influence of phrases, and.the design used will be considered in the analysis of phrase structure and form. Contrapuntal devices such as the use of imitation, inver- sion, retrograde, augmentation, or diminution will also be revealed. Text sources as well as complete texts to each composition will be given. nginition of Impprtant Terms Art Music: Music with a technical tradition which is in the possession of a small group of highly trained Specialists involved both in its creation and performance. This is in contrast to folk music which may be sacred or secular and includes spirituals; shows the expressive melodic and racial feeling, character and expres- sion of the people and is generally anonymous in origin and orally transmitted. It is also different from."popu1ar music" (blues, ragtime, jazz, and soul, as examples) which involve both the folk and academic traditions; is more fad- dish and more concerned with contemporary life; has the ingredient of novelty and although some of the music is written, the art of improvisation is a necessary performance tool. 11 NatigngTism: A characteristic feature of music whose source of inspiration, themes, and general idiom is consciously taken from life experiences and folk music (both sacred and secular) of the black man. Atpngl: The word atongT, when used in this study refers to music in which a tonal center is not perceivable. Further Organizatipn of the Study The preceding pages have presented a statement, and discussion of the problems. The study continues in the following order: Chapter II, Historical Perspectives; Chapter III, An Analysis of the Style and Technique of Five Afro-American Composers of Contemporary Choral Music; Chapter IV, Implications for Music Education; Chapter V, Summary. CHAPTER II HISTORICAL PERSPECTIVES The purpose of this chapter is to discuss those aspects which are historically pertinent to this study. In order to understand and appreciate the music and ideas of contem- porary Afro-American composers, it will first be necessary to trace the Afro-American choral tradition. The first section of this chapter will be devoted to this explora- tion. The second segment will review characteristics and trends of contemporary American choral composers. A History of Afro-American Choral Music While it is not within the scope of this study to do an extensive investigation into the complexities of African music (which is the obvious starting point of Afro-American music), it will be crucial to this discussion to consider African contributions and influences to Afro-American choral art compositions. Because of the desire of the white slave masters to strip the slaves of their culture, the use of instruments, especially the drum, were prohibited. The slaves made music the only way they knew how - with their bodies and their voices - both solo and choral. It is this "choral" 12 13 tradition that the present discussion will assess. volumes of literature have been written on the condi- tions of slavery. The suffering endured by the uprooted Africans who were transplanted to the Americas is notable as one of the most severe in the trials of groups of people. Alan P. Merriaml conducted a study on the music of Africa and, as a result of this study, showed that the African used music in various ways: to work, to play, to glorify his gods, for funerals, as well as many other social and formal functions. The slaves who were brought to North America in 1619 were able to work to free them- selves through the system of manumission. This was a common practice for all indentured servants. However, with the American Revolution and its effects in the South, a hard new day dawned for the slaves.2 . . . the Negro in the New world has been structured differently in the United States than in any part of this hemisphere . . . the very nature of the institution of slavery was developed in a different moral and legal set— ting,and in turn shaped the political and ethical biases that have manifestedly separated the United States from other parts of the New World in this respect. . . . Just as the favoring of manumission is perhaps the most characteristic and significant feature of the Latin-American slave system, so oppo- sition to manumission and denial of opportuni- ties for it are the primary aspects of slavery in the British West Indies and in the United States.3 It is difficult to produce documents which accurately describe the kind of music the early slaves used, but some conclusions may be drawn from the research of Eileen 14 Southern: Slaves in the colonial South apparently danced and sang in the traditional African ways, as did their northern counterparts when gathered together for diversion . . . There is just one eyewitness account of an occasion in the South where African music might have been performed. In 1739, there was a slave uprising on a planta- tion in Stono, near Charles Town. The "Angola Negroes" who began the revolt were joined by other slaves, . . . Along the way they stOpped in a field "and set to dancing, 5 ging and beating Drums by way of triumph." George Washington Cable also discusses the music of the African as he used it in Place Congo in New Orleans. The hour was the slave's time of momentary liberty, and his simple, savage, musical and superstitious nature dedicated it to amada- tory song and dance tinctured with his rude notions of supernatural influences.5 Since Africans were not considered to be human beings but rather property, they were not given time to develop themselves or their culture. Relying heavily on their customs and memories of their homeland conditions, they produced what form of music and other recreation they could.6 They composed, improvised, danced, and sang a vast reper- toire of secular music. The Afro-American religious folk song, commonly called the spiritual, had its beginnings when the slaves were introduced to Christianity and probably was the result of the turmoil and unbearable bondage that was inflicted on them. This genre, however, was not considered to be worthy of recording until well after the last days of slavery.7 Before the slaves were captured and transported to the 15‘ Americas, they had a religious culture that allowed them to accept many of the practices of Christianity. A sophisticated theological concept was already deve10ped and respected among them. In one of the efforts to "civilize" the African, the masters began to teach Scripture that was to make the slave more docile and produce more work. There were many inconsistencies in the white man's religion that the slave could not understand: how, for in- stance, this God would allow them to suffer the many trials and tribulations that were theirs. To deal with this, the slaves simply took those aspects of this new religion that they could understand and those that were similar to their former religious practices. From this process new songs were improvised to help them shoulder their new-found burdens and conditions, thus fusing their culture with that of the New WCrld and bringing about a different manner of Speech and a new music. Hall Jehnson, a noted scholar, composer-arranger, and authority on spirituals, writes: This new religion of the slaves was no Sunday religion. They needed it every day and every night. The gospel of Jesus, the Son of God, who had lived and died for men, even the low- 1iest, took hold of their imagination in a strange personal way, difficult to understand for the average Christian of the formal church. For them, He was not only King Jesus but also "massa Jesus" and even "my Jesus." The American Negro slaves literally "embraced" Christianity and, with this powerful Spiritual support, life took on new meaning, a new dimension. For now they knew with absolute, unshakeable faith, that somewhere, sometime -- they would be FREE! 16 And then the slaves began to Sing -- as they had never sung before.8 Concerning the amalgamation of these two worlds, Johnson further states: The slaves had brought from Africa: 1. Fine, natural VOICES, developed by centuries of habitual Singing out-of- doors. 2. An unerring sense of DRAMATIC VALUES —- in words and music -- due to the wide variety of their functional songs. 3. A dazzling facility in IMPROVISATION and EMBELLI SHMENT . 4. Above all, and underlying all, a supreme understanding of the basic laws of RHYTHM -- with all its implications and potentialities as applied to music. They discovered in the New Wbrld: 1. A.more serviceable MUSICAL SCALE -- with longer range but smaller intervals. 2. A wider view of musical structure by the use of the METRICAL PHRASE. 3. The sensuous delights of rich HARMONY and exciting COUNTERPOINT. 4. Lastly, the powerful, unifying psycho- logical effects of GOOD PART-SINGING. The fusion of all these remarkable musical ingredients resulted in far more than just good part-singing - with new songs and new Singers. This amalgam bore golden fruits. On May 30, 1867, an announcement appeared in the New York NatTon of the first printed compilation of Negro Spirituals. It was from this publication that all subse- quent controversy and discussion later flowed. The public had well nigh forgotten these genuine slave songs, and with them the crea- tive power from which they sprang, . . . The agents . . . were not long in discover- ing the rich reins of music that existed in these half-barbarious people . . . there was nothing that seemed better worth their while than to see a "Shout" or hear the "people sing their Sperichils."lo 17 In his article, Jehnson suggests that the American Negro slave called his religious songs spirituals to dis- tinguish them from his everyday music. However, it has been suggested that the name was probably publicly received from.the above commentary. This new musical form.manifested itself in four classifications: the shout, the leader and response, the long-sustained melodic phrase, and the fragmentary-synco- pated melody.ll The shout Spiritual is akin to the primitive dance of the African and was carried over into Afro-American culture and religious practices. The dance which accompanied this kind of singing is still practiced today in many black churches, and is prevalent in "store-front" churches in the larger cities. Usually the singing of Spirituals of this genre took place at the end of the NeW'Year'S Eve Service. Traditionally . . . the second part . . . ‘was called the Watch Night Service. At the beginning of this part of the service fervent and dramatic prayers were offered for a better new year. These prayers, prayed by three or four deacons before the sermon, were powerful. During the prayers various song leaders would sing lines or verses to help the prayer-leader build his prayer to a powerful climax. The Singing would.gradually close so that the dramatic impact of the prayer could be realized. At the high point of the prayers, several members of the congregation would be chanting and interjecting such lines as: "help him Lord," "Hallelujah," "Tell Jesus about it," "He will answer your prayers," and "I know I've been converted.“ All of these inter- jections would continue until the prayer- leader began to conclude his prayer . . . After three or four prayers were completed, the worshippers were in the mood for the sermon. 18 The dramatic impact of the preacher was just as great and soul-stirring as that of the prayer-leader. He could raise the emotional level to such a height that many members would break into a "shout." .Many of them shook their heads violently, stomped their feet, and clapped their hands until they were "over come by the Spirit" to the point of completely passing out. It was the duty of the ushers to help the Shouters during their religious ex- perience by holding their arms so that they could really involve themselves. The minister was usually a very good leader himself, and at the end of his sermon would lead one of his favorite songs . . . It was a simple, soul- stirring tune; composed primarily on three notes of the scale. Usually, the minister was a master of come posing verses and he would make them up on the spot to cause the kind of emotional response that he wanted. The congregation would wait with eager anticipation and awe to hear his.new verses to the above lined chorus. These songs were usually sung in unison, but as the congregation continued to sing, voice parts were spon- taneously added by other leaders. The leader and response Spiritual is the largest category and includes: Swing Low, Swept Chariot, Show Me The Way, and King Jesus Is A-Lgstening. The slave's songs were passed on from genera- tion to generation. Many words were changed, but the melodies, were seldom forgotten. Song leaders traveled about teaching the songs and improvising new words on the spot when the old text was not remembered. These song leaders were in great demand and many of them were quite talented. Hearing and learning new lines from song leaders were of the utmost importance to the various audiences. The song leaders would continue to sing each line until every- body present learned the entire Spiritual. This is one of the reasons a great number of Spirituals are found in the category of leader and response.13 19 The third group consists of the slow-sustained Spirit- uals: were You There When They Crucified My Lord?, My Lord, What A Mournin', Calvary, Steal Away tp Jesus, Wg Shall Walk Through the VQTley In Peace, and Deep River. The framentary-sync0pated spiritual, the final category, is usually accompanied with body movements such as hand clap- ping, foot stomping, and head motions which give rhythmic security. In addition, the singers improvised on the beat. One may even change the rhythm and heavily embellish the melody to such an extent that the rhythm seems to change. However, it must fit and fall back into place before it be- comes completely distorted or lost. Stress is often on the "off beat." Example 1: Regular accent l 2 l 2 l 2 l 2 :r >' 7* :’ Spiritual accent l 2 1 2 l 2 l 2 ‘7 7' 7' 3’ Example 2: I want to be ready 7' I want to be ready 7 I want to be ready 7 To walk in Jerusalem just like John. 3? It has been concluded by many nineteenth-century writers that the singing of the slaves was in unison. There is, how- ever, some evidence that contradicts this testimony. Again and again the Choral singing of the Slaves is described in terms of homophony: for example as "torrents of sacred harmony" . . . Without exception contemporary accounts refer to the "far-sounding harmony," "vigorous chorus," or the great billows of sound produced by the slaves singing. When the Slaves gathered for corn—shucking jubilees, in 20 some places as many as three hundred or more would participate in the singing as they marched along the roads, their "rich, deep voices swelling out on the refrains."l4 According to Hall JOhnson: It must be kept in mind that the Negro Spiritual is essentially a group or choral form, -- many people singing together. It reached its musical peak in the Negro Church during the early years succeeding the aboli- tion of slavery -- where large crowds sang freely . . . The Spiritual made room for the work-songs, love songs, and "blues." But the racial singing-style persisted - and persists to this day. Only the music it- self has changed - according to the subject of the song. Still such was the marvelous vitality inherent in the on songs themselves, that they are heard and loved all over the world -- in whatever guise or disguise.15 This is the tradition that led to the renditions of a group of eight young black singers from Fisk University in Nashville, Tennessee. The group, eventually named the Fisk Jubilee Singers traveled over the United States and Europe performing and p0pularizing four-part settings of Spirit- uals, call jubilees, thus the naming of the "Jubilee Singers." The expressed purpose of the group was to raise money for the school from which they came, a practice still carried on by many black colleges of the South even today. The money that they earned that first year (1871) was used to erect the first permanent building on the campus of Fisk University which was subsequently named Jubilee Hall.16 The Jubilee Singers were organized in 1870 by George L. White, a music teacher. The music they performed at first was not spirituals. These songs seemed to bring back painful memories of times past, for some of the singers 21 themselves, had been former Slaves. Only after apparent failure faced the enterprise were spirituals placed into the program and as the enthusiasm grew for these songs, more and more were introduced. As early as 1872, books with collections of spirituals began to appear. The Reverend Gustavus D. Pike of the American Missionary Association was the original author of a book called Simply JubiTee Songs. In 1873 The Jubilee Singers and Their Campaign for Twenty Thousand Dollars was published. In addition to a story of the first national tour, this volume contained sixty-one spirituals. Another collection in 1875, The Singing Campaign for Ten Thousand Pounds contained seventy-one spirituals. The 1886 version, co-authored by Reverend J. B. T. Marsh, was copyrighted in the Australian colonies, including New Zealand and Tasmania, and contained 127 spirituals. In later years, Frederick J. work of one genera- tion and John Wesley Work cf the next picked up and creditably performed the jobs of directing Singers at Fisk, collecting, arranging, and publishing spirituals. John W. work's American Negro Songs (1940) is an extremely useful volume of song words, melodies, and notes.17 The style of singing spirituals, as popularized by the Fisk Jubilee Singers during their Singing tours, was adopted by other Negro college choirs and even entire student bodies. In 1873, Hampton Institute in Virginia organized a group of sixteen Singers to travel and Sing spirituals. Their collec- tion of songs was quite large and had grown from.the old associations and vivid recollections of the Singers. Some 22 of their songs were: I'm weary; Good-night, Gogd-nTght, Hammering, Then My Little Sop; Goin' to Sthe, Shine, The Silk-White Serses, In Search ef L;perty, If You Want to See Jesus, Se In de WiTQerness, and The Soldier's FareweTT.18 AS‘With the Fisk singers, the Hampton group also in- spired books. The first was Hampton and Its Students by Mrs. M. F. Armstrong and Helen W. Ludlow and contained a complement of slave songs by T. P. Fenner. Like the Fisk group, the Hampton Singers continued to travel every year. They were directed in succession by two of the leading composer-conductors of spiritual history: R. Nathaniel Dett and Clarence Cameron White. In addition to the Hampton collection already mentioned, another book was prepared by Thomas P. Fenner, first director of the Hampton Singers. The book, Cabin and PTantation Songs (1878) was based on the earlier publication by Armstrong and Ludlow. After several revisions, a new series was instituted in 1909, ReTigiouS FeTk Songs of the Negro as Sung on the PTantatTCns. When Dett became director, he published ReLigious Folk Songs of the Negro as Sung at Hanppon Inetitute (1929). Later, in 1936, Dett developed his own series, Tee Qett CoTTection of Negro Spirituels, in four groups. Dett's published spirituals, however, extended far beyond this series. In addition to Fenner and Dett, Natalie Curtis Burlin collected and published spirituals at Hampton and also wrote 23 about the meanings of the songs and their backgrounds. Her study of backgrounds included African songs, which is ex- emplified in her book, Songs and TaTes of the Dark Continent (1920). Another outstanding choir which give the Afro-American spiritual popularity and distinction for many years was the Tuskegee Institute in Alabama. Its rise to fame was occasion- ed by the greatness of its founder and director for twenty- five years, William L. Dawson. Dawson is not a most impor- tant arranger of spirituals, but a composer who has produced works in nearly all fonms. It was during the Negro Renaissance of the 19205 that Hall Johnson (1888-1970) organized the first professional Negro choral group in history to win international distinc- tion. Johnson's extensive training in music had prepared him for a career as an instrumentalist. Although he played for many years in instrumental organizations, his real interest was in choral music. He eventually turned his back on the orchestral world and organized a chorus which.made its debut at New York in 1926. Johnson's expressed purpose for his choir was to preserve the integrity of Negro Spirit— uals as they had been performed during the Slavery period. He devoted much of his life to acquainting the world with the beauty of these songs in both composition and performe ing. He composed constantly, arranging spirituals chorally and incorporating spiritual melodies or employing charac- teristic musical idioms of the spiritual in his works. 24 Moving from.the Simple four-part harmonizations, the spiritual and other Negro songs have undergone much change. They have been commercialized by both black and white com- posers and have lost much of their original character in the process. However, arrangements by Harry T. Burleigh, R. Nathaniel Dett, William Dawson, Noah Ryder, Hall Johnson, Leonard DePaur, John work, Jester Hairston, Undine Moore, Lena McLin, Eva Jessye, Edward Boatner, William Henry Smith, Howard Roberts, and Betty Jackson King retain the warmth, Spirit, and character of the original spiritual. According to the definition given in Chapter 1, these arrangements are choral art music. In contrast to music which is never sung according to the score and whose basic version is subject to change with each performance, these compositions are composed, arranged, and published so that each performance is realized in the same manner and style as scored. A.comparison of these techniques is obvious in the four- part harmonization of the arrangement of My Lord, What a SpurnTn' to the closing chorus of Harry T. Burleigh's arrangement of the same work (Examples three and four on pages 26, 27, and 28) or the spiritual Every Time I Feel the Spirit with William Dawson's famous arrangement (Examples five and six on pages 29 and 30). The four-part harmonizations are examples of how spirituals were arranged earlier and widely sung by choral groups at black colleges and elsewhere. However, Carl Diton 25 first isolated these spirituals and created.piano accompani— ments. Harry Burleigh later composed additional solo sett- ings of spirituals and later proceeded to write them as SATB versions. In Grout's discussion of art music, he states that one of the "main directions or tendencies may be traced in the music of the twentieth century -- the continuing growth of musical styles which employed significant elements from national folk idiom . . ."19 He further notes: The study of folk material was undertaken on a much wider scale than previously, and with rigorous scientific method . . . More realistic knowledge led to more profound respect for the unique qualities of folk music. 0 Black arrangers of Spirituals helped this cause by developing and writing arrangements of spirituals as choral art music. They approached the field in a serious manner and produced many settings that are on par with the best choral music in this genre. Carl Gordon Harris, in his doctoral study of 1972, has grouped Afro-American composers into three categories: Black Trailblazers, Black Nationalists and Black Innovators. The Black Trailblazers are represented by Harry T. Burleigh, R. Nathaniel Dett, James Weldon and J. Rosamond JOhnson, John wesley Work, Jr., Frederick J. work, and Clarence Cameron White. These composers were placed in this category be- cause they were the first in a line of composers and arrangers who dedicated their talents to presenting and preserving traditional Negro music in the authentic style of its creator . . . Uni- formity of dialect, spontaneity, freedom for 26 Example 3. MY LORD, WHAT A MOURNIN' l 2 3 4 My Lord what a mourn-in' My Lord what a mourn-in' S! | l 6' My Lord what a mourn—in', when de stars be-gin to fall. (Four-part harmonization) 27 Example 4 . Jine dat heb -ben - ly full. line do! heb- hen - ly mu. Jine dal heb-ben - ly_ fl Jine dat hob-hen - 1y morn - in’ Lord— morn - in’ < TCI’O My Lord Tanya I’.’ My Lord Tempo [9 1' Tempo I9 Tempo If what what what 5 J Illarg. my Lord what a my..— .” allarg. my— ” allarg, Lord what a my— Lord what a ->—m {-11,— When de PP 6 lung. 7 morn - in’, Itlrl [alga be - gin morn - in’, unga When de P morn - in’, When de stars he - gin lunga > morn - in’, When de stars- 29 Example 5. " EV’RY TIME I FEEL THE SPIRIT (Iron mun cnonus) ' Arr. by Allegro diner“. (J=nhoyt no) mum: L. DAWSON lu‘ry time I tee] the spin it, Alto lv-‘ry time I tee] the Iplr—tt, Mow-ing In my heart, 1 1:1!) > Tenor ly—‘ry time I feel the Iplr-lt, Mov—tng > > Bass nyry time I feel the spIr-tt, Mov-lng In my heart,l r21: moderatoU : about 120) Plano rehears only i H pray,- Yes, lv-'ry time tee) the Splr-lt, Mov-tng In myhelrt,l will V pray; Yes, lv-'ry time 1 tea! the Sptr—lt,Mov-lng In my heart,l rilu > > > pray; Yes, lv-‘ry time I feel the IpIr—H, Nov-tn; will > > > my heart,l > > > pray; Yes. lv-‘ry time — feel the Spir-lt,Mov-lng tn myheart,l Mn I 1.: Copyright 1949 by wnuam L. Dusonfiuskegee lnotltute,Aln. IMEWHHOM‘ Copyright Secured um InU.S.AV All Rights Resume 3'0 “ Example 6. 7 l 2 will liv-‘ry time I feel the opIr-It, Mov-Ing In my heart,— pray; my heart, pray; the_ SpIr- It mov-Ing In my heart, Oh, 31. 5 - 6 m. almanac > > It. Mov - Ing allorgando - Ing Mov - Ing allargando “dry time I tee] the :pIr-It, Mov—Ing In my heart,oh, mov—Ing 7 8 molto ollorgando heart, heart, .‘ pray. Yes, If heart, pray, Yes, In motto motto allargando 32 improvisation, and rhythmic vitality are but a few . . . characteristics. Harmonically, the spirituals of these pioneering composers and arrangers Show a tendency towards late nineteenth-century romanticism with use of diatonic and chromatic writing to achieve balance between tone color and.word painting.21 Black Nationalists are those composers who were more race conscious than the previous pioneering group. They (the Black Nationalists) "not only used the melodies of their ancestors as a source of compositional material, but began using Bladk poetry in art songs and employing jazz rhythms and harmonies in arrangements and originals."22 Composers in this category include William.Dawson, Hall JOhnson, William Grant Still, John wesley work III, and Frederick Hall. Margaret Bonds, Hale Smith, Ulysses Kay, and Undine Moore, Harris discusses as Black Innovators who have drawn freely from divergent sources and styles to create their own unique compositions. They have integrated into their writ- ings new available forms and techniques which do not necessarily emphasize folklorism. Tilford Brooks discusses this last group of composers as ecTectics, a term applied to a composer who chooses from several sources and different styles the materials and techniques used in his compositions. These young Black composers who have emerged around the middle of this century refused to have their compositions delimited by racial self-consciousness and felt it imperative to their freedom of expression that they draw freely upon widely divergent 33 styles and sources in theirwritings.23 Eileen Southern describes the eclectics as follows: Most of these composers, though not all, grew up in black communities and came to know inti- mately the music of their peOple, which was now broadened to include along with the traditional spirituals and other folksongs, gospel songs, orchestral and piano jazz, and the ubiquitous blues. The younger musicians also came in con- tact with bop, rock 'n' roll, and finally soul music -- in some instances, participating in the creating of this music. All encountered, sooner or later, the "black experience“ -- that is, the understanding of what it meant to be a creative black artist is a basically hostile white society -- and each coped with it as best he could. Some exploited more thoroughly the African tradition, with its emphasis on functionalism, communication, and purpose; others made the effort to combine African and European traditions into an integrated whole; a few ignored the problem and wrote wholly in the EurOpean tradition. 4 She further states: Most of these composers were well trained, obtaining instruction and music degrees from the best music schools in the country; most frequently, the Eastman School of Music, the Curtis Institute of Music, the Cleveland Institute of Music, the State University of Iowa, the Julliard School of Music and the .Manhattan School of Music in New York. Some went abroad for further study, particularly to Nadia Boulanger in Paris and to Luigi Dallapiccola in Florence, Italy.25 With the young Black composer, there also emerged in this country a high degree of racial consciousness among many young Blacks. It was the period of Martin Luther King and the civil rights struggle, and of other more adamant groups such as CORE (Congress of Racial Equality). SNCC (Student Non-Violent Coordinating Committee), the Black Panthers, and others. Blackness not only became a way of 34 life, but these young Blacks began to define all facets of the cultures found in American society in terms of "how Black it is" or "how White it is." This attitude carried over into music as well. Hard-line Blacks felt the only true Black music was that written in traditional forms that were indigenous to this ethnic group, such as blues, jazz, and gospel. For many years, this had been the position of White musical America -- that these indigenous forms were best written and performed by Blacks and the invasion into ”classical" areas were not within their capabilities. The young Black composers who are eclectic in their approach to composition take a completely opposite view. For instance, Olly Wilson, who has become one of this country's promising young composers in the electronic medium offers this definition of Black music: . . . Black music is simply music written by Black people. we can talk about certain idioms, about jazz, gospel, soul, African music, early Afro-American music, but is difficult to pin- point, the music of the contemporary composer the same way. Implicit behind this is the influence that there is a way for Black composers to com- pose, you see, and that if you do not compose this way, you are not Black. well, I totally reject this. That idea is harmful to the development of any art in any kind of Situation. I'll use whatever I want, whatever there is, whatever media, whatever techniques, whatever style -— the whole world. Half of it came from my ancestors anyway. Wilson believes further: . . . that each person is . . . in fact a result of all . . . his experiences, so that a Black man cannot exist outside of his Blackness. That's why I say when I write a piece, if I'm honest with myself, and I profoundly think I'am, it 35 obviously reveals my Blackness, whether it is demonstrable or not, whether you hear it or not . . . It could be that there are subtle things in the music which are not demonstrable, but at the same time are Black anyway.27 It is not the purpose of this study to debate the ques— tion of "Blackness" or ”Whiteness,“ but rather to call attention to those choral composers who happen to be Black and who are producing music in today's music world. As Tilford Brooks so aptly states it.one detail does become increasingly apparent: Black music appears to operate on a continuum. That music which utilizes those music forms which are indigenous to the culture of the Black man -- such as blues or soul music -- sounds “very Black." Music of Black culture which is synthesized with traditional European musical forms (an example is the spiritual used as a theme in the first movement of Dawson's Negro Folk Symphony) sounds "less Black" than the former, but the "Blackness" is discernable. Finally, that music which employs twentieth century compositional techniques (serial), form (aleatory), and media (electronic or multifarious), sounds “least Black" of all.28 In addition to the five composers who are the thrust of this study, there are other contemporary Afro-American composers who deserve recognition in the choral field. Many of these musicians have already attained local fame and may well win national distinction in the future. egthur Cunningham, composer, conductor, author, and bassist, was born November 11, 1928 in Piermont, New York and studied at Fisk University, Juilliard School of Music and Columbia University. In addition to instrumental works, Cunningham has written stage scores for The Beauty Part and VToletta. He has written in both tonal and atonal 36 harmonic approaches, making use of traditional western scales and of modal and serial techniques. Chorally, his works tend to draw from the black experience and uses jazz idioms. Among his choral works are: Honey Brown, TTBB (TP)29 HarTem Suite, a set of Six compositions for SATB and SA which calls attention to large city living (TP), Two PTayerS SATB (TP), He Met Her At the DOTphin, SATB (R), Night Song for chorus and orchestra (TP), Sunday Stpne, SATB (TP), Timber, SATB (TP), Amen, SATB, Hm of Our Lprd, SATB, In the Year Seventeep,SATB, Rgng Out WTTd SeTTs, SATB, Fruthul Trees More Fruitpr Are, SATB, Teen I Was One and Twenty, SATB, Fifty Stars for female voices, The Gingerbread HEB for male voices, and numerous others. Noel da Costa, composer-violinist, was born in Lagas, Nigeria. He was taken to the west Indies at three years of age and later to America at the age of eleven. Educated at Queens College and Columbia University, da Costa was the recipient of a Fulbright Scholarship to Italy Where he studied with Dallapiccola during 1958-60. A member of the Black Society of Composers, he has taught at Hampton Institute, Hunter College and Queens College. In addition, part of his time is spent concertizing at colleges and other institutions in and around New York and in the South. da Costa's music moves toward all the possibilities of harmonic, melodic, and rhythmic features of the contemporary era. However, definite linear qualities predominate, with intervallic tendencies planned where tertian chords might 37 otherwise be.30 His choral works include: Litt Lamb, SATB, O God of Light and Love, qunteprTn , and I Have A Dpeam. Bepert A, Harris, composer, conductor, educator, was born in Detroit, Michigan in 1938. He was educated at wayne State University, Eastman School of MuSic, and Michigan State University where he received the Ph.D. degree in composition. Harris has served on the faculties of Wayne State University and.Michigan State University and is presently Professor of Conducting and Director of Choral Organizations at Northwestern University, Evanston, Illinois. His music shifts from tonal to absolute atonality and use of free harmonies is based on both the tertian and quartal system of chord building. Rhythmically his music is uncom- plicated but has a feeling of movement and motion. He is a composer who has written in the instrumental, choral and vocal fields, however, his choral output, thus far, has dealt with sacred texts. Among his choral works are: Sp; the Beauty ef phe Earth, SATB, Glory to God, SATB (JB), LEE Us Break Bread Together for treble voices, soprano solo and and flute (JB). A.Collect for Peace, SATB, Benedictus, SSAA, Kere and GLoria, SATB,.May The Grace of Christ Our Savior, SATB, O Come, Let Us Sing Unto the Lord, SATB, and Rejoice Ye Pepe In Heart, SATB. Included in his vocal works are Three LTturgicel Songs and PseTms for soprano, French horn, and piano. Lena McLin, composer, arranger, and music educator, is 38 in much demand as a lecturer and clinician because of her interest in developing a new form of music which she calls "art rock." She is an innovative teacher who has populariz- ed her totally unstructured approach to teaching music to young peOple. Her music is basically tonal and very rhythmic. Many of her works are arrangements of spirituals, and a large portion are written in the "art rock" idiom focusing on the ideas and thoughts of youth. Among her works are CheTlenge, SATB (GWM), AT; the Earth Sing Unto the Lord, SATB (GWM), What W11; YOu Put Upder the Christmas Tree, SATB (GWM), Fer Jesus Christ Is Born, SATB (NK), Free At Last (A Portrait of Martin Luther King, Jr.), SATB (GWM), Sanctus and Benedictus, SATB (GWM), Winter, Spring, Summer, Autumn, SATB (GWM), Friendshgp, SATB (GWM), Memory. SATB (GWM), 11.19. Love of God, SATB (GWM), Gwendolyp Brooks. A Musical Por- ppegp, SATB (GWM), In This woer, a multimovement rock com- position for mixed voices, soloists, and rock combo, Tpe Colers of the Rainbow, SATB (PA), and many others. McLin is the author of a new music history text, 231E , which is designed for general music class use. JpTia Perry, composer and conductor, was born in 1927 in Akron, Ohio and died in 1976. She was educated at westminster Choir College, Princeton, New Jersey and pur- sued further study at Julliard School of Music, Berkshire Music Center, with Nadia Boulanger in Paris and with Luigi Dallapiccola in Italy. Her best known vocal works are Stepat.Mater for contralto and string orchestra, Seyep Contrasts for baritone and chamber ensemble, Fregments of 39 Letters of Saint Catherine for solo voice, chorus and orchestra, Song of Our Savior, SATB (G), and Carrilon Heigh- eq, divided SATB (CF). Olly Wilson, composer, educator, clarinetist, and bassist, studied at Washington University in St. Louis, the University of Illinois, and at the State University of Iowa, where he earned a Ph.D. in composition. In 1967, he studied electronic music at the Studio for Experimental Music, University of Illinois. Before he began experimenting with electronic music, Wilson's predilection for unusual combina- tions of sonorities became evident. However, electronic music offered unlimited resources of pitch, dynamics, tex- ture, and rhythms. His compositions for chorus are; Gloria Spirit Song for chorus and orchestra, and In Memoriam Martin Luther King for chorus and electronic sounds. Dorothy Rudd Moore, composer, arranger, and teacher was born in New Castle, Delaware. She was educated at Howard University where she studied with Mark Fax. Other teachers include Nadia Boulanger in Paris and Chou wen-Chung in New York. Although she writes principally for instru- mental ensembles, there have been some significant choral works: If Music Be The Food of Love, SA (R), Lullaby from Opera Joycelyn, SA (R), Passing By, SSA (R), Ride On, Kipg Seepe, SATB (R), This Little Light pf Mine, SATB (R), and Wiegenlied, SSA.(R)- Frederick C, Tillis, composer-performer, arranger and conductor, was born in Galveston, Texas. Having taught in Frankfort, Kentucky, where he was head of the department of 40 music and professor of composition, Tillis now serves at the University of Massachusetts. He was educated at Wiley College and the University of Iowa, where he received the ,M.A. and Ph.D. degrees in composition. Widely performed and well received, Tillis is a talented composer of technical strength and praiseworthy_ingenuity. Twelve tone composi- tion, free composition, frequently with lyrical pantonal melodies and terse harmonic textures, as well as features from periods other than contemporary can be found in his works. In addition, jazz rhythms typify certain of his movements. He explores most effectively the extreme ends of instrumental resources. In addition to scoring for band, orchestra, chorus, solo voices, and chamber ensembles, he also makes use of non-conventional methods of using instruments such as the "fixed" strings of the piano. The major portion of Tillis's output is instrumental. His choral and vocal works include: Psalms for baritone and piano, Two Songs for soprano and piano, Freedom - Memorial for Dr, Martin Lgther King, Jr,, SATB, and Alleluia, SATB. David Beher, composer, conductor, author, educator, and cellist, was born in Indianapolis, Indiana, in 1931. He was educated at Indiana University where he received the Bachelor's and Master's degrees in music education and now serves as head of the school's Jazz Department. He has also studied with several musicians including John Lewis, J. J. Johnson, Gunther Schuller, George Russell, and others. In addition to his appointment at Indiana University, Baker 41 has taught at Lincoln University in Missouri, the Indiana— polis Public Schools and Indiana Central College. Baker's works, over one hundred in number, consist of mass media types from religious to secular themes, third stream.music, art music, and jazz. His works also range from orchestral ensembles to piano solos and other combinations. Choral and vocal compositions include: Seliver My Soul for voices, dancers, and jazz ensemble, But I Am a worm, SATB, I_AE Poured Opt Like Water for male voices and strings, Jazz Mass for voices and jazz septer, Catholic Mass for Peace for Chorus and jazz ensemble, Then Qeest Lay Me in the Dust of Death for voices and strings, Ail the Ends of the Earth ShaTl Remember, SATB and string orchestra, Beatitudes for chorus, narrator, dancers and.orchestra. Qeleridge-Teyler Perkinson, composer, conductor, and educator, was born in New York in 1932. Educated at New York University and the Manhattan School of Music, he did further work at the Berkshire Music Center in choral con- ducting, and in orchestral conducting at the Mozarteum, the Netherlands Radio Union and the Hilversum. As evidenced by the various titles and commissions which Perkinson has received from the Arthur Mitchell Dance Company, the Lou Rawls Special, the Barbara McNair Television Show, the Martin Luther King Film Production, and Jayjen Productions, many challenges in composition have been undertaken. His style ranges from the conventional to the unconventional, with both tonal and atonal examples of writing being por- trayed. Characteristic of his music are blocks of sound, 42 polymeters, approximations of pitches, glissandos, and synco- pated rhythms. Most representative of his vocal-choral works is Fredome-Freedom (TMC). an extended composition for mixed voices and piano based on the literary writings of John Barbour (d. 1395), James Russell Lowell (1819-1891) and a traditional spiritual. Summary This segment of Chapter II has attempted to assess the Choral tradition of the Afro-American. The discussion be- gan with the date, 1619, the time of the first appearance of the African in America. It has followed the progress of group singing through the spirituals as religious folk music and as art literature, and has dealt with those more recent Afro-American composers who have produced composi- tions that have not necessarily been based on the black experience. This history has not discussed other forms of the Afro-American musical tradition, such as the work song, blues, and gospel. These were additional outgrowths of the Spiritual but were not choral or art music in their final form, There has been an effort to Show a continuous line of choral tradition throughout the history of the Afro- American in this country. The composers who were discussed at the conclusion of this segment are persons whose writings may or may not be based on the black experience, but who have made Signi- ficant contributions to twentieth century American choral music. This category of musicians will yield the five 43 composers Chosen for the present study. Trends in Conte rar American C ral Com. sition Choral composition is a field of contemporary American music that has been little explored until recently. Although a great quantity and variety of choral music has been written, many would agree that, with few exceptions, com— posers have devoted the major part of their creative efforts to other media. One American composer has discussed the status of con- temporary choral music in the following way: Choral literature in a convincing contemporary style is not plentiful. Most composers, reluc- tant to limit themselves to a style which they feel the general state of choral singing imposes, are unwilling to study the problem with open minds, to discover what may reasonably be expect- ed of a choral group today. Obviously the chorus - especially the amateur chorus - cannot be treated with the freedom of the orchestra, nor does it have a similarly wide range of capabilities. But within its own frame, there is an adaptability to contemporary expression which makes it a subtle and flexible medium for the composer who will approach it understandingly with a sensitive ear to its unique virtues. The choral medium does present a challenge to the con- temporary composer. waever, the limitations of choral writing should inspire the artistry and creative effort necessary to surmount them. The term, "American choral music," is somewhat of an enigma. Our choral music is American because it has been written in this country and much of it is based on national themes. However, virtually all of this country's composi- tional process has been European in origin. The entire 44 harmonic system, whether of the "common practice period" or the more recent harmonic innovations of the twentieth century in which there is a breakdown of tertian harmonies, comes from the practices and treatises of the European theorists. The only true American music is possibly that of the American Indian (little of which has been notated) and early jazz. When this discussion speaks of contemporary American choral music, the term applies to compositions for various combinations of voices written by composers whose main out- put has been in America during the period from 1920 to the present. Characteristics that will be discussed may not be purely American in their origin. According to Gordon Lamb, the divergent musical styles of the twentieth century include impressionism, neo-classi- cism, post-romanticism, pan-diatonicism, twelve-tone, elec- tronic, and aleatoric (indeterminacy). Realizing that Romanticism had reached its peak, some composers at the end of the nineteenth century saw the necessity for new direc- tions if music was to continue to grow. While it is not pertinent to this study to discuss in detail all of the significant SChools, styles and trends of twentieth century music, it will be necessary to apply certain techniques to choral compositions written during this time. A list of general characteristics of twentieth century choral music has been suggested by Lamb and include the following: 45 1. Numerous meter changes 2. Exploration beyond limits of tonality 3. Pointillism 4. Nonsinging vocal sounds 5. Acceptance of any sound source as valid 6. Composers renew interest in small ensembles 7. Complex scores 8. A.new music notation 9. Aleatoric composition (performance is dependent on chance) 10. Increasing demands on the vocalist 11. Increased dissonance (the term dissonance becomes obsolete in the discussion of new music after the middle of the century) 12. Growing number of choral works demanding limited staging, lighting or similar effects. According to Robinson and Winold, In the rapidly Shifting cross-currents of twentieth-century deve10pments in music, three main trends may be discerned: toward tradition, toward control, and toward free- dom.33 The trend towards tradition embraces movements such as neo-Baroque, neo-classic, and neo- or post-Romantic as well as movements such as nationalism and various individual com- posers and works. AS in preceding stylistic periods, much religious music is written in a conservative style that looks back to techniques, materials, and attitudes of the past. While the so-called "popular" music also tends to be con- servative in melody, harmony, and form, innovative aSpects can be found in timbre and performance styles. The trend toward control may be seen as a reaction to some of the excesses of freedom and subjectivity in the pre- ceding century. This trend found full expression in the strict twelve-tone writing of the second and third decades and even more so in the mathematically or computer-controlled music written in the years following the Second world War.34 46 The trend toward freedom was a counterreaction both to the rigidity and complexity of serial music and to the con- ventions and stereotypes of neo-Classic and other tradition- oriented schools.35 Freedom was found in the abandonment of traditional forms and harmonic procedures and in the inno- vative chance or aleatory music.36 The element of chance may be used in music in aspects of composition or aspects of performance. The use of rhythm in twentieth century music is extremely divergent. Composers strive to achieve a variety of rhythmic accents and groupings. Intricate rhythm.patterns are usual and rhythm is used as a means of achieving ten- sion. Many composers utilize changing meters to achieve rhythmic variety and excitement. Choral composers often use this technique to create a musical inflection of the text and thus constant meter changes are not unusual. In his Choral music, JOhn work produces a con- tinuous flowing rhythmic motion. He accomplishes this in several ways. First, he liberated him- self from the "tyranny of the bar line." In doing so, he employed Changing meters in most of his original compositions, and to a lesser extent in the arrangements. In the Black spiritual arrangement we Are Climbing Jacob's Ledgen, his use of changing meters relieves the tension created by the repetitive synco- pated pattern which is used throughout much of the composition. . . . from the final section of For All The Saints, change of meter is one of the means in which work provides un- limited space for a melodic idea to expand.37 Of the Choral music of Daniel Moe, Karle Erickson writes: Musical accent and stress of text correspond and occur immediately subsequent to the bar lines in sixteen of the twenty-five composi- 47 tions, some of them being consistently metered 'while others have changing metric organization. The presence of changing meters, however, is no assurance that stresses are correspondingly arranged. The surface patterns of the rhythmic style congéstently derive from the rhythm of the text. . . In a study on the works of Daniel Pinkham, Marlow JOhnson states: text. One of the most common means of achieving rhythmic variety is to change the meter frequently. This technique . . . has had considerable appeal for Pinkham from his first works to the most recent.39 Tempo is related to the musical style and mood of the Tempo changes are often abrupt and extremes in tempo are frequently found. Twentieth century composers are care- ful to:mafik exact tempo indications in their scores and to use metronome markings to indicate the tempo they prefer. some In addition to standard use of metronome markings, composers have invented new tempo and tempo Change indications: a) Tempo indicated by wedge A ccfl «MOO 1? I mum» J slso J=130 J‘IIO b) Tempo indicated by wedge-shaped beams 48 c) Tempo indicated by arrows e) Tempo indicated by arrow and spacing40 Lem/111mm WNW I l Jere Hutcheson, noted American composer whose works have been widely performed, makes extensive use of the wedge-shaped beam in the choral work, See. The work written for mixed chorus, English horn, and four tambourines features a divided chorus using not only traditional sing- ing tone but spoken and whispered words as well. The technique of metric modulation is another aSpect of twentieth century music that is being used by many contempor- ary choral composers. It is frequently associated with Elliot Carter and has been used in his choral works. In the Magnifieet by Daniel Moe, a clear example of metric modulation may be seen between measures 96 and 136. In this technique, "changes in meter and tempo are given a certain sense of unity and logic by virtue of the fact that a given value in the old tempo and meter is made equal to a given value in the new tempo and meter."41 In some twentieth century music the technique of 49 requiring two or more sections of the choral ensemble to Sing in two or more different tempi is used. Varied textures are demanded in music of this century. The trend has been towards chamber choirs and reaction has been against the gigantic forces used by the later nineteenth century composers. Twelve-tone scores are more horizontal and less emphasis is placed on individual chords. The dis- sonance encountered in these pieces demands a tone quality with a minimal vibrato. Often composers utilize a number of textures and moods within one work and these textures and moods change often requiring a wide variation in tone quality from today's choirs. In his doctoral study, Louis Pisciotta discussed the texture in the choral works of ten contemporary American composers. The relationship of texture and form was ex- plored in an attempt to show how texture becomes a formal agent or shares in delineating formal sections. He found that many of the selected composers have a characteristic textural vocabulary, some have employed new textural de- vices while others have modified traditional patterns or have used them in new ways. He writes in his Summary of Findings: Texture influences form in five principal ways . . . 1. Through its relation to structural elements such as introduction or Opening statement, bridge, development, anacrusis, phrase con- tour, sectional frame climax, cadence, and coda or closing section. 2. Through the interplay of stable and variable elements including tempo, text, texture, timbre, tonality, dynamics and themati material. ‘ 50 3. By manipulating patterns through repeti- tion, change, contrast, sequence, or variation. 4. Through a cumulative treatment or a pro- gressive elaboration of textural materials. 5. By incorporating descriptive or other poetically inspired patterns into the formal design . . . Berger frequently employs a pyramid pattern for a phrase or sectional anacrusis. Barber like- wise uses a pyramid anacrusis to indicate sec- tional repetition (A2) in Mary Hypes. Texture often supports the climax through a change of pattern or variation of thickness within a given context (Barber, Anthony 0 Daly; Dello Joio, Mystic Trumpeter). In contrapuntal writing, Foss usually cadences by thinning the texture (Psalms), and Carter either con- solidates the texture while slackening rhythmic activity (Musicians wrestle Everyyhere) or also employs dialogue pairing, either anti- phonal or stretto (Emblems) . . .42 In the study by Karle Erickson, Moe's music was found to be contrapuntal with the usual formula which included "much coinciding rhythm in the choral parts whether accompani- ed or unassisted by instrument."43 Electronic music is not new, but music for prepared tape and chorus is becoming a part of contemporary composers' output. The electronic media offers new and different textural possibilities as can be heard in the 1968 composi- tion, In Memoriam, Martin Luther King by Olly Wilson. Twentieth century harmony must be considered a "diver- sity of practices rather than a period of time."44 Harmonic materials of the past are being used in new ways, while new compositional techniques are being found irrespective of past systems. Tertian and extended tertian approaches to building chords, added note chords, harmonic parallelism, combining tertian sonorities to make poly-chords, non- 51 tertian chords, chords based on seconds, and tone Clusters, are all available to the choral composer of this century. Another important procedure in twentieth century chord construction is building sonorities that are not characteriz- ed by one consistent interval. Reisberg45 refers to these sonorities as mixed-interval chords. Persichetti46 refers to the same type of chord as a compound chord and states that these are made up of "miscellaneous intervals." It will be found that at least one composer under study in this dis- cussion will use this method of chord building quite exten- Sively. The numerous viewpoints and illustrations presented in twentieth century harmony writings strongly suggest that harmony, when viewed as the controlling aSpect of the verti- cal dimension, haS been declining since the dissolution of the major-minor tonal system. According to Reisberg: This implication is especially true in free atonal and serial compositions which are, to a great extent, contrapuntally motivated . . . The Simultaneities formed by the various parts in dissonant linear textures often do not seem to refer to a pre-conceived controlling norm: they also appear peripheral or secondary. A' term that is often used to describe the form- ing of these Simultaneities is linear harmony.4 Choral music in the twentieth century ranges from use of conservative nineteenth century sonorities to the avant garde. In the music of Daniel Moe, There is a definite disregard for harmonic progression and harmonic rhythm. Horizontal motion is clearly independent of harmonic restrictions, the only reconciliation occurr- ing chiefly at cadences. Any intervals of the diatonic scale are freely combined in the 52 vertical structures; there is a conspicuous absence of Simple triadic sonorities. The tri- tone is commonly avoided. In certain of the compositions the interval of the third appears ‘with relative frequency, but the spacing and particular combination with other intervals produces intervals of the second and seventh in such frequency in successive chords that the total texture is one of mild dissonance.48 Some conclusions on the harmonic technique of Daniel Pinkham are: The important interval in the majority of the vertical structures in Pinkham's choral music is the third . . . A survey of ten bars from six of the choral works gives a base of support for the claim of tertian frequency. The study continues with a discussion and clear examples of Pinkham's use of non-tertian chords, polychords, polytonali- ty, diatonic added tones and mixed interval or compound chords. In his study of the music of William.Grant Still, Ralph Ricardo Simpson came to these conclusions regarding Still's music: Harmony plays a key role in regard to Still's style. The fact that the "blues" scale is used frequently in his music makes it totally impossible for one to conceive of any harmony other than that of the "blues-chord" type . . . Sometimes we see in Still's music superimposed thirds that give the chord the sound of a poly- chord . . . He loves the sound of the widely Spaced major-minor third clash and many times cadences on such a harmonic structure . . . . He feels that dissonance is useful for specific occasions, but should be employed in moderate, good taste, and further, should be counter- balanced with more pleasing consonances, in the interest of tonal stability and emotional balance, that the listener must import from the musical experience.50 Charles Brookhart, in summarizing the harmonic idiom 53 of the three composers whose choral works were the subject of his study, says: The harmonic idiom of Randall Thompson, Aaron Copland and Roy Harris . . . by today's standards is somewhat conservative. In fact, Thompson's idiom is in many respects quite traditional. Although Copland has admitted using certain twelve-tone techniques, their existence in his choral music was not noted. The comparatively limited chord vocabulary of Harris' music marks him as a conservative in a time of widespread harmonic experimentation.51 Summary Choral music written by American composers in the twentieth century is exempliary of numerous compositional practices. In this segment, studies have been cited on com- posers who have contributed to the American choral scene and techniques and style have varied with each person. The harmonies of William Dawson are nineteenth century oriented and his works draw from the black experience in rhythms and text. At the opposite end of the pole are the more recent twentieth century innovations of choral sprechstimme and passages of sound without a clear pitch focus. Some- *where between these two extremes are choral works which are harmonically conservative but mildly dissonant, those which utilize rapidly shifting tonal centers that seem to pull towards atonality, and those highly chromatic works and dodecaphonic compositions which are totally devoid of tonal center. With such diverse and numerous trends, this writer concludes that there is no specific set of characteristics that can be designated as American, but a conglomerate of styles and approaches which reflect the makeup of our society. CHAPTER III ANALYSIS OF THE STYLE AND TECHNIQUE OF FIVE BLACK-AMERICAN COMPOSERS OF CONTEMPORARY CHORAL MUSIC This chapter will be concerned with a stylistic analysis of the choral music of five Black-American com- posers: George Walker, James Furman, Ronald Roxbury, Hale Smith, and Ulysses Kay. The choral works of Walker, Furman, and Roxbury, have not been the subject of any previous study. Three choral works of Hale Smith were included in the dissertation, Hale Smiph. The Man and His Music by Malcolm Breda. This discussion will attempt to study these works in detail and analyze additional compositions written since 1975. The last composer to be studied in this effort is Ulysses Simpson Kay, whose choral music has been ably examined by Richard Hadley in his dissertation, The PubTiShed Choral Music of Ulysses Simpson Kav - 1943- 1968. It is the purpose of the present discussion to deal with those compositions written since 1968 and to Show a change in style if, in fact, such a change exists. Each entry in this chapter will have the following format: 1) biographical information about the composer; 2) a listing of his works with a complete listing of choral 54 55 music published and unpublished; 3) an analysis (according to the method given in Chapter I) of at least five of his compositions; 4) a summary which will draw certain conclu- sions concerning the Characteristics and style of each composer. George Walker The career of George walker Spans three areas of music: performing, composing, and teaching. Born in Washington, D. C. in 1922, he gave his first public recital as a pianist at age 14. He was educated at Oberlin College where he received the Bachelor of Music degree. He then studied piano with Rudolf Serkin and with Rosario Scalero at the Curtis Institute of Music in Philadelphia. In 1945 he made a notable debut in Town Hall, New York, and he also appeared as soloist in the Third Piano Concerto of Rachmaninoff with the Philadelphia Orchestra under Eugene Ormandy. This honor came as the result of being the winner of the Philadelphia Youth Auditions. Further study took place at the American Academy in Fontainbleau, France; at the Eastman School of Music in Rochester, New York (Artist Diploma and Doctorate); in Paris with Nadia Boulanger in composition, and with Clifford Curzon and Robert Casadesus in piano. He has also studied with Gregor Piatigorsky, William Primrose, and Gian Carlo Menotti. Walker has taught extensively in various capacities during his career. He has served as assistant to Rudolf Serkin at the Curtis Institute of Music, has taught at 56 Dillard University in New Orleans, at the Dalcroze School of Music in New York, at Smith College, at the New School of Social Research, and is currently engaged as Professor of Piano and Composition at Rutgers University in Newark, New Jersey and at Baltimore's Peabody Institute of Johns Hopkins University. For his work as pianist and composer he has received numerous awards and grants. Among these are the Fulbright, John Hay Whitney, MacDowell and Guggenheim Fellowships; the Harvey Gaul Prize; the Rockefellow Foundation grant; and grants from the Research Councils of the University of Colorado and Rutgers University. As a concert pianist, a career he began in 1945, he has made numerous tours of the United States, Europe, Canada, and the west Indies. For concerts in Europe, he was awarded the Bok Award in 1963. The Rhea Sosland Chamber Music Contest brought him an award for his String Quartet in 1967 and the Gaul Prize was awarded in 1964 for the Sonata for Two Pianos. Walker composes for voices, orchestral instruments, piano and various combinations of voices and instruments. Highly difficult, complex, and technically de- manding, his music is both tonal and atonal and deals with contemporary idioms in sound and form. Linear independence is shown in lyrical idioms. Orchestrations of sound may occur in blended homophony or percussive blocks of atonal notes. Irregular intervals and extremities of complex rhythms and registers mark his style of composition. 57 Wprks: Orchestra: Lament for String Orchestra Concerto for Trombone and Orchestra Address for Orchestra Symphony for Orchestra Antifonys for String Orchestra Variations for Orchestra Spirituals for Orchestra Chamber Music: Invokation for Brass Quintet Sonata for Cello and Piano Sonata for Two Pianos Perimeters Antifonys for Chamber Orchestra String Ouartet Music for 3 Five Fancys for Clarinet and Four Hand Piano Dialogues for Cello and Orchestra Piano: Prelude and Caprice Sonata No. l Sonata No. 2 Spatials Spektra Sonata No. 3 Voice and Piano: this Response With Rue My Heart IS Laden So we'll Go No More A Roving The Bereaved Maid I went to Heaven Sweet, Let Me Go Every Time I Feel The Spirit My Luv Is Like A Red, Red Rose I Got A Letter From Jesus Mary wore Three Links of Chain Hey Noony No Lament (Countee Cullen) 1941 1957 1959 1961 1968 1971 1974 1942 1957 1964 1966 1968 1968 1970 1974 1976 1941 1953 1957 1961 1971 1976 1953 1953 1953 1971 1971 1971 1973 1975 1975 1975 1975 1975 His compositions for chorus are the major concern of study. They include: Gloria In Memoriam SSA 1963 58 Stars SATB 1968 O Lord God of Hosts SATB 1975 Sing Unto The Lord SATB 1975 Give Thanks Unto The Lord SSA 1975 0 Praise The Lord SATB 1975 Praise Ye The Lord SATB 1975 With This Small Key SATB 1975 Mass for Chorus and Orchestra 1975 A Babe Is Born SATB 1975 The works chosen for this discussion are the three movements of Three Lyrics for Chorus, Sing Unto the Lorg,and Gloria In Memoriam. Three Lyrics for Chorus Three Lyrics for Chorus is a set of three compositions for SATB Choir. The choruses: The Bereaved Maid, Take, 0 Take Those Lips Away, and 0 western Wind are secular com- positions with piano accompaniments. The Bereaved Maid Text: Lullay, lullay The falcon has borne my mate away He bare him up, he bare him down He bare him into an orchard brown, In that orchard there was a hall that was hanged with purple and pall. And in that bed there lieth a knight his woundes bleeding by day and night, by that bed side kneeleth a may. And She weepeth both night and day. And by that bedside there standeth a stone. Corpus Christi written thereon. The Bereaved Maid is based on the Phrygian mode on C. The overall structure is A B A, the return to A being a varied repeat of the opening tranSposed up a fifth. The piece is a lullaby with four voices providing a lilting accompaniment on the word "lullay." Noteworthy is the fact that the 59 lullay motive is usually begun on the second heat of a three-pulse measure giving a feeling of syncopation which further adds to the lilting quality of the vocal accompani- ment. Example 7. The text of the piece is sung first by solo alto, be- ginning in measure 10. The range of the melodic writing in this section is quite small. It is a contemplative phrase and is expressed in basically stepwise motion, a leap of a perfect fourth being the largest interval. The pitch shape of this section is almost static and contains a constant Shift from B flat to B natural in the melodic line. Example 8. In contrast to the range of part A, the B melody, sung by the basses, is treated with larger leaps and shows a larger contour of line. In measure 48, the basses are doubled by the tenor which continues through measure 57. The soprano now abandons the "lullay" motive and states the melodic line an octave above the bass while the tenor continues with a melisma of the word, "may." A four-voice octave statement of the melody is given in measure 67 and in con- trast to the smaller intervals of the A section, a leap of an octave is found (measure 71). 60 Example 9. The dynamic intensity increases here to fortissimo and con- tinues to the end of the section in measure 81. The return of A (measure 82), with a pitch level a fourth below the original, begins with the divided bass accompaniment which is reminiscent of the tenor and bass parts in measure 2. The lullay motive in the soprano is a fifth above the original setting and the space between the outer voices is now expanded. When the alto solo resumes the text in measure 90, the pitch level of this and all upper voices is brought down to the level of the bass (a fourth below the original) so that the intensity is not only subdued dynamically but by pitch level as well. Example 10. 86 . III ohy. Illoly. III - lly.____ ”bun ”In (Jolt?) Lol- ty, __ The III-con hath home my mate .__ n - 61 Walker, in his choral pieces, is quite economical in his use of instrumental accompaniment. This work provides a good example. The accompaniment usually consists of the octave played and sustained for five or more measures. This device serves as a pedal point on C in the A section. In the B section, the movement of parallel fifths and fourths that was first introduced by the tenor and bass in measure joins the octaves. The octaves, however, have now expanded to ninths. As the intensity builds (measure 67), the ninths become superimposed fourths, fifths, and octaves. Although the scale structure remains Phrygian, the tonal center of the A section is C, the B section is based on A, and the return (A4) is based on G, thus, the pitch level modulates downward as the piece progresses. Conventional rhythms are prevalent in this piece. The following rhythmic motives o- . , 5 , o 6 found in each section serves to uiIfg_£he compgsitiln. Also note- worthy is the frequent use of tied notes over the bar line which shifts the accent to the second heat. Examples can be found in measures 3-4 (tenor and bass), and in measures 13-14 (soprano and alto). Take, 0 Take Those Lips Away Text: Take, 0 take those lips away That so sweetly were forsworn And those eyes, the break of day Lights that do mislead the morn But my kisses bring again; Seals of love, but seal'd in vain. 62 The second composition of this set, Take, 0 Take Those Lips Away is also a contemplative piece in A B A form. It is centered around the tonality of d minor but there is very little reference to the tertian concept of this key. Chords, are built in fourths and at cadences the third is always missing producing a stark, open sound. The A motive, which recurs four times in the piece either melodically or rhythmically, usually descends to the open D Chord with an added G. Example 11. Motive A. 3 + 5’ b h.) i This homophonic presentation of the motive is consistently followed by a contrapuntal phrase using three voices. Also in this phrase, the melodic motion descends by step. The voice arrangement as found in measure 13 features the tenor a sixth below the bass. The composer further indicates that this Should be sung softly and sweetly. The next phrase spanning six measures (14-20) consists essentially of two chords (See Example 9.). It is designated as the B section because of the Change of text, the new homo- phonic texture and the use of a more static-like harmony. An analysis of this portion of the composition using the set theory technique reveals the relationship of vertical struc- tures. There are eleven different sets of harmonic intervals in this section. The set, 0,2,5 occurs six times and this same 0,2,5 structure can be mapped into three additional chords which were reduced to 0,3,4,8. Although transposi- tion is evident, nine of the eleven chords are intervallical- ly the same and account for the harmonic Similarity of sound found in this section. A figured bass analysis indicates that the perfect fourth used fourteen times, the seventh used fifteen times, 64 the fifth used eight times, and the ninth or second used six times, are superimposed miscellaneous intervals which con- stitute a series of “compound chords."2 Example 12. I4- " lo' /6 bring I - pln. P bring n-pln; onlo— p But my mono bring n-nln. bring o- pin: unto- bring I - gun: nonto— Ioal'd In “In. ml’d In uln. In vain. ”I'd Ill VIII. The return to A is not melodically the same as the original but is linked rhythmically. The three voices in- volved in the answering phrase are soprano, alto, and bass. The last two phrases, which are more harmonically remini- scent of the beginning, are presented in a more homophonic texture. The last word, "morn," becomes a melisma by the 65 altos while the remaining three voices sustain an F and an A which in measure 30 becomes an open D chord. Sparseness of accompaniment is also evident in this piece. The accompaniment consist of four open quartal chords as an introduction and primarily the same Chords at the end. The body of the composition is unaccompanied. 0 western Wind Text: 0 western Wind when wilt thou blow that the small rain down can rain. If my love were in my arms and I in my bed Christ! 0 western Wind, the third setting in the series, has three distinct sections. The first (measures 1-11) is homophonic in texture and is contrasted with the second (measures 12—25) which features contrapuntal writing. The last three measures, are reminiscent of measures 8-10 of the Opening section. Here the original four-chord progression is tranSposed using a four-voice texture. Measures 25-42 have been designated as section three because of the complete change of musical material. The treatment of the motive, which is repeated Six times, Shows Walker's unique develOpmental Skills. The first harmoniza- tion of the motive consists of two intervals, a perfect fourth and a minor sixth. These two intervals are alter- nately sung by soprano and alto. 66 Example 13. 25 - £6 —*—.~ bloc. um out It" Nov. llrny Menuhin o... UM um than bloc, blow, In measure 27, the soprano is doubled a major Sixth below by the tenor. The three voices now form a b minor first inver- sion chord alternating with a chord that can be described as a major Sixth with an added minor second. Example 14. 27 28 29 arms It my love were In my arms 1: my love were In my The third statement (measure 19) adds the bass voice a fourth below the tenor. The motive now has a slight change of harmonic character - the s0prano and alto as well as the bass and tenor are a perfect fourth apart and these two forces move the contrary motion. The effect is a strong quartal sound. (See Example 15.) 67 Example 15. 30 31 love were In my arms “ —. ,,____ love here In my Irmn u—u—u—a— v. -- ~o _.. - . Iove were In my arm. -_ _ Chrlnt ., If my love were In my arm. brd _ ChrInI _ In measure 25, the lower two voices introduce another idea: the sforzando octave sung on the word "Christ." In all but one instance, the octave is held for three counts. Within the three counts, descrescendo from sforzando to pianissimo is indicated. This idea becomes the only state- ment that the basses and tenors Sing from measures 33 through 39 and whenever the word "Christ" is sung, it is a major second below the alto. The scale on which the first two sections of this piece are based consists of six notes with two three-note groups. Example 16. In measure 11, section 2, a new melody is introduced by the alto which is built around the notes of the above scale. 68 The arrangement of the notes in the melody strongly imply a pentatonic formation. The tenor in measure 12 and the soprano a measure later form.a canon at the octave on the 0 western Wind theme. The canon is stated strictly for two measures, but at measure 15, the soprano imitates on the same tone as the B melody with a few rhythmic Changes. Example 17. ” I2 13 1+ A 0 Wu . torn thI_ when wllt thou blow. that the small raIn_. down can run. that the email O Wee - torn wInd when wIIt thou blow. 0.. The technique of polytonal writing is intimated in measure 17. The tenor states the A melody in F sharp, the bass, one measure later, is in C sharp, the alto at measure 18 is in G sharp. It must also be noted that the vocal texture through measure 18 has been three voices and that only at this point does Walker introduce a four-part texture. The emphasis that is placed with the bass entrance at this point is strikingly effective. In addition, the accompani- ment, which up to this point has been of a light character, changes to the accented octaves that were first heard in the introduction. The accompaniment forms a C sharp pedal tone which continues through measure 24. There is also 69 rhythmic contrast from the previous accompaniment pattern. In measure 18 and all subsequent measures but one, the note accent placement occurs on a weak beat. Throughout this piece is found the consistent use of consecutive seventh and ninth chords with the third or fifth absent. The harmonic effect is that of openess and starkness. Example 18. ——n .1 1 11 II I In I V I I I J J 1 *Jr J _1 ' ' JLH I ll" blow, Ion wIIt thou blow, when wIIt thou blow. ‘ r T IvI I" “v blow, when wIIt thou blow, when wIIt thou blow,tbat the small A A ' J 5 ' 0 o ’ > ’ ’ I 4' 1:1 git! Jig 1 i 7 111: 11 blow, when wtlt thou blow, when wIIt thou blow. i fiY Jlj x g ' jlr ' J! - J‘L J J]! nu If I]! JIII n The open fifth is found at all points of rest, including the final cadence. The piano accompaniment consists of three ideas which for this study have been termed as follows: (1) the octave motive (2) the rain motive (3) the Christ motive f. leggir ro The octave motive is used in the piano introduction. The 7O rhythm consisting of two sixteenths and an eighth note, is the same rhythm which is used in the “rain motive“ that is introduced in measure 11. The character, however, is vastly different. Instead of the forceful dramatic octaves, the motive now takes on a delicate, soft, light character to suggest rain. In measure 17, the octave again resumes and is used to enhance the “western wind“ text. This accom- paniment figure, which has been discussed earlier (see pages 68-69) is a melodic inversion of the "rain" pattern. The "Christ" motive again is basically the octave interval but in measures 25 and 29, it has an added minor second and in measures 33 and 36, it is filled in with an augmented fourth. The result is a minor second with a superimposed perfect fourth. These two intervals seem to occur frequent- ly in Walker's harmonic scheme. The chord always occurs one beat after the vocal statement of “Christ“ which was previously discussed. gm Unto the I._.gLr_d Text: Sing unto the Lord, all the earth Show forth his salvation from day to day Declare His glory among the people His marv'lous works among all nations For great is the Lord and greatly to be praised, He also is to be feared among all nations Glory and honour are in His presence, Strength and gladness are in His place. Give unto the Lord ye kindreds of the people Give unto the Lord glory and strength. 71 The text of Sing Unto The Lord is taken from.the first seven verses of Psalm 96. The setting is written for SATB choir and is to be sung without instrumental accompaniment. It is through-composed, e.g. each new thought, even within verses, is set to different musical material, producing ten different musical sections with the materials used in A and G being repeated. A diagram of the phrase structure, realiz- ing that ideas may comprise as few as two measures would be: Example 19. A B c D E F G H s’ I lI-IO' 'u—Ml III-'17, its-23' Liz—z?! ’25-211 lac-14' Wain-453347 _ J A’ Gfi - 5’3 [(9 - 671 The overall structure is A B A with the homephonic A and Al framing a large contrapuntal section: Example 20. y A 'B A [I —- [0,, '3! 53‘T53 ——- ‘7 I BCDEFG HG’IJ This composition is dynamic, rhythmic, and driving, and are characterized by numerous melismas found especially in the tenor voice. Example 21. l _____. -rf.- A .- -- ‘ . “51:17::- .:13*{4‘,—"[~[' [Ta-'2 LU??? Vi: :‘ f5?“— - { Lord. —-+ —— -—.————-__ the Lao,— .. -.. . - -..._. Voices tend to sing frequently in their upper registers and use of the entire vocal range is quite common. At one point (measure 19-30), the bass begins on a low A#, leaps an octave to b1, returns to A# and ascends melodically to d#1. 72 Example 22 lgfisvgfiifi% hhm'h-wnth emu! :- - Wide leaps, e.g. a perfect fifth and wider, are the rule and imitative syncopated entrances add to the driving rhythm which characterizes the piece. Example 20 taken from the B section, provides an illustration of these leaps. Example 23. /o l/ I Z Although there are some moving voices, the A section is basically homophonic in texture. When the recapitulation occurs, the chordal texture found in measure 58 serves to unify the composition. The first four notes of A are sung in octaves to the words ”Sing unto the,“ however, the word "Lord" breaks into a four-part texture with a tenor melisma which will become a characteristic feature as the composition 73 unfolds. Intervallically the seventh, fourth, and fifth are used extensively while the syncopated entrances are treated chordally rather than canonically. Example 24. / wanna... J-m 74 If the entrances occur on a strong beat, at least one voice utilizes the rhythm which reinforces the syncopation. Example 25. (sf—‘5 1"“ [r7 "“ cm agar”: to llIrLoul. Song on - to the .un é’flfii‘ r a??? .—-.=r-.—.- l ”w— . .2431 to - -Iln°l.onl. Sing on - in lo Ila: A common technique of the composer, especially in his faster moving compositions, is the "syncoped entrance'l by one or more voices.3 This device can be found in measures 7-8, 49, 60-61, and in measures 46-47 although the voices here do not become chordal as quickly. The B section has already been cited for its syncopated imitative entrances. The polyphonic texture of the section continues, for the most part, to measure 58. The rhythmic motive PJ J’J occurs constantly, both on and off the beat and in measures 14-17, this rhythm is sung in major seventh leaps by the alto and soprano. Example 26. 75 It is in the E section that a number of melismas occur - especially on the word "Lord." The entire section is texturally contrasted to section D which is essentially non- melismatic. A three voice syncopated melisma is found in measure 25. Example 27. In measure 30 (section G), and from this point on, the word "Glory" is sung with a descending leap of a third in the soprano voice. This leap is imitated at the octave by the tenors in measure 31 and at the fourth by the basses in measure 32. The rhythmic texture becomes thicker at this point (measure 33), e.g. the composite rhythm is almost con- stant eighth notes. The only section that has a significant dynamic change occurs in measure 43 on the text "give unto the Lord ye kindreds of the people." In keeping with this, the melody has become more stepwise and leaps when used, are smaller. 76 The next section, “Glory and strength" affords complete con- trast. Large leaps are found (note especially the bass part) and the dynamic level increases to forte. The soprano voice sings its highest note at this point and remains in this tessitura for four measures. The section consists of two ideas: a four-voice homophonic texture which is usually two chords, and a measure and a half of three voice melisma. Example 2 8. *7“: V "r": “a ' 1 J21 " -.l'r—i':l The last section is reminiscent of the first with the repetition, with some variation, beginning on the second half of the second beat of measure 55 and continuing to measure 63. A harmonic analysis reveals a consistent use of the per- fect fourth, perfect fifth, major sixth, minor and major seventh, and perfect octave. There is no significant use of the third in the chordal structure and consequently no ter- tian sound is perceived. This setting is highly chromatic and shifts of tonal center occur so frequently that it is 77 difficult to distinguish a feel of tonality throughout the composition. Gloria In Memoriam The Gloria in Memoriam is a setting of the greater doxology for three part women's chorus, three soloists, and organ accompaniment. The solo sections alternate with the chorus in a fashion much like the concertino-ripieno con- trasts found in some eighteenth century compositions. In keeping with this style, the solo parts are usually more chromatic and more contrapuntal. This piece has been grouped in phrase sections because of walker's treatment of portions of the text with different musical ideas: Example 29. A ‘3 C! .D .E p‘ F7 a. F”## ’I -- 8 l8 —15ltr-39‘l26~aol [3, ~00!“ - 49] '4Q‘Il Ifl‘rqlfl-fil .D1 F‘ Pl :1 lg‘a “60,00 -—- all“ —13'73 «all The A section is predominantly homophonic in texture- In most instances, two voices will move together syllabically' while the third voice has a short melisma. This techniqULe can be found in measures 1-3. Here, the seprano is double at the lower octave. 78 Example 30. Intervallically, the fourth, fifth, second, and octave are used consistently. In measure 7, the first chord is a three-tone vertical structure consisting of a superimposed major and minor second. am gm Example 31. Although the alto voice moves quickly away from this dis- sonant sound, it returns at the cadence in the next measure. The dissonance of the chord consisting of an octave and a major second is reiterated with the addition of the organ E flat. Example 32. The B section is imitative and is scored for alto and second soprano soloist. The contrapuntal writing makes this section appear to be strongly chromatic but, in fact, 79 the first twenty-five measures are based on an F Mixolydian scale. The C section begins in measure 15 where the words "laudamus te" are presented in a sync0pated fashion. These syncopated entrances are prevalent throughout the composi- tion. Prior to section C, examples can be seen in measure 2, 8 and 10. Section C is basically non-melismatic and is also based on the mixolydian scale. However, the last two notes in the lower voices (measure 24) are foreign to the scale and seem to serve as a pivot into the chromatic line which follows. As observed previously, a favorite compositional device of Walker's is beginning all voices on the octave and while one voice holds the pedal tone on the original note, the other voices move away forming other harmonies. An example of this technique is found at C in the alto and first soprano with the second soprano entering a measure later with addi— tional harmony. The first soprano sustains a D which con— tinues through measure 19 (the D is further emphasized in the organ accompaniment). The intervallic content of the melody line in this piece is quite varied. Stepwise motion and leaps as large as a major seventh may be found. A melismatic pattern, which first occurs in the first measure in the second soprano, is used later in the work. This five—note pattern, which ascends diatonically, occurs again in measures 14 and 18. Measures 15-16 and 20-21 also contain examples of this pattern but in a modified form. 80 The D section, using a great deal of chromaticism, is introduced by the second s0prano solo on the words "Gratias agimus tibi propter magnum gloria tuam." Example 33 . 25' 26 31 20 31 3O The composer uses all twelve tones of the chromatic scale with only one note,C2, being repeated. The two notes which begin the line also serve to close it, an idea utilized in other similar passages. The pattern can be seen by comparing the end of measure 47 with measures 42-43, and measure 41 with measure 36. Because of the similarity of musical material, measures 36-48 have also been designated as D. The first four inter- vals of the alto and second SOprano are the same as the beginning intervals of measure 25. The first soprano entrance at measure 42, however, does not follow this inter— vallic pattern. There is no tonal center in these two sections but a more diatonic feeling is perceived in the choral sections that follow. The E section in measure 31, for instance, appears for four measures to be in a B flat tonality while in measure 49, E is the tonal center. Section G, is a brief solo section which is imitative and more chromatic. In each solo line, the beginning inter- vals of a third persist and the use of them serve to unify 81 the imitative sections. Section I, measure 61-74, with exception of one and a half measures of solo, is sung in octaves. The natural accents of the latin text have definitely been considered here. It is in this passage also that the organ accompani— ment has moved from bass alone to the use of bass and treble clefs and becomes a bit more active (measure 62—64). The last section (J) is reminiscent of the beginning with the use of the falling third (measure 73 in the alto). Comparing the first three beats of measure 74 with the first of the composition, the vocal movement is the same but the technique of diminution has been used. Example 34. This section is more melismatic and the scale-wise movement referred to earlier is more evident in both ascending and descending patterns. The piece ends on a cadence which is reminiscent of the medieval clausula vera but with a unique dissonant sonority. Summary George Walker is a composer of considerable musical 82 interest. His choral writing, which represents only a part of his creative output, consists of nine published composi- tions. Two are written for three part women's chorus and the remaining for mixed ensemble. The composer's approach to form demonstrates his concern for text perception. The sacred works analyzed are based on the verse division of the text with the use of different musical material with each new phrase. Four of the five works analyzed in this discussion and the four additional works that were perused are written in forms that have returning sections while the remaining numbers are either continuous or through composed. The returns in numerous cases are not exact but are rather transformed by rhythmic or harmonic variations or by pitch transpositions. Walker employs a number of devices in achieving unity in his compositions. The delayed imitative forms mentioned above are unifying by virture of their design. However, the use of repeated motives,both rhythmic and melodic, also serve this purpose. Recurring accompaniment patterns which have been developed from a single idea are especially characteristic (0 western Wing). The development of melody is closely related to the mood of the text. The more intense texts are characterized by large leaps and are somewhat more chromatic. The range of these melodies can extend to as much as an octave and a fifth (Sing Unto The Lord). In contrast, the more contempla— tive texts feature melodies with smaller leaps and less con- 83 tour of the line. The ranges of these melodies tend to be limited to a fifth or in some instances even smaller. Although walker's melodic writing shows a strong affi- nity for modal lines, examples of melodic material based on pentatonic and occasional synthetic scales are also prevalent. In the Gloria In Memoriam, the composer becomes highly chromatic and in various sections, writes contrapuntal lines using eleven of the twelve tones of the chromatic scale. Melodic lines seem to be developed more by motivic exten- sion and expansion than by any other means. The length of phrases and the shape of melodic lines are so strongly in- fluenced by the text that it is almost impossible to make generalizations regarding them. However, once the scale pattern has been established, the composition or specific section seems to closely adhere to it melodically and har- monically. Rhythm and meter in Walker's music reflect traditional twentieth century practice. Time signatures change fre- quently but generally the established note unit will remain constant throughout. Rhythmically, much use is made of "syncoped entrances" and of syncopated entrances by one voice or a group of voices. More often than not, beginnings of phrases will occur on weak beats. Characteristic of Walker's faster moving pieces is an interruption of the line with a short rest (usually an eighth rest). This seems to break the driving rhythm of his lines with a variety of note groupings. Harmonies are more frequently non—tertian. walker often 84 uses compound chords which consist of "miscellaneous inter- vals." Another type of chord is made by superimposing combinations of miscellaneous intervals. This simultaneous combination of mixed intervals, not arranged in polychordal units, is a com- pound chord. The almost constant use of intervals of the second, fourth, and fifth, gives a strong quartal sound to Walker's music. The further use of open cadences or Open cadences with an added second aid in giving a feeling of finality to this characteristic sound. There seems to be a fondness for the cadential formula which features the tOp voice mov- ing up or down by a second and root movement down by a third. In Give Thanks Unto The—Qggd, the upward movement of the second is inverted to the seventh, but the formula can still be perceived by the listener. Contrapuntally, instances of imitation and canon are noted frequently. Walker uses entire contrapuntal sections in contrast to homophonic sections to obtain textural variety. Syncoped and imitative entrances have already been mentioned and their use, even in homophonic texture, are a trademark of his choral sound. The accompaniment in Walker's choral composition are characterized by Sparseness and motive development. Many times the accompaniment develoPment evolves from a beginning two or three note idea and no additional material is present- ed throughout the piece. Accompaniment figures become reiterations of vocal statements and never continuous instrumental flows. In Take, 0 Take Those Lips Away, the 85 accompaniment frames the entire choral part. Gloria In Memoriam, however, uses an accompaniment that consists of chords which are sparsely placed to reiterate the text. Most of Walker's notation is conservative when compared to some twentieth century choral innovations. This charac- teristic of conservatism extends to his use of musical ideas 'within a composition. He is a fine craftsman who has the talent for develOping an entire work from an economy of musical material. Ronald Roxbury Ronald Roxbury, born December 4, 1946 near Salisbury, Maryland, began an interest in music at an early age study- ing bassoon and flute. At 16, he studied composition with Stefan Grove at the Peabody Conservatory. In 1969, Roxbury received a Masters degree in Composi- tion from Peabody where he studied with Earle Brown. It was during this period also that he won four prizes in the National Federation of Music Clubs Competitions. Professionally, Roxbury is not only a talented com- poser but also a singer, a career which began with compri- mario roles with the Baltimore Opera Company (1968-72). He subsequently sang in the opening of the Kennedy Center in Leonard Bernstein's Mags (1971), a performance which was recorded, in Eric Salzman's Lazarus in the role of Simon, and most recently as a member of the Phillip Glass Ensemble, he performed in the premiere of the Wilson/Glass Einstein On the Beach which toured Europe in 1976. He has sung 86 numerous other operatic roles throughout the New YOrk area. Roxbury has performed his own works in various theatres and concert halls throughout the Baltimore and New Ybrk area and performances by other musicians have taken place in Carnegie Hall, National Gallery in Washington, Columbia University and on tour in Brazil in 1970. In the summer of 1969, Roxbury served as an intern music critic for the Washington Evening Star News and, in 1970, was a participant in Young Critics week at Tanglewood. In addition to his busy schedule as a performing artist and composer, Roxbury teaches private students in such areas as composition, ear—training, piano, flute, voice, and orchestra— tion. He serves also as the composer—in-residence at the Church of Saint Mary the Virgin in New YOrk City. M: VOice: Four Songs Voice and guitar with obbligato water sounds Opera: Leda and the Velvet Gentleman Roxbury's choral works range from traditional to graphic- aleatoric and are secular as well as religious. Choral: There Is No Rose of Such Vertu SATB 1972 Ave.Maria SATB 1972 As Dew In Aprille SATB 1972 That YOnge Child SATB 1974 Ave Verum ATszBlBZ Regina Coeli 2 5011, mixed male chorus Virgo Virginum Mixed male chorus 87 Ave Maris Stella 3 soli, mixed male chorus Missa Brevis SATB Requiem for Bill Null Ma Bell 3-part girls chorus, hammond organ, chromatic hand bells. The church has been a definite influence on Roxbury's writing style and thus eight of his compositions are reminis- cent of the early motet but harmonized with twentieth century sonorities. Many of his works, in fact, have been composed for St. Mary's church as a part of his responsibilities. The Missa Brevis for mixed choir was written under these circumstances. The setting is basically unaccompanied, but is interrupted between verses by a duet on the trumpet stop of the organ. Consisting of three movements, Kyrie, Gloria, and Sanctus, the setting is intended for service performance and therefore has no Credo. In addition to this idiom, Roxbury has developed a form of graphic notation which has been used in the more recent of his secular works. The composer states: My graphic style is my most serious endeavor. Most of my work is in this notation which I developed over a period of about two years after my association with Earle Brown, although elements of the final form were present in pieces written before studying with him.5 Ma Bell, written for three part chorus, hammond organ, and chromatic hand bells in four octaves, is the first in a series of symphonies in one movement which the composer calls "incestoids." The composition is conceived for "families" of voices or instruments in graphic style and 88 was influenced by Sibelius. The composer suggests that the system is based on the intervallic relationship of adjacent notes, "that is, notes in close proximity in time as well as pitch." The notation includes two and three note figura— tions as well as textures involving long held notes. The work is intended for high school students and contains large notes for easier reading. An earlier work, the chamber opera Leda and the Velvet Gentleman, was composed for and subsequently recorded by the Gregg Smith Singers (1977). The work, based on a playlet by the same name by Dale Driscoll, is described by Roxbury as a type of Strauss-von Hofmannsthal relationship and deals with the surrealistic-impressionistic "Leda" (whose psycho- sexual ideosyncrasies somewhat pre-determined the musical and dramatic language of the collaboration) and the mysteri- ous “Velvet Gentleman" (Erik Satie). Roxbury's explanation of his graphic philsosphy is as follows: My procedure of composition was to be modified only in terms of rhetoric as it turned out. Basically I deal with what is more accurately defined as “guided improvisation," a concept developed during my association with Earle Brown and William Bland. Improvisation is usually disdained by most musicians, probably because it is not taught or encouraged by their teachers. With the rise of graphic notation in the '50s,‘ and the experimenta- tion with improvising entire pieces as practiced in the 605 there was concurrently the aesthetic problem of how much the com- poser composed or how much the musician composed or eventually how much the listen- er "composed" and of course, "whose composi- tion is it?" To solve the dilemma as much 89 as possible was difficult to be sure, but by observing the principles of music notation through its history and employing a little invention, a system was evolved in which the "traditional" requirements for music making could be expressed in notation and yet the act of improvisation could be in- dulged in, albeit in a "guided“ fashion.6 The melodic lines, accompaniment figures and rhythmic groupings can be used to engender a kind of "unmoored 'tonality' achieved largely by the select repetition of any component. This procedure is not too different from most styles of tonal or atonal composition."7 The system devised by Roxbury consists of the follow- ing components: A detached note: altered by the normal I degrees of articulation: staccato, . , tenuto, etc. Stems without notes (notes which come too close in time to be represented by noteheads; also impled legato) — A median staff line representing the middle of a performer's available range (in winds, the numerically centered pitch, in strings, the uppermost open string, etc.) A legato connection .- — A reference mark indicating repetition of a pitch ‘ - e3 ‘.\. .3"- I (I' A gruppetto (normal "as fast as possible") .0— O I A gruppetto indicating accelerando or decelerando within the group (the rate of time preceeding across the page should not be influenced by these aberrations, which should be considered as 'rubato') ”(:3 E. 90 A trill A simultaneity or chord O... 1 I I A short glissando - no wider than a minor ) H or major third 5 .’ A glissando 3’ O — An altered tone (unless specified, the performer should use flageolet, complex double-stopping, muted, etc., theoreti- cally altering continually) As high or low as possible Ideosyncratic Notation Keyboard l — a cluster ”x - An arpeggiated cluster I — Percussion (usually specified) String II - Percussion (usually specified) Guitar 3 - Barre chord Q - An anti-harmonic (finger touching anti-nodes produces complex partials) All other standard string notation is transferable to this system Wind - All ideosyncratic standard notation is trans- ferred to this system Voice - All ideosyncratic standard notation is trans- ferred to this system Harp - All ideosyncratic standard notation is trans— ferred to this system - Pedal plans are given or suggested or offered 91 in multiple choice Conducting - a beat is indicated by a tactus proportionately Spaced so that the results should sound as 'elastic arches' - Only performers who have m or Whear a conductor's beat are not required to adhere to conductor's beat. Percussion - O - Metal 0 - Skin II - WOod V ‘ - Indefinite While the pieces in graphic notation are the most recent of Roxbury's work, the compositions chosen for this study are four motets published between 1972-1974 which are indicative of much of his choral style. Gregg Smith has these comments: . . . quiet and reverent and traditional in sound, although the approach is interestingly fresh. It is really Gregorian chant harmoniz- ed with Twentieth Century sounds. . . . Basi- cally, the lines are very slow, legato, and free from regular pulse. As in Gregorian chant, word or syllable stress is the core of rhythm.8 These four pieces, There Is No Rose of Such Vertu (1972), As pew In Aprille (1972), Ave Maria (1972), and That Yonge Child (1974) are written for accompanied mixed choir. The unit of beat in these motets is either 3‘, J or J. which indicates relationships of long and short values. Exact durations are not intended but rather a free flowing rhythm that is indicative of performance practices of the Gregorian chant.9 92 There Is No Rose of Such Vertu Text: There is no Rose of such vertu, as is the rose that bare Iesu. Alleluia. For in this rose conteined was Haven and earth in litel space. Res miranda. By that rose we may well see there be one God in persons three. Pares forma. The aungels sungen the shepherds to: Gloria in excelsis Deo. Gaudeamus. Leave we all this werdly merth and follow we this joyful berth. Transeamus. Amen. This motet is through composed, however, there is a rhythmic pattern which recurrs several times and serves as a unify- ing device: m n. The rhythm can be found in measures 1, 3, 6, 8, 13, 18, and 23, and it is always pre- sented by the soprano and alto voices. The piece uses a “call and response" pattern. There are always four measures of soprano and alto duet sung in English followed by a Latin response of one measure sung by four—part choir. This phrase pattern is consistent throughout the composition. Call Response I‘ 41 f 5' l I), 71 l [a 1 ' II (+1 I IO" 1 ' u. I71 I 20 1 Amen lZI zéj ' 26‘ I 26 47 93 Each "call" section of four measures is divided into two measure phrases. The melody of measures 1-2, 3-4, 6-7, and 8-9 are the same except for the last note. Example 35. Icln - u was H". on and out On Ill - cl upon. I I #4 The first three notes of the countermelody of each of the above phrases (alto line) are the same, but the endings of each phrase are different. The rhythms of the notes follow very closely the rhythms of the spoken word. Rhythmic patterns used in setting this text are noticeably very close to another setting of the same text in the Ceremony of Carols by Benjamin Britten. Both composers, by virtue of the fact that their rhythmic solutions are similar, allow the natural text accent to dictate the rhythmic patterns used. 94 The composition, in the hypodorian mode, has a start- ing and final note of Bq , a note which dominates the melody line. This work alternates between linear and vertical tex- tures. The "call" sections have a linear connotation while the interspersed Latin measures are melodies harmonized with chords consisting of miscellaneous intervals. Inter- vallically, the fourth, fifth, and seventh are found most frequently. There is a double inflection10 on the second note of measure 15 (bass and SOprano). The melody line with a range that does not exceed a seventh, is predominantly conjunct. Large intervals do occur in the bass and tenor voices, Specifically at measure 5. The root movement of the final cadence moves down a fifth but the V to I on B is found in the soprano. Example 36. . Y V fi V nod loll-ow we "I“ 10, - fol bulb. Tun. - o . n . on. A . Inn. nnd loll-ow we "Ila joy . 'ul hm. Tun ~o . n . .00. A In" _ r __ 0) A - j i 4: -‘ l 4 4 I _# Tum . u - n - nu. A . an. "5,; m m = e::;e 4* - ;:E¥55E:#33===iE§3 T Tuno- o - n - out. A . m. 95 As ‘w I r e Text: I sing of a mayden that is makeles. King of all kings to her son she ches. He came also stille there his Moder was as dew in Aprille that falleth on the grass. He came also stille to his Moder's hour as dew in Aprille that falleth on the flour. He came also stille where his Moder lay as dew in Aprille that falleth on the spray. Moder and mayden was never none but she. well may such a lady Goddes moder be. Allelulia. Allelulia. The homophonic textures of this motet range from two voices to eight voices. Each phrase is divided into two parts. One to as many as four voices present the first part of the phrase. The "answer" is usually a six to eight part texture. This kind of alternation of textures is common throughout the piece and serves as a unifying factor. The first two measures (the first line of text) is a duet for alto and soprano. The pitch range of the melody line is very narrow, spanning the interval of a third. The next phrase is taken by mixed voices. Each of these lines uses the fifth, the fourth, and the second extensively. The next phrase sung by divisi female choir, features an EmM7 and is one of the few tertian sonorities of Roxbury's writings. (Example 37). Example 37. 96 This chord is found again in measure 7 and is intimated in measure 9. In measures 6, 8, 10, and 12, the "answering" texture thickens to six voices. Intervallically, the harmonies make use of superimposed fifths, fourths, seconds, and sevenths. Example 38. b 7 8 o thou hlo Io-do: woo oo Cow to Ao-ttllo thot tolhoth on tho uooo. 9 __ b— thoro hlo Ioodot woo oo Cow to Ap-tttlo thot toll-oth on tho you. 1 L +—4—9—+;F—é z eiggggfiggfifgfg fl 1 1 fl 2 j x thoto hlo Io-dot woo thot lollooth on tho ‘IIII. t t t E: a ' thou hlo III-lot woo thot toll-oth on tho you. Frequently, Roxbury will use the perfect fifth as the founda- tion interval, drawing on quartal projections above it (measures 3, 8, 16). Example 39. 97 In measure 22, there is a written ritard going from 5:9 to tho ‘34,. Example 40. This is the first instance of the use of triplets in this piece. Rhythmically, Roxbury makes use of I J J and J‘ J J” J which is reminiscent of rhythmic mode II in medieval notation. Specifically, the thirteenth century system was characterized by the consistent repetition of certain simple rhythmic patterns in ternary meter. Usually six modes are distinguished, the second being distinguished by a short-long pattern. In the Roxbury pieces, however, the word accent is the core of the rhythm. The tonal center of this piece is B, though not in the tertian sense. The composition begins on B and ends on a chord built on B and this tone is prevalent throughout. Al- though the recurring accidentals are F#, C#, G#, D#, and A#, the approach to building vertical structures in this piece is not according to the tertian concept of B major. It is a contemplative setting whose overall effect should be free and flowing. Ave Maria Text: Aye Maria gratia plena Domdnus tecum Benedicta tu in mulieribus 98 et benedictus frutus ventris tui, Iesus Sancta Maria, Mater Dei ora pro nobis peccatoribus Nunc, et in hora mortis nostrae Amen The setting of the Ave Maria follows to a large extent the style of the previous two motets. It, too, is of a con— templative nature and is designated by the composer to be sung in the spirit of a recitative. The "call and response" idea is found in this piece, but not in the symmetrical order that occurs in earlier discussions. There is more evidence of tertian harmonies in this setting that found previously. The chord below, found in measure 2, is bitonal consisting of a G minor triad with a superimposed C major triad. Example 41. Contrasting these sonorities, the manor second, such as that found in measure 6, and the double inflection (measure 7) is a consistent occurrence. Measures 8, (s0prano and alto), ll (alto and tenor), 15 (soprano and alto), 21 (divisi alto), and 26-28 (divisi alto) all have examples of double inflections or minor seconds. Other intervals which dominate this piece are the minor sixth, the diminished and perfect fifth, and the perfect fourth. A frequent sonority in the perfect fifth with the added second. Examples can be seen in measure 8, 99 and meaSures 25-28. The fifth is used so frequently that a quintal approach to building chords is more prevalent than any other approach. Example 42. Texture varies from one to eight voices. The piece begins with a four-part texture (measures 1-4) which in measure 5 is reduced to one voice. A thickening of tex- tures from one to two to four voices begins in measure 7 and progresses through the next seven measures. The thick- est sonority is found in measures 21-22 with a seven-voice texture. With the exceptions of "sancta" (measure 14) and "mater" (measure 16), Roxbury has consistently treated his text syllabically. The "Amens" in the closing section of the setting are more melismatic. The soprano line of the first "Amen" has a large contour which has not been character- istic of these motets. The melodic curve up to this point has stayed within the interval of a sixth. In measure 25, the SOprano line reaches G“"2 and falls to the octave below. (Only once before in measure 22 has the composer asked for an octave leap.) The soprano line, in measures 24-25, has a distinct character all its own and is harmonized with an A major second inversion chord. Very briefly, one per- ceives an A major key center. However, in measure 26, the 100 resolution is a compound chord made up of miscellaneous intervals. Example 43. The bass movement of the final cadence is down a fifth. The penultimate and final chords, built on E and A respec— tively, are made up of superimposed perfect fifths and thus have a distinct quintal sonority. Example 44. That Yonge Child Text: That yonge Child, when it gan weep, 101 with song she lulled Him asleep. That was so sweet a.melody it passed alle mdnstrelsy. The nightingale sang also his song is hoarse and naught there to. Who so attendeth to his song and leaveth the first, then doth he wrong. The motet, That YOngé Child, is the shortest of this group of four and is a simple non-melismatic, unpretentious setting of the text. The beauty of the poetry is in the simple almost predictable rhythm of each line. Roxbury does not contradict this rhythm but enhances it with expanded note values at the ends of phrases. Example 45. The composition begins with voices widely spaced. The tenor is a ninth from the bass and the soprano is a tenth from the alto. The bass and SOprano are two octaves and a seventh. In the next measure, these two voices move in con- trary motion and in measure 2 are an octave apart. Example 46. The triplet figure is introduced in measure 3 and recurs again in measures 5, 12, and 14. This pattern is always used at the beginning of the phrase and seems to break the rhythmic monotony of the natural text accent. 102 The first deviation from four-voice harmony appears in measures 9, 10, and 11. The altos and tenors have a duet on the text, "The nightingale sang also, his song is hoarse," with divisi soprano and alto resuming the line and finishing the phrase. Roxbury has used the major second twice before in this piece, but at measure 9 through 13, the second be- comes the dominant interval. [0 u 51%;?- =——~ * ‘T-E:-—‘3I 3275-5— #1 iU7.’£T3 Ill when». '5’" firm—4'”? £73335- o‘hlw-nronul mutt-onto The dissonant sonority which results is strikingly effective and is in contrast to the wider intervals which characterized 103 earlier portions of the piece. The final cadence with a descending root movement (Eb to Ab) leads to the final sonority which is an augmented triad. Example 48. V J J 33 337.53.? :1. .I fif‘hJJJl-i-l l 3. J 3‘ r3§ 3.7:. I ‘3‘“? ~33 kiwi-I _ "Iv-n in". It In mu._ omn— 3 "til-3? Ir—r : 33 II' F: J- 3 J JIJ ---I'r" 3”“: _r ~1f—;I"..I;,'3.3I I J This motet has a more overall tertian sonority than those previously discussed. An examination of intervallic structure shows more use of the third in chord building. The fourth, fifth, and seventh in addition to the second are still prevalent and are used in non-tertian vertical construction. However, the use of the third produces a more consonant effect to the total sound of the piece. Summary The choral music of Ronald Roxbury has a uniqueness and individuality which mark him as a composer of highest merit. His endeavors have taken him not only into tradi- tional practices of composition but consist of experimenta- 104 tions with more innovative techniques such as graphic nota- tion and idiomatic uses of the voice. In the compositions chosen for this study, Roxbury uses no meter signature. Rhythm is more often determined by the natural accent of the text. The effect is a free flowing line with no regular pulse. Another rhythmic fea— ture is the repetition of a short-long pattern which the writer found to be distinctly reminiscent of patterns used in medieval modes. Added rhythms and free use of the trip- let figure are also characteristic features. Roxbury's approach to building chords is based on the use of the fourth and the fifth as dominant intervals. Fre- quently vertical structures consist of the fifth with an added second. Chords are often built with superimposed thirds but the resolution of these structures is foreign to tertian rules. Melodic range in these pieces is narrow and conjunct motion is more prevalent than disjunct motion. In many cases, the repeated note and more frequently the repeated chord is a common feature. The basic texture chosen by the composer is homo- phonic, however, there is a fondness for alternating one or two voices with full choir so that a kind of "call and response" style is developed. This young composer has been contributing to choral literature over the past ten years - a comparatively short span of time. The quality of his craftsmanship and the 105 freshness of his ideas indicates that he has much more to offer in future compositions. The study of his works and the perusal of his more recent endeavors reveals that Roxbury is moving to a high point in his musical and com- positional career. Hale Smith Hale Smith, Jr. was born in Cleveland, Ohio on June 19, 1925. Very early in his life, Smith showed an interest in music and especially in composing. In an interview with Malcolm Breda, Smith indicated that he knew that he wanted to be a composer before he was ten, even though he didn't quite understand the real connotation of the word "composer." writing came to him naturally, and a year after his first piano lessons he produced his first compositions. He related that "it was a second nature type of thing. Everything else suffered once I realized the excitement and gratifica- tion possible in composition."11 Until age fourteen, his musical education was exclu- sively with classical music, both as a performer and as a composer. During the next seven years jazz filled his life and, according to Smith, these two styles "have lived comfortably side by side" ever since.12 During his military service (1943-45) he played the piano and string bass in several army jazz groups. It was during this time that he also developed a friendship ‘with William Randall, an important Chicago jazz performer and arranger whom he credits with many of his ideas in orchestration. 106 Smith was educated at the Cleveland Institute of Music, where he obtained a Bachelor of Music degree (1950) and a Master of Music degree in Composition (1952). He later received a grant which allowed him to undertake two years of postgraduate study in composition with Marcel Dick. Smith's association with the Karamu House13 in Cleveland began in 1949. Besides his role as musical direc— tor, he composed incidental music to Lorca's Eggma and.§lggg wedding and Aristophanies' Lyristrata. The Karamu Proscenium Theatre was the scene of the first full program of Smith's music. This period of composition was devoted mainly to the writing of small works, the exception being a piece for orchestra entitled Orchestra Set (1952), which was premiered by the Symphony of the New world at Lincoln Center in 1974. In 1958, Smith moved to New York and, concurrently with his composing and musical editing, he was active as an arranger and/or advisor for jazz performers such as Chico Hamilton, Oliver Nelson, Quincy Jones, Eric Dolphy, Dizzy Gillespie, and Ahmad Jamal. He produced both original com- positions and arrangements for these artists. In the discussion of the composer's life, Malcolm Breda quotes a portion of an interview which Hale Smith had with a Louisville reporter: Jazz is more vital now because its composers are less absorbed in theory. Many composers of concert music are so concerned with theory that they have built a language barrier between themselves and their audience. Jazz, with its reliance on improvisation and spontaneity, is less impersonal. 107 Smith further acknowledges substantial influences of jazz keyboard artists such as Teddy Wilson, Art Tatum, and Jimmy Jones. Indeed, the first of Smith's published works were a group of original jazz compositions, Jazz Sounds, and later in 1962, Jazz Beats and New Sounds in Twist were published. Smith composes chamber music as well as solo and en- semble vocal music. His music possesses dynamic sounds and shows improvisatory characteristics, cadenzas of virtuosic flare, trills and other composi- tional techniques. . . His rhythms are both complex and simple. However, even when seem- ingly simple, many are ingenious and challeng- ing. . . Harmonically, all techniques of homophony and polyphony are employed in the music. Certain examples of his music are also Egnceived from the intervallic approach, During the 19605, Smith composed and published several major works. Among these are Three Brevities for Flute composed in 1960, and Contours for orchestra, a work com— posed in 1962 and given its first performance by the Louisville Orchestra in October, 1962. Since the premiere, this piece has been performed at least once each year by some major orchestra. This period also yielded Somersault (1964), Take A Chance (1965), and Trinal Dance (1968) for band, Evocation (1966) and Feces of Jegg (1968) for piano, and Music for Harp and Orchestra (1967). In more recent years, Smith has served as editor for the E. B. Marks Music Corporation, and as editor for the Sam Fox Music Publishers. He was music consultant to the 108 C. F. Peters Corporation and has been very influential in representing individuals and corporations in musical copy- right investigations and has become quite expert in this field. Smith was the first black recipient of the l973 Music eyegg of The Cleveland Arts Prize. He contributed an article entitled “Creativity and the Negro" to the quarterly journal of contemporary affairs, mm and was invited by Gunther Schuller, American composer and educator, to write the articles on Fletcher Henderson and Eric Dolphy for the new Grove's Dictionary of Music.16 Honors and awards have earned him frequent public per- formances, citations and commissions. He was a winner of the BMI Student Composers Award in 1953. His works have been widely performed by many major orchestras in the United States. Hale Smith has served as composer in residence at Yale University and is currently engaged as professor of music at the University of Connecticut. works: Orchestra: Contours 1962 By Yearning and By Beautiful for String Orchestra 1964 Music for Harp and Orchestra 1967 Orchestra Set 1952, revised 1968 Concert Music for Piano and Orchestra 1972 Ritual and Incantations 1974 109 Incidental Music and Theatre Scores: Yerma Blood wedding Bold New Approach Solo VOcal: Beyond the Rim of Day The Valley Wind Two Love Songs of John Donne Band: Somersault Take A Chance Expansions Trinal Dance Exchanges for Trumpet and Band Chamber Music: Duo for Violin and Piano Sonata for Cello and Piano Epicedial Variations for Violin and Piano Instrumental Solo: Three Pieces for Piano Evocation (Piano) Faces of Jazz (Piano) Three Brevities for Flute Anticipations, Introspections and Reflections (Piano) Hale smith has written five choral works, three of which will be discussed in this study. In Memoriam-Beryl Rubinstein Comes Tomorrow, a jazz cantata written and premiered in 1972 Two Kids I'm Coming Home Toussaint L'Ouverture Two Klds Text: Two kids, twigs of the same tree of 1949 1949 1949 1950 1952-55 1958 1964 1965 1967 1968 1970 1953 1955 1956, revised 1957 1953—56 1966 1968 1969 1971 The choral works are: 1953 1973 1974 1977 misery, together in a doorway on a sultry night, 110 Two beggar kids covered with pimples eat from the same plate like starving dogs, food cast up by the high tide of the tablecloths. Two kids: one black, one white, Their twin heads are alive with lice, their bare heads are close together, their mouths are tireless in the joint frenzy of their jaws, and over greasy sour food two hands; one white, one blackt What a strong and sincere union! They are linked by their bellies and the frowning night, by melancholy afternoons on brilliant paseos, and by explosive mornings when day awakes with alcoholic eyes. They are united like two good dogs, When the time comes to march, will they march like two good men, one black, one white? Two kids, twigs of the same tree of misery, are in a doorway on a sultry night. Twe Kids is written for unaccompanied mixed choir. The text is taken from a translation by Langston Hughes and Ben Frederic Carruthers of "Cuba Libre" by Nicholas Guillen. The form of this piece can be described as continuous with one recurring statement of the text which occurs three times with the same musical theme. In measures 1-4 and 48-52, the melody is the same, however, the statement in measures 12-15 is slightly different to correspond with a variation in the text. Example 49. Ng¥ggEpe_etszatéEJEEZ$Z§5£3£§§3t3i Two "do none troo ot «III! “(I y 111 Malcolm Breda makes the following observation concern- ing this work: The entire linear concept of the work is de- notive of the text and allows Smith to engage in word-painting. The symbolic use of the text while denoting "togetherness" at the same time questions the cultural and social division of American Society.17 The "togetherness“ which Breda cites is featured in several compositional techniques. Unison writing is found in the tenor and bass on the first five notes; doubling of voices between the tenor and alto begins on the last beat of measure 1 and continues through measure 4; pairing of voices can be found in measure 7 between alto and soprano while the tenor and bass are in unison; voices moving in inversion with each other are found between the tenor and soprano in measures 41—42. The divided alto moves in parallel fourths. Example 50. 4' 42 ohm I ll 4:?” - .— . g g—-- " '34": 'zééeE’IaeTfEfE‘l qeo. Thy on u - ntt-od_ lttommm-,___ mute Mom- to 4:153? J—-I f.‘ L i__ :53 “>6isfiz; if Eégéfiitafé mm “m m. '0 an. More u - ntt-od_ Illemmmo, - nlI-od_ tthotwolnodehp,__ When“ tune com to m- _.1 —. 1r ‘ v m. — 1 ‘_J _1 4. l 112 Additional examples of parallelism consistently occur throughout the piece. There are several instances of word painting. The emphasis that is placed on "starving dogs" by a change of note value and ”jazz" sonorities (measure 9) is note— worthy. "Food cast up by the high tide" (measures 10-11) features an upward sweep of the melody line. “Their twin heads" (measure 15-16) is scored for divisi alto singing in fourths and soprano and tenor in octaves. Smith's contrapuntal technique is quite evident in this piece. Imitation is found between soprano and tenor in measures 6-7. The recurring theme found in the measures above (Example 49) is always paired with the counter— melody: Example 51. An example of imitation in inversion is found in measures 39—40. The alto states the motive and is followed by the tenor one and half beats later. The tenor begins on the same pitch but in inversion. In measure 40, Smith uses mirror inversion between the soprano and bass. The alto doubling the bass and the tenor doubling the soprano 113 have some pitch variation. Example 52. not In on- pto-otvo morn-tun- on! by on-pIo-otve morn-ton- when Coy o-woh-ono and by u- pIn-ctvo morn-Inn. when Coy o-wohoo wtdl out by onv «to non-Inga- wtth ol - co-tuol-lc Melodic ideas in this piece are developed through tranSposed imitation. In measure 5, the sOprano line which begins the phrase "two beggar kids" is found a major second higher in measure 8. Example 53. The same relationship occurs in measures 32-33 and 34-35, however, in this instance, the second phrase sounds a major second lower than the first. 114 Example 54. F"33 ‘ gamma-ea - tam—e Inna. oonotn- -coro - - They... onltdoct hythotrllol Noo— ” 1 .F—i—fi-é—F: :- -~ 3 3 ’2. V trown - to; night. they_ on ltnhat by the" hot . It"... out tho L J In measure 19, a Bb octave pedal tone (soprano and alto voices) is found. This continues with two voices to the third beat of measure 23. Breda discusses this device as a "freezing tone." Smith continues this word painting in mea- sures 19-24 with a favorite device -- "freezing tones" -- in the soprano and alto lines.18 The tenor and bass voices sing a line which moves obliquely to this repeated B-flat. Although most of the composition progresses with con- ventional rhythms, the rhythm of the lines seem to capture the essence of the irregular verse. Certain rhythms are recurring. The repeated quarter note triplet is found in measure 6, soprano and alto; measure 7, tenor and bass; measure 26, alto; measure 37, SATB; and measure 41, soprano, alto and tenor. Another rhythmic figure which occurs fre- quently is the syncopated pattern, I J ob or a“ J and .D.J o! There is a specific cadence formula which is evident in the setting. Bass movement involving the penultimate 115 and final chords at thirteen points of rest is down a major or minor second. Two other cadence roots (measure 7 and 31) are achieved by a descending perfect fourth. Many cadences show the influence of Smith's jazz back- ground. The progression at measure 9 and 33 makes use of jazz harmonic structure. In discussing these chords, we must refer to idiomatic jazz harmonization. A jazz pianist reacts to a chord by building from the third or the seventh. The seventh of the first chord usually resolves downward to the third of the next. The roots, as thought of in traditional harmonic practice, are either implied or found in the upper voices of the chord.19 In the final two chords in measure 9, the implied roots are Eb to D. The chords, then, are an Ebll chord moving to a D9 with an American sixth.20 Example 55. VA 4 The same jazz vocabulary is used in measure 35. Within the tonality of C, these two chords imply a V to IV progression which is common in this idiom. Both chords are built on the seventh and have an added sixth. The first chord with a root of G, is constructed on F with an added sixth of 116 E-flat. It resolves to a chord whose root is F, but is built on E—flat with an added sixth of D. Intervallically, the fourth, second, seventh, and the fifth is found most frequently. The composer is particularly fond of parallel fourths (measures 15-16, alto; 11-12, soprano and alto; 17—18, divisi alto; and 41-42, divisi alto). These intervals are formed by the vertical combination of contrapuntally conceived voices. The piece does not appear to be conceived harmonically, but rather linearly. It begins and ends on the tonal center of C and within the composition, there are several cadences on C (measure 4, 15, 29, and 38). It is cast in what appears to be pure minor except that the D-flat is somewhat consistent: Example 56. \\ [it C) (3:5, 3P§E r: geuahai Horizontal movement is characterized by stepwise motion and large skips are rare. The Choral Journal credited Smith with the creation of a "sensative choral work." The text is poignant and dramatic while the music is dissonantly somber. There are some divisi passages and a wide range for the section. It will be a work that will require a good choir, but will be one that will be remembered long after the concert by-the. singers and the audiences. In Memeriam - Beryl Rubinstein In Memoriam — Beryl Rubinstein (1953) was the first 117 of a number of works in memory of close musical friends. It was written to honor the memory of the late director of the Cleveland Institute of Music, Beryl Rubinstein.22 Con- ceived for mixed choir and chamber orchestra, the composi- tion consists of three movements that are moderate or slow in tempo and are highly linear in concept and construction. First Movement The first movement is a vocalise using the neutral vowels of “ah," "co," and "oh." It is strongly imitative in construction and is a type of variation principle in a continuous form. The unaccompanied and unharmonized theme (measures 1-7) presented by the sopranos, is followed by the altos (measure 7) who have a variation of the theme. The tenor joins the alto on the third beat of measure 7 with sustained free counterpoint. This kind of interplay between voices continues throughout the movement with each voice eventually presenting the theme. The "freezing tone or chord" technique is prevalent. There is usually one or more voices sustaining while the eighth note movement con- tinues in others. The most significant example of this device occurs in measures 27-35 as the entire choir sus— tains a chord while the clarinet and flute play a varia— tion of the original subject. The homophonic texture is exemplified in measures 27—35 with a "freezing of the chord" by the voices and strings . . . The last statement of the subject is presented by the soprano voices as found at the beginning of the movement. After 118 the tenors join the s0pranos in the last two notes of the statement, they are followed by the concluding instrumental sonority in the final cadence. The harmonic intervals that are formed as a result of the moving lines in this movement are dominated by sevenths, fourths, fifths, and seconds. Smith seems particular fond of melodic leaps of fourths and fifths in the various horizontal lines. The movement is highly chromatic as exemplified by the subject which uses eleven of the twelve tones of the chromatic scale. It is noteworthy that the range of each voice stays within the span of an octave. Throughout the movement, the instruments are used mainly for doubling the voice parts. The only exceptions would be found in measures 27-35 and the final two measures. The recurring opening motive functions as a germinal element throughout the movement. In both instances where the sopranos sing this recurring statement alone, there is produced a most effective monophonic-like contrast to the other textures of the movement. Second Movement: Poeme D'Automne Text: The autumn leaves Are too heavy with color. The slender trees On the Unclean Road Are dressed in scarlet and gold Like young courtesans Waiting for their lovers. But soon The winter winds Will strip their bodies bare And then The sharp, sleet-stung Caresses of the cold Will be their only Love. 119 The second movement begins with an instrumental intro— duction consisting of nineteen measures. It is scored for flute, oboe, English horn, two B—flat Clarinets, first and second violins, violas, violoncelli, and basses. Measures 19—55 constitute the choral section of the piece which is subdivided into two parts. The first section which is more homophonically conceived, continues through measure 34. The second section, with a more polyphonic texture, ends in measure 55. The introduction features short, polyphonic duets between various members of the small chamber orchestra. An example is found in measures 5-8 between the oboe— English horn and the celli—basses. Several recurring chordal sonorities become structural elements. The chordal struc— ture and its variations appearing in measure 12 recur in measures 43-40 in the sustained chord, in measures 55-57, and at the close of the movement it appears both melodi— cally and harmonically and acts as a bridge into the third movement. The last chordal element in the third movement is another example. Example 57. 120 The introduction yields another unifying sonority in measure 10-11. Example 58. Occurnhg again in measures 34-36, it serves to connect a homophonic phrase (measures 32-34) to the next polyphonic section beginning in measure 36. The passage is also found at the end of the movement (measures 53-55). In each of the latter presentations, the harmonization is not an exact duplication, but the passages are alike rhythmi- cally. Measure 32 in choral part is reminiscent of measure 5 in the introduction. The entire introductory section makes use of the tritone both melodically and harmonically (in the first two measures, it appears four times). Example 59. 121 Parallel fourths, secundal chords as well as harmonic and melodic dyads appear in numerous instances (measure 5 and 18 are examples). The chorus part begins in measure 19 and consists of two sections noted earlier. The irregularity of this setting correSponds to the asymmetry of the poetry. Breda suggests that: The motivic and textural inconsistency is justified in Smith's search for a style consistent with his musical philosophy and aesthetic ideals. It is important to remember that this is one of Smith's early works. The texture for the first ten measures of the choral part is basically homophonic and non-melismatic. This and the entire choral section is characterized by strong lyri- cal qualities colored harmonically with both compound sonorities and with some jazz-oriented vocabulary. The linear-vertical texture is strongly romantic in concept and the composer features several instances of word paint- ing. In measure 21, on the word “heavy" the accent is built into the rhythmic figure: J j 3 . anith drops the bass line in measure 22, the tenor begins on C (measure 23) and moves down in seconds to measure 24 where the bass continues the downward motion. This passage is sung to the text "The slender trees on The Vulcan road." The composer seems to be emphasizing "slender" and "Vulcan" with this type of vocal movement. In measure 29, a two measure imitative passage occurs. The altos begin on the Dbsharp and F—sharp (last two notes 122 of the measure) and the tenor imitates two beats later in measure 30. Example 60. The homophonic texture resumes in measure 32. The second choral section is contrapuntally conceived. The four voices used at this point are first and second soprano, alto, and tenor. There is no bass voice for the first ten measures of this section. The first soprano states the subject (measure 36) and is answered by the second soprano at the fifth. There is a tenor presentation of the subject at the original pitch (measure 38).which is answered by the alto at the fifth. The fugal entry techni- que is evident here as the process is begun again in measure 43 with the subject now in dbminution. The imitative pro- cess breaks down in favor of a homophonic texture on the text "sleet stung Caresses" (measure 48). In the final phrase (measures 49-53), "of the cold" is reminiscent of measures 27-28, “scarlet and gold." The unison writing on the words “will be their only Love," is most effective as a contrast to the previous polyphonic and homophonic textures. This line is suggestive of the subject material in measures 36-37 and 43-44. 123 Third Movement: Elegy Text: I stand far to the East Watching the ligh ~- Austere-disconsolate come and faintly His narrow keen barely and soon fully over the crucial earth is up and dying over. This movement is set to the poetry of Russell Atkins in a brief musical frame consisting of eleven measures. The irregularity of Atkins' poetry is set in a rather conventional mode, that is, re— sponsorial or antiphonal style. The pattern is consistently small sound against large sound. This style is reminiscent of the call and reSponse technique of early western music and that of non-western cultures where a leader was answered by the group. This principle was seen in both sacred and secular sources. The movement begins with a pedal tone played by the bassoon that has continued from the second movement. The sopranos introduce the first melody line which is then answered by the lower voices. Alternately, the altos con- tinue the same technique with the other choral parts. The unaccompanied style continues with the soprano solo voice introducing the next phrase (measures 7-9), This solo is answered by a unison statement first by all voices (measure 7) and then in measures 8-9 by sopranos and altos on a steadily ascending pattern to its peak on the word "earth“ in measure 9. Here the composer employs his instruments to punctuate this dramatic highlight. In the final phrase of the movement, the composer features a 124 series of falling perfect fourths. This falling motion is initiated by the altos on the words "is up," and continues again in unison by all the voices fading out effectively on the words "and dying over.“ The final chord is that which was introduced and recurred so frequently in the second movement (measure 12). The three movements of this setting are highly chro- matic to the point that a tonal center is not perceivable. Melodic movement by half step is a common occurrence and jazz sonorities are interspersed throughout the work. Breda discusses at great lengths the neo-romantic tendencies in Smith's works. The musical setting . . . has characteristics of the twentieth century ambiguous terminology referred to by some as the "Romantic Anti-Romanticism,” . . . It places twentieth century art in that borderland that is really neither Romantlc nor contemporary, tonal nor atonal. Reti [author of Tonality in Mgdern Music _/ preferred to call it pantonal, while the great conductor and musical personality Dmitri Mitropoulous called it 'a kind of twelve—tone music gilled with Ravel-like flavor and appeal. Monaco summed up the entire work very eloquently in his statement: "It is a serious piece, musical, and it is idiomatically written for the chorus."28 Toussaint L'Ouverture - 1303 Toussaint L'Ovuerture - 1803, the most recent of Smith's choral works, was written in 1977 and dedicated to Heward Swanson on the occasion of his 70th anniversary. The text is from the pen Adelaide Simon. 125 Text: The Amarillis lilies Josephine brought up from Martinque spike through this winter's gloom. Napoleon and his ministers range down Malmaison's halls Not stopping at the bloom. The scarlet, roaring flames of flowerheads that shatter the pink damask and the white sheer muslin. In a prison while the tyrant strides prating of Empire Toussaint, in ankled mire longs for the sun and torched flamboyant trees. All winter the Black Liberator lingers Heartsick and cold remembering flowers of fire and Freedom rocketing in Western skies, and this White Prince who lies So when the spring sends out her first thin fingers He turns upon his cot, and coughs And dies. The setting is a four-part homophonic syllabic presenta— tion in sectional form with a brief return of the A section. Example 61. A B C I, ____._ 2., I21 4o‘l49‘—-77'77 86' The piece is written for mixed choir and is sung unaccom- panied through the first forty—five measures. A new sono— rity is introduced when the piano begins the C section with a vertical structure consisting of fourths and fifths. Example 62. 43 The piano part continues to the end of the piece. Harmonically, the compound chord is again prevalent. 126 The fifth, seventh, and second are frequently used, however, the fourth seems to be the dominant interval being found in two out of every three or four vertical structures. The sound is distinctly quartal. While the soprano line occasionally has a feeling of tonality such as the melody of the first three measures, the harmonies which support it are derived from twentieth century approaches. Example 63. .“ '4 ”“2?“ ’14“ 1: 1, ; *1: 2’“; a J S A lrj % 1 1’1 v L 1’1 Av S 71.1-111- rib (is {i- (.25 J0 ' so f‘c’n. Characteristic of Smith's works is the use of the triplet. The present composition has numerous examples of this rhythm in both eighth and quarter note values. In fact, twenty-seven instances of the triplet occur in the vocal as well as the instrumental part. Significant also is the recurrence of the short-long rhythm on strong beats of the measure. Thirty-five examples can be found in the piece but even more noteworthy is the fact that twenty measures begin with this rhythm and thus a certain predictability begins to emerge. Instances of "chord freezing" as discussed in earlier compositions occur in measure 25-26. The B section (measure 28) is a continuation of this principle. Beginning with the tenor, the entire passage consists of sustained tones with voices being added with each measure until a chordal cluster is formed. Other examples of the sustained chords~are 127 found in measures 53—55, 61-62, 66-67, 70-74 and the final measures 84-86. Idiomatic uses of the voice are not common in earlier works of the composer, however, the "n hum" is used for the entirety of the section discussed above and the passage is immediately followed by three measures of choral speech. While there are some variations, the return in measure 77 serves to unify the composition and is initially presented over a piano pedal tone. Three ideas comprise the instrumental part. 1) The triplet discussed earlier is introduced in measure 53 us- ing sixteenth note values and is played in octaves. Example 64. -—'°.--+1w 11."- ' u!“ - v 2) In measure 70, the left hand emphatically presents the original melody in octaves beneath the sustained sonority of the right hand and the choir. 3) The last three octave tones in measure 73 and the repetition of those tones which occurs in measures 74, 84, and 85 are derived from the first four notes of the original melody. Example 65. 128 The setting of this poem is a homophonic narrative, a style and texture which is not common to Smith's previous works. The linear aspect is not prevalent here, however, the chord structure and rhythmic patterns are characteristic of his previous writings. Summary The choral works of Hale Smith show his strong affinity to musical settings of vocal texts. His choral output, representing a very small part of his compositional endeavors, shows skill, technique, and craftsmanship. His lyrical temperament is conducive to the sensitivity necessary for that rapport between music and text, and the use of tonal colors allow him to word paint with great effective- ness. Basically, Smith's works are linearly conceived and exhibit great skill in the use of contrapuntal principles. His approach seems linear even when vertical considerations are of primary importance in the structure and organization of the work. Contrapuntal developmental techniques include strict imitation, imitation in inversion, mirror inversion, diminution, the use of recurring countermelodies, and fugal entries. The influence of jazz has contributed considerably not only to the harmonic structure of his works, but to his rhythmic development as well. Several cadence formulas have been noted as being particularly jazz oriented. Progressions ocassionally have bass movement by half steps 129 that suggest a jazz influence. Pyramiding and chordal clusters are prevalent in addi— tion to a strong quartal approach to building chords. The compound chord consisting of intervals which do not resolve according to traditional rules of harmony are used extensive— ly in the composers sonorities and there are instances of parallel writing. Smith seems particularly fond of two rhythmic patterns which recurr consistently in each of his works. The triplet in eighth, sixteenth, and quarter note values appears in several variations. The eighth note followed by the quarter note or its equivalent in other note values is also used extensiVely. The forms used by the composer are determined by the mood and structure of the texts. There are usually return- ing sections or melodies even with those texts which are non-repetitive and these returns serve as unifying forces in the music. All of his texts except one, have thus far come from secular sources. Changing meters are a characteristic rhythmic feature and the "freezing or sustained chord" technique must be noted as another common device. Hale Smith is a creative ingenious twentieth century composer with high qualities of compositional craftsmanship. In view of his young age and the amount of music he has pro- duced both chorally and instrumentally, he has not only con- tributed significantly to the musical scene but will cer- tainly produce many more works of merit in years to come. 130 James Furman Born January 23, 1937 in Louisville, Kentucky, James Furman was educated at the University of Louisville where he received a Bachelors degree in Music Education (1958) with a major emphasis in piano and voice and a Master of Music (1965) with a major in Theory and Composition. Fur- ther studies were undertaken at Brandeis (Ph.D.) and Harvard University. Among his teachers have been Harold Schmidt and Walter Dahlin (choral), Benjamin Owen and Permelia Hansbrough (piano), Irvin Fine, Arthur Berger, George Perle, and Harold Shapero (composition). In 1967, Furman made his New YOrk Town Hall debut with the Western Connecticut State College choir in the area of conducting. Furman has been the recipient of numerous awards and honors. In 1958, he received the Omicron Delta Kappa award, was the first place winner of the Louisville Phil— harmonic Society's YOung Artists Contest which gave him the honor of appearing with the Louisville Symphony Orchestra in 1953, and received a Brandeis University Fellowship (1962- 64). The National Federation of Music Clubs awarded him the Award of Merit for distinguished service to music in 1965- 66 and the Award of Merit in the 1967 Parade of American Music. Furman has been active as a teacher, composer, and recitalist. As a composer, his works include several choral compositions, works for chamber ensembles as well as works for the solo vocal and instrumental mediums. As a teacher, Furman has served in the public schools of 131 Louisville, Kentucky and Mamaroneck, New YOrk, at Brandeis University and is currently engaged as associate professor of music at western Connecticut State College (1965-78). He also served as the choral director for the British Broadcasting Company documentary film on the life of Charles Ives, as choral director for the American Symphony Orchestra chorus in a Charles Ives Centennial Concert on July 4, 1974, in Danbury, Connecticut, as choral director of the Harvard University summer chorus and chamber chorus in 1961, as musical director-arranger-pianist for the Wbrld Touring Army Show, "Rolling Along of 1961," and as assistant choral director of the chorus and chamber chorus at Brandeis University (1962-68). Furman has been included in the following books and articles: Contempgrary American Compgsers: A Biographical Dictionary by Ruth Anderson, Annual Repgrt 1970-71 Center for Ethnic Music by Vada E. Butcher, AMMOA.Resource Papers, A.Mgnographic Series No.;§;j A.Name List of Black Composegg by Dominique-Rene de Lerma, Whgjs Who Among_§lack Americans, Harmonic Practice in the Ag: Music of Black Compgsers by Allen Breach and Constance Hobson and Twentieth Century Black American Compgsers by Alice Tischler. One of Furman's most recent and impressive works is The Declaration of Independence for Narrator and Orchestra. The work, scored for full orchestra and bagpipes, is based on the complete text of the independence document. The premiere performance was given April 28, 1977 with Governor 132 Ella Grasso of Connecticut as narrator. This account of the work, cast in eight sections, was offered in the program notes for the premiere performance: . . . The opening Fanfare foreshadows the pro- ndnent role assigned the brasses throughout the work. The bold brass statements are replaced with muted sounds in anticipation of the en- suing narration. An incipient, "a la Puccini" lyricism is evident in the string writing that follows we Hold These Truths. After an unac- companied section for narrator, a percussion ostinato provides the framework for the words He Hastbstructed. A brief interruption of the "Bolero style" accompaniment is found with the phrase "He has erected. . ." where the percussionists are instructed to "use your imagination!" Later, a second ostinato, based upon a figure in the fanfare, is intro- duced in the timpani, cello, and bass. Infernalis scored for full orchestra and bag- pipes, represents the apex of the work. The march-like quality is heightened by the intro- duction of the bagpipes. The narration re- turns with He Has Abdicated which features solo writing for piccolo, two trumpets (one muted), bassoon, oboe, field drum, and cello (drone). In Every State is for narrator alone. The organic musical expression of the finale -- from the opening statement in the solo strings to the grandiose pronouncement of the full orchestra with organ -- evokes a deep affirmative spirit that characterizes the document that gave birth to American freedom. 9 A review of this work has the following comments: The music always fitted the words with drum rolls and cymbal brushing; effective pizzi- catos in the cellos and basses and the use of a myraid of percussion instruments. . . . a climax of greatness comparable to the great writing which inspired the piece.30 WOrks: Chamber Music: Variants for Violin, Cello and Prepared Piano 1963 Incantation for Bb Clarinet and Strings 1976 133 Chamber Music (con't) Battle Scenes for Winds, Percussions and Amplified Harpsichord 1976 1. The Battle 2. Annette 3. Battle of New Orleans 4. Johnson's March Recitative and Aria for Solo Horn and Wbodwinds 1977 Fanfare and Finale for Brass and Percussion Orchestra: Fantasia and Chorale for Strings 1971 The Declaration of Independence for Narrator and Orchestra 1976 Cantilena for Strings from Declaration of Independence 1977 Solo Instrument or Voice: Songs for Juvenilia for Voice and Piano 1956 1. Tom, Tom, the Piper's Son 2. Little Boy Blue 3. Contrary Mary 4. Humpty Dumpty Roulade for Solo Flute 1975 Suite for Solo Bb Clarinet 1976 1. Introitus 2. Moresca 3. Incantation 4. Motore Musica Vocalise Romantique for Voice and Piano 1976 Sonata for Solo Violin 1977 Theatre Music: Hey Mr. Jefferson The Virgin Voter The choral works by Furman, as does his instrumental music, fall into several categories. Many of the choral pieces are based on the black experience. (Furman is a gosPel specialist and is currently completing a book entitled Afro-American Gospel Music, a History and Per- fpgmance Practice.) Others, however, have been influenced by the motet style of the early church while some draw 134 upon twentieth century aleatoric techniques. Choral Works : Let Us Break Bread Together SATB 1957 Trampin' SATB, solo 1959 I Keep Journeyin' On SATB, solo 1962 The Threefold Birth SATB, Boys Voices and Organ 1962 The Quiet Life SATB 1968 l. Fanfare and Pastorale 2. Quiet by Day 3. Sound Sleep By Night 4. Thus Let Me Live Some Glorious Day SATB 1971 Go Tell It On The Mountain Spiritual gospelization for SATB 1971 Ave Maria SSAATTBB Come, Thou Long Expected Jesus SATB 1971 Four Little Foxes SATB 1971 1. Speak Gently 2. Walk Softly 3. Go Lightly 4. Step Softly Hold On SATB, solo, piano and electronic organ 1972 Hehlehlooyuh, A Joyful Expression SATB 1976 I Have A.Dream (Symphonic Oratorio) 1970 Mixed Chorus, Gospel Chorus, Baritone Soloist, Folk Singer, Gospel Singers I and II, Rock Combo For the purpose of this study, only those compositions which draw upon the techniques outlined in Chapter I will be examined. These works include: 1) the four movements of Four Little Foxes, 2) Salve Rggina, 3) three movements of The Quiet Life. Because of the techniques used in the oratorio, I Have A Dream, a discussion of this work will also be included. Four Little Foxes Four Little Foxes is a cycle of four short pieces 135 based on the poems by the same name from Covengpt with Earth: A S ct‘ n from he Poems f w S ett. The four settings are written for unaccompanied mixed choir and include the following poems: 1) Speak Gently, 2) walk Softly, 3) Go Lightly, 4) Step Softly. Texts: Speak gently, Spring, and make no sudden sound; For in my windy valley yesterday I found New born foxes squirming on'the ground Speak gently. Walk softly, March, forbear the bitter blow, Her feet within a trap, her blood upon the snow, The four little foxes saw their mother go Walk softly. Go lightly, Spring, oh give them no alarm; When I covered them with boughs to shelter them from harm. The thin blue foxes suckled at my arm Go lightly. Step softly, March, with your rampant hurricane Nuzzling one another and whimp'ring with pain, The new little foxes are shiv'ring in the rain Step softly. Spgak Gently is written in a syllabic style with only one example of melisma which occurs on the word "squirming" (measures 8-9 in the soprano and alto voices). Example 66. 136 The entire movement, permeated by changing meters, is through-composed with a recurrence of the opening phrase at the end of the piece. Furman makes extensive use of the triplet in situations which imply action. The word "windy" (measure 5, soprano) is an example, but the most poetic instance occurs on the word "squirming" which has been cited above. More emphasis is given to this word with the imitative manner in which the composer presents the triplet figure. In measure 7, another instance of imitation in falling semi-tones is effective on the word "New born" which is next presented syllabically and makes use of the falling minor second. Chromaticism is prevalent in this setting. The pitch range of the melody of these twelve measures is within the range of an octave and makes use of eleven of the twelve notes of the chromatic scale. The double inflection occurs as a result of the high degree of Chromaticism. In measure 2, both the E-natural and the E-flat are found and in mea— sure 5 the first half of the third beat produces another example. Example 67. In the first two lines, the use of rests breaks the setting of the poetry into short bits of conversation-like 137 segments. The overall effect of this setting is a four- voice narrative. In contrast, the last line is a continuous, uninterrupted flow that extends through measure 10. The form of Walk Softly is cast in three distinct, cise sections. con— These sections are designated as A B A, not because of similarities and differences in musical materials, but because of the use of contrapuntal contrasted with homophonic treatment. The setting begins with contrapuntal writing in which a two note motive is presented by alto, tenor, then soprano, respectively. The two notes are not consistently pre— sented intervallically or rhythmically alike, but the effect is an imitative motet style. Example 68. I z 3 4 Andnnle lrgntn J. u.“ 'I' ""' F‘" " P” ”a: “III In" - nyr-nr no o '0" 'Ill— Io" The B section beginning in measure 7, is basically homophonic. The pedal tone, which is featured frequently in Furman's music, is found in the soprano voice. From 138 the repeated Deflat, a series of vertical structures are developed into a four-part female texture. Example 69. S000 lunch an auto ' . " Pm -' — 4’ ”($110!" 2:" a ----—- -— -==='a-:-sa_--'—_=—_:§_——_--=: 'z==':‘—-:.z ' Iy, lot - be» m m . m blow; In , com“ «a solo . _. 0 1 Is! """=.=—'[ :c'-=:"n. 2m." LL. ' i. . ’ ' '>\,. I r 1v,r r , I]. All“..- I” NI - m bloc; The dominant interval in the third section (measure 14) is the fifth. The motive is a falling perfect fifth, answered by the ascending perfect fifth. The words of the text are alternated between the voices. Example 70. The ton no mm mm": Wall to" ~ Iy. apt—1'1“”. up 3- ’p a: up? luv"... ‘0-..“ Do“ - I). m ”If“ ' .. 1- ‘F "P? ’ Y ' Y ' l I»: - a moth-o: ”(I - ly. your”: menu: 1‘”, 139 As in the first movement, the title words, “Walk softly" are presented in homophonic style in the closing measures. Go nghtly is basically contrapuntal and as in the pre— ceding setting, three sections are discernable: Example 71. I arid e 2 3 Cola. 'I 57‘? II' '12. 141314 all. 191 The technique of imitative writing is clearly evident in sections 1 and 2. The motive is stated by the alto in measure 1 and answered by the seprano at the fourth. Example 72. Each of the subsequent entries continues with free counter— point consisting of duplets and triplets. This section is brought to a close in measure 8. Measures 9-11 have been designated as a bridge be- cause of the short length and linking character. The eighth note figure used in measure 10 is related to material in section 1, but its character is now changed. Section 2 uses the motive presented at the beginning of the setting, but it is now sung in inversion. A texture change takes place at measure 15. The soprano presents in unison the first three words of the text "The thin blue," and from measure 16 to the end, a syllabic treatment of the words insues. In measure 17, 140 the voices sing in octaves, a striking contrast to the six part chord which follows. The last measure is reminiscent both in rhythm and chord structure of the ending of the previous setting, flglk Softly. Example 73. JOE.’" — 1 ‘ .amam -= —. :1 ~— Y .= I ' [V] l :3 v . 1 :1 7 all in M orb-m, __ {Itch =—.__—:.. =—-—— I' u m._ U A ; i i l i cal In. That ecu-on. >— f ‘ I 180 Example 100. (con't) The first example of homophony exists in measures 32— 33, but immediately the setting of the words "mocked him" is contrapuntal. Example 101. Alternating chordal clusters comprise the interlude leading to the next line of text (measures 39—43). This type of structure which has been frequent in Kay's music thus far can also be found in the instrumental interlude in measures 66 through 70 and in measure 77. In measure 56, the repeated syncopated notes of the instrumental accompaniment lead into the alto presentation of the text, "Eventually then, he screamed." Dramatically and in a dynamic homephonic texture, the remaining three 181 voices state "mad in denial." Example 102. Harmonically, this segment has a strong C minor tonality even though the accompaniment is highly chromatic. The feeling of tonality is lost, however, with the use of chromatic runs and chordal clusters which dominate the instrumental interlude comprising measures 65-71. Kay's treatment of the final line of text emphasizes its dramatic character. Homophonically presented, the sopranos leap a ninth on the text "the sword" and leap downward a major seventh on "smote him." The soprano and bass at one point are two octaves and a seventh apart. 182 Example 103. «you! how: the sky. The last four words, ”And he was dead" are stated in oc- taves. The bass drops an octave, emphasizing the effect of sudden death and the last chord is a dissonant com— pound chord consisting of an eleventh with an added second. Accompaniment during this presentation is sparse and dramatic, consisting of ascending and descending scale passages. The final instrumental section is introduced by a ten-note chord cluster which is allowed to die away while a triplet figure beginning fortissimo descends to 183 a pianissimo. Harmonically, this setting is probably the most tonal of the four movements. The tonality occurs, however, in the choral parts, as the accompaniment is extremely chromatic. The instruments, as well as the voice parts, are used to word- and mood-paint. The feeling of speed, movement, and fleeting is dramatized by the instruments in the continuous eighth notes. The words echo, mock and calling are treated imitatively. This piece, indeed, shows mastery of compositional techniques. War Is Kind Text: Do not weep, maiden, for war is kind Because your lover threw wild hands toward the sky And the affrighted steed ran on alone, Do not weep. War is kind. Hoarse, booming drums of the regiment, Little souls who thirst for fight These men were born to drill and die. The unexplained glory flies above them, Great is the battle-god, and his kingdom A field where a thousand corpses lie. Do not weep, babe, for war is kind. Because your father tumbled in the yellow trenches, Raged at his breast, gulped and died, Do not weep, war is kind. Swift blazing flag of the regiment, Eagle with crest of red and gold, These men were born to drill and die. Point for them the virtue of slaughter Make plain to them the excellence of killing, And a field where a thousand corpses lie. Mother whose heart hung humble as a button On the bright splendid shroud of your son, Do not weep, War is kind. War is Kind in a poem consisting of five verses, each 184 of which the composer treats with different music. After a twelve measure instrumental introduction, the lines of the first verse are presented in unison by the male voices. The line features frequent leaps of a sixth and range compris- ing an octave and a third. Example 104. '0- The instrumental part which forms a vital part of the tex- ture, is taken from the introduction. The figure consist- ing of three-note pedal tone, is featured every three or four measures and supports a motive which is presented in contrary motion in two voices. Example 105. TmI-AmmumJ-n n A 54"“! \ I “0'! 7’ ‘ 3 . ~ vr V This same motive occurs in measures 4—5, with variation in measures 8-9, and in measure 21. The syncopated rhythm ( J, J orUJ ) found in previous movements occurs at several points in this verse: measures 14, 18, 20, and measures 2 and 11 in the introduc- tion. The second verse (measures 26-41), marked andantino 185 marziale, is conceived in a four-part texture. Although the setting begins in octaves, four-part harmony is found in measure 30. The technique of paralleling female against male voices, which seems prevalent in Kay's later works, is again used with the text, "These men were born to drill and die" (measures 31-35, Example 106). In the next line, the paired voices are soprano and tenor over an alto and bass B flat pedal tone (measure 34, Example 106). Example 106. 31' . 32 --n ‘— u-‘————-—--" - .--———————-. n -1 '1 - -ej ‘ ————_—- t‘ll_ —————- -—'- .‘— The mn_ unborn Io mm axu .‘___.'._q . ___ , —::= 1 3 u 41 :; —- ---——--——’ ] _-————--—_ U A I MmmhanMdk._—Ndh The homophonic texture regains prominence in measure 36 and this texture continues to the end of the verse. A four-beat martial rhythm which emphasizes B as a tonal center is featured in the instrumental part. Example 107. 35 21 a a tmpmmwmmumwwuuu Although there is a move away from the B tonal center in measures 32-38, there is a return to the octave pedal 186 tone in measure 39 which re-establishes the tonality. The interlude leading into the third verse is remini- scent of measures 8-12 of the introduction. In mood and tempo, this verse also recalls verse one. At this point, the setting is a two-part female texture. The voices are not imitative but consist of two independent melodies of contrapuntal writing. Of the two voices, the soprano is the more dramatically written with wide leaps and pitch range. Example 108. This verse, which is introduced by a B sustained from the interlude, is unaccompanied. Harmonically, the setting has no tonal center and makes use of extreme chromaticism. The fourth verse (measures 56-78), set for mixed voices, is written almost completely in octaves. The tempo and mood of the second verse is recalled and the martial-like instrumental part in that setting is preva— lent also in this verse. The tonal center for the two measures of introduction and first two measures of the choral part is G, but Kay quickly moves into a feeling of C minor (measures 60-61). There is, in fact, a feeling of shifting tonal centers which are especially emphasized in the instruments. Within these centers there is a free use of chromaticism. In measure 75, this is illustrated 187 by a clear G flat major center in the choral part against a chromatic instrumental part. Example 109. “old—dune I than. had field_ when: ”um-nod :-—u “rid—Uh"! n "non-9nd Melodically, the lines have wide pitch ranges and large leaps (see measures 64, 66-67, and 70) and use the extremes of vocal ranges. The last verse (measures 79-106) is introduced by three measures of instrumental interlude. As in the first verse, the male voices present the melodic line first in unison and then in two-part harmony. Another passage of imitation occurs in measures 87-89 on the text, "do not weep" with the final statement being emphasized by a homo- phonic texture. The last sixteen measures are coda-like. The text "war is kind" is developed contrapuntally by the four voices. Again the technique of imitation is used in 188 measures 95-97 as the text is reduced to two words, "war is." Further reduction of the text and texture occurs in the following measures (99-106) as all voices sing the word “war" alternately on a unison D. With the final statement of the word in measure 101. the note is held and fades away as the instruments enter “poco forte" with a series of compound chords and chordal clusters. Each movement of this work has musical individuality yet each has elements which bind them together. The re- curring triplet and the short note followed by the longer value on the strong beat serves to unify the pieces rhythmi- cally. Harmonically, the chord cluster and chromatic . instrumental patterns which occur frequently in each move- ment give the cycle as a whole a common element. Although Chromaticism is prevalent, Kay never fully ventures away from a tonal center. The pieces are forceful and are dramatically presented. E i rams and H Text: Laus Deo Gone, gone, sold and gone, bring out your dead, dank and love. Above, below, in sky and sod In leaf and spar, and star and man Clang of bell and roar of gun Ring, 0 bells! Ring out for ev'ry list'ning ear Ring loud and long, that all, all may hear of Eternity and time! For the Lord on the whirlwind is abroad; In the earthquake He has sloken He has smitten with his thunder the walls asunder And the gates of brass are broken. 189 Lord, forgive us! What are we, That our eyes thy glory see, That our ears have heard the sound! Shake off thy dust, America: put on thy garments of praise Thy vine and thy figtree are thine, thou mayest now call their shade thine own and freely taste of their fruit! Now hail thy Deliverer God. worship without fear of man. Laus Deo, Praise the Lord! God of the earth, the sky, the sea, Maker of all above, below Creation lives and moves in Thee; Thy present life through all doth flow. Thy love is in the sunshine's glow, Thy life is in the quick'ning air; When light'nings flash and storm winds blow, There is Thy pow'r, Thy law is there. we feel Thy calm at evening's hour, Thy grandeur in the march of night. And when the morning breaks in pow‘r we hear Thy word, “Let there be light!" But higher far, and far more clear, Thee in man's spirit we behold, Thine image and Thyself are there, The indwelling God, proclaimed of old. Allelulia, allelulial Epigrams and Hymn (1975) was commissioned for the General Assembly of the United Presbyterian Church. It is scored for mixed chorus and organ and takes approximately seven minutes to perform. The composer makes these com— ments in his introductory remarks: The work, in the form of an extended anthem with a concluding hymn, is a tribute to man and to worship, as expressed by the music and a variety of texts. The earliest text used dates from 1783 and is taken from a sermon by the Reverend thn Murray. Tpe other pexts, by JOhn Greenleaf Whittier _ [1807-1893/ and Samuel LongfellOW'118l9-189g/, are epigrammatic in nature, and they all combine, ligding the work to the concluding Allelulia. 190 Following an introduction, there are seven sections to the composition, each having different thematic material. Example 110. 13:110- CHORM. ! A(¢ANON) B C D I... 3 [q — Iql In ~ “In; —- 45’] (44, -aol W.) -o.3l ‘4va AuJLULIA I” _. as! I»: -— 1477 I)“ - I“) "1 There are certain motives which appear in more than one section and serve to unify the composition. The most frequently used motive first appears in measure 6 and is developed through measure 14 by imitation. Example 111. The motive is stated in thirds in section A (measures 25- 26 and 29-32), and in inversion and in thirds in measure 70, section D. There are more frequent examples of passages in which the motive is used rhythmically rather than melodically. The accompaniment makes more use of this pattern than the choral parts. Measures 51-56, 91, 108, 110, 117, 119, and 137-139 can be cited as clear examples, however, most of the running eighth note accompaniment pattern seems to be derived from the initial motive. A second recurring motive is found in measure 4. 191 Example 112. , .-,-____ _- I. - .51- . ....... “93 —_~_-—':-— .—::::. :—’:ii'~l1;.==,sr4..§_3:g.l If." - "'0, lau- - lib-n. Although not used as frequently as the previous motive, it does occur again in measure 37 (SOprano and alto) and in the accompaniment in measures 96-97. A syncopated rhythmic pattern ( I5.) ) which fre- quently appears in Kay's choral works is also found in this composition. In measures 4-5 it is found in all voices. Other instances occur in measures 20-21, 45, 49, 58, 64, 67- 68, 71-72 (bass voice), 75, 81, 83, 85, 87, 95, 98, 108, 114, 124, 126 (in augmentation). 129, 137, 139, 142, and 144. The pattern in measures 4-5 mentioned earlier is in diminution. The pattern.which is also found many times in the organ accompaniment, suggests a kind of predictability in this work and serves as another unifying device for the numerous melodic ideas. In measure 18, a canon begins between female and male voices which continues without interruption through measure 33 and is supported by an F pedal tone. The accompaniment recalls the rhythm of motive A in measure 28 and continues with a C pedal tone (measure 29-32). The melody is in the Dorian mode on F in measures 30-34, and there is a shift in tonal feeling to the key of B flat major. 192 Example 113. ‘ / V » a... Q". _ h ‘t— .0- l .‘M_ ' ~ —- - v 0 Very quickly, the accompaniment negates the tonality with an ascending arpeggio of maxed intervals which are sus- tained to form a compound chord. Example 114. The ascending, sustained arpeggio is an expansion of mea— sures 1-2 (accompaniment) and occurs again in measures 81-82. An almost exact repetition of the first statement (measures 1-2) is found in measures 134-135 with the last three notes being augmented rhythmically. In several instances, there are occurrences of vocal pedal tones. Examples can be seen in measure 47 ("Ring out for every list'ning ear”) where the sopranos and tenors sing a D pedal while basses and altos sing a chromatically ascending scale line. As a result of the voice movement, several double inflections occur: the E natural against 193 the E flat, measure 48, and the E natural against the E flat a semitone apart in measure 51. Four-part harmony is chosen for the text which begins “Shake off thy dust America!" (measure 83). The entire passage comprising measures 83—97 is in the Dorian mode on C with some use of chromatic alternations. This also represents the first time that Kay writes in a syllabic four-part texture for an extended period. The rhythm con— tains numerous examples of triplets as well as the synco- pated pattern discussed earlier. The hymn and Allelulia, written in the key of D major, represent one of the few times that the composer writes a key signature and, with the exception of measures 116-135, remains consistently in that tonality. With a variety of textures, Kay presents the two verses and accompanies the setting with the continuous eighth-note figure previously discussed. The organ pedal tone is used almost exclusively to support the vocal and faster moving accompaniment. With slight variations, the Allelulia section (measure 146) pairs the sopranos and tenors against the altos and basses melodically and this texture brings the piece to a close on a D major chord. Parables Parables is a two movement work for mixed choir accom— panied by a chamber orchestra consisting of flute, oboe, clarinet in B flat, bassoon, horn in F, trumpet in B flat, trombone, percussion and double bass. The piece, 194 commissioned by the American Choral Directors Association, was completed in 1968. The text deals with two stories which Kay treats in a choral narrative-like style. Texts: I. The Old Armchair My grandmother, she, at the age of eighty-three One day in May was taken ill and died; And after she was dead, the will, of course was read By a lawyer as we all stood side by side. To my brother it was found, she had left a hundred pound, The same unto my sister, I declare But when it came to me the lawyer said, "I see she has left to you her old armchair." How they tittered, how they chaffed 0 how my brother and sister laughed, When they heard the lawyer declare Granny'd only left to me, her old armchair. I thought it hardly fair, still I said I did not care, And in the ev'ning took the chair away. My brother at me laughed, the lawyer at me chaffed, And said, "It will come useful, John, some day When you settle down in life. Find some girl to be your wife You'll find it very handy I declare; On a cold and frosty night, When the fire is burning bright Ybu can sit in your old armchair." What the lawyer said was true, For in a year or two Strange to say, I settled down in married life. I first a girl did court and then the ring I bought, Took her to the church and then she was my wife. Now the dear girl and me are as happy as can be, And when my work is over, I declare I ne'er abroad would roam But each night I'd stay at home. And be seated in my old armchair. One night the chair fell down When I picked it up I found That the seat had fallen out upon the floor. And there before my eyes I saw to my surprise A lot of notes, ten thousand pounds or more When my brother heard of this, the poor fellow I confess, went nearly wild with rage, and tore his hair, II. 195 But I only laughed at him, And I said unto him: Jim don't you wish you had the old armchair. No more they tittered, no more they chaffed, No more my brother and sister laughed When they heard my lawyer declare Granny'd only left me her old armchair. The Hell-Bound Train A Texas cowboy lay down on a barroom.floor, Having drunk so much he could drink no more; So he fell asleep with troubled brain To dream that he rode on a hell-bound train The engine with murderous blood was damp And was brilliantly lit with a brimstone lamp; And imp, for fuel, was shoveling bones, While the furnace range with a thousand groans. The boiler was filled with lager beer and the devil himself was the engineer; The passengers were a most motley crew Church member, atheist, Gentile and Jew, Rich men in broadcloth, beggars in rags, Handsome young ladies, and withered old hags, Yellow and black men, red, brown and white, All chained together, 0 God, what a sight! While the train rushed on at an awful pace The sulphrous fumes scorched their hands and face; Wider and wider the country grew, As faster and faster the engine flew, Louder and louder the thunder crashed And brighter and brighter the light'ning flashed; Hotter and hotter the air became Till the clothes were burned from each quivering frame. And out of the distance there arose a yell, "Ah, hal" said the devil, "we're nearing hell)“ Then oh, how the passengers all shrieked with pain and begged the devil to stop the train. But he capered about and danced for glee, And laughed and joked at their misery. "My faithful friends, you have done the work and the devil never can a pay day shirk. YOu've bullied the weak, you've robbed the poor, the Starving brother you'Ve turned from the door; Ybu've laid up gold where the canker rust, and have given free vent to your beastly lust. Ybu've justice scorned, and corruption sown, and trampled the laws of Nature down. You have drunk, rioted, cheated, plundered, and lied, and mocked at God in your hell-born pride. You have paid full fare, so I'll carry you through For it's only right you should have your due. Why, the laborer always expects his hire, The writing. doubling and alto The 196 So, I'll land you safe in the lake of fire, Where your flesh will waste in the flames that roar, and my imps torment you forevermorel" Then the cowboy awoke with an anguished cry His clothes wet with sweat and his hair standing high. ~ Then he prayed as he never had prayed til that hour To be saved from his sin and the demon's pow'r And his vows were not in vain, For he never rode the hell-bound train. His prayers and vows were not in vain, For he never rode the hell—bound train. two settings have very little four-part homophonic The predominant textures are unison or octave of voices or with a texture that uses soprano paired against tenor and bass. sonority that is achieved by pairing two voices with similar melodic material against the remaining voices seems to be common in Kay's choral writings. In The Old Armchair, examples may be found in measures 20-21 and in measures 109-110 in which the s0prano and tenor have dif- ferent material than the alto and bass. Example 115. 7:.” I - And-Milo Jun.- 197 Example 115 (con't). Tel”! H y . F .. (it-my? HI a: in all u- - chic. , or P W ”EE— _::r.:- g—e n-Iyldlto-r let-Id nun-chit. There is much use of imitation in both settings. In mea- sures 34-35 of The Old Armchair, a two-note figure is used while a three-note figure occurs in measures 43-45. Example 116. 31 ,, _. J 61433-151; 33:3; ~;—.:‘1-.Ei—:‘—_-T '~ 2.- " A o - .5 00. m1_____ _.cfi.3.—.: 1.3:. . .____ * ($1 3:3 rare...” ‘7“:— e.-__::a1-?§ 4%:mee - ' mm use a. m-y 5.4., I mum" 0...: 9:. 0° a. a I ””1 9 £"";F=E‘ , ' :' :Eggiggzaeseeaia ""- 0.... .Ju n: One of the longest passages is found in the second movement in which the same three-note figure is augmented and deve- loped through imitation for fifteen measures (measures 85- 100). 198 Example 117. '5 p . w 3‘ .1 A 1’5"" e -"-~= ear—Ff; 1 E T a ' ' 1"": L i ; __ ,_ -—“--_ fi“ 1 i I 1 o: g 1 fijr :L i f a g <7— §E§;:—f.-mu §==—"‘af éfirfif—az ' egg on. During this passage there are some instances of intervallic (change and of inversion of the motive. A frequently used pattern is that of a minor second followed by a minor third moving in contrary motion (it occurs eleven times). Another sonority which is used often occurs when one voice carries the story line while the other voices comment with short melodic fragments. Measures 60-67 of The Old Armchair exhibit this technique. A.more interesting example occurs in Thg Hgii—Bound Train in which the bass section Speaks the line while being commented upon by the remaining three voices. Example 118. 11> A n 1§3§§§%%¥§§§f:::r“f333“”‘"—__ '——‘F'-‘iE§ khaki-bk.— rwnh.fi1/:Z _!- g3? . '!r g: L j a J: 1"- v____' _——- _f _ "'7 Met- H in“... you have 199 Example 118 (con't) . The composer moves the rather lengthy text along quickly with this device or by individual sections alternating portions of the poetic line. Of the two movements, the first is more tonal. The tonal feeling, however, occurs in the choral parts in that the accompaniment is quite chromatic in character. Passages consisting of shifting tonalities rather than of one key center tend to dominate the setting. Of particular interest is the modulatory scheme. The work begins in 9 minor, shifts to a feeling of b minor in measure 10, to G major (measure 21), then A.mdnor (measure 24) and finally to C in measure 40. Examples of polychords and polytonal writing also occur. Measure 53 contains a diminished triad superimposed upon a C major sixth chord constructed above a low D flat. Example 119. 200 Examples of absolute tonality do occur. Measures 90 to the end of the movement are written in F major strengthened by a dominant-tonic progression at the final cadence. As previously mentioned, the instrumental part with its chromatic orientation contradicts the tonal implica- tions in the voice parts. The movement begins with a tone cluster which occurs later in measure 18. Example 120. I Him! l 12:... Andante llcssibilc Many vertical structures consist of added second construc- tion with examples being found in measures 74, 81, 44, and 45 When vertical structures are not used, chromatic sixteenth- note passages comprise the accompaniment. These figures are not stepwise but contain a series of large leaps which add to the agitation of the chromaticism. Examples of parallel fourths (measure 76) and double inflections (measure 74) can also be found. The Heil-Bound Tpain is more chromatic in both the choral and instrumental writing. A tonal center is re- cognizable at the beginning in measures 4-8 and at the recurrence of this section in measures 123-129. 201 Example 121. A Tel-u con-by lay in. nah-annual. / W—V—L—T—u ". J- _L .. —i A Tel-an eon-lay lay in. aloha-n— In. I x— :tfip-WP W ,_;-1 A Tel-an con-by I” ha club-MM. Other than these passages, adherence to even the shifting tonalities found in the first movement are absent. Through examination of the melodic writing, two figures emerge that are used consistently throughout the second movement: 1) the changing tone figure is found at the end of each phrase beginning in measure 5-21, and usually it is preceded by an eighth rest. Example 122. 2) the inverted cambiata figure is introduced in measures 28-29 through 34 and with the changing tone pattern continues in usage to measure 127-128. There are twenty-four examples of these phrase endings. An interesting variation on an accompaniment figure in the bass occurs in measures 8-13 and 14-18. The original figure is a staccato quarter note rhythm which in measure 14, becomes a sixteenth note followed by an eighth note 202 (occurring on the beat). This same relationship is found again in measures 31-37 with the variation in measures 38-40. Example 123.8 The sixteenth followed by the eighth (or dotted eighth) and its equivalent in longer note values ( I’J ), has become a unifying rhythm for the two movements. It can be found in the first movement quite often and even more frequently in the second. A triplet figure consisting of an eighth followed by a quarter (i4 ) is obviously quite similar to the original figure beigg discussed and is found almost as often. An almost constant shift to the weak part of the beat is evident during these occurrences. Parables generally makes use of both tonal and atonal approaches to harmonic formation. In the tonal passages there is a free use of chromaticism. Both settings are through composed and are unified by recurring rhythms and short motives. Kay develOps his ideas with several contrapuntal 203 devices. Mirror inversion can be found in measures 21-22 and in measure 51 of the first movement. There are instances of melodic, sequential development such as that found in the passage in measures 74-80. The three stages in this case are interrupted by a different melody in the bass line (measure 71) but statements by the tenor, alto, and tenor again are sequential. Example 124. 1+ 75 76 8 TO.” I .éFTLEE—x— 13- __.._.-:_.___§i 77 79 1g .___-_-..- ".14 - --—.—-——- "' -x J 1 J I“ - J ‘ 1‘] _11 1 _: J 3 fit j ’—‘]. than h-Icu 0y gym 7: m 204 The pieces are linearly constructed but have some examples of homophonic texture. The most interesting section of this type occurs in the prayer at the end (measures 134— 155). The passage is begun imitatively but quickly a four-part homophonic style evolves with an interesting use of passing tones. The harmony consists of chords related first to the tonal center of B flat. The harmonies of the first four measures, with some chromatic altera- tions, is in B flat major. This key, however, becomes more obscure as the passage progresses but the tonal center remains evident. Summary Ulysses Kay is one of today's most prolific American composers. He is not only one of the most frequently performed of serious composers but also is one of the most commissioned as well. Chorally, Kay has produced forty-six compositions, four of which are of the cantata variety. The composi- tions chosen for this discussion were written within the past twelve years. Two are multi—movement compositions and all have certain characteristics which seem more common to Kay's later works. The later choral compositions are exemplified by a more consistent use of chromaticism. In addition to shift- ing tonalities, which were always present, these later works are written without a tonal center for long periods of time. In tonal passages, the tendency is towards 205 chromatic alterations and frequent use of the accompaniment to negate the feeling of tonality by its extreme chromaticism. There are a few examples of parallel fourths and chords built in fourths, but the quartal and quintal harmonic approach is not dominant in Kay's music. Mere tendency is evident toward vertical structures with added seconds and chordal clusters. Two rhythmic patterns have been present in all of the works in this study and are obviously of importance. The triplet has occurred in many variations: J 3MP m, 7,.) , 77‘], m, and especially 4);... Another even more frequently usaed rhythm is the syncopated pattern con— sisting of the sixteenth followed by the dotted eighth note or its equivalent in longer note values. Kay not only uses this rhythm on the initial beat of the measure, but it may occur on the first part of any pulse as well. There is a fondness for pairing female voices present- ing one melodic idea against male voices singing counter. melodic material. The arrangement is often soprano and tenor against alto and bass, however, other combinations are also found. The second most frequently used textures are unison and two to four voice octave presentations. These textures are especially prevalent in compositions that have long texts. An interesting summary of Kay's choral style is pre- sented in the following statement of Robert D. Herrema: 206 A.marvelous dichotomy exists in the music of Ulysses Kay: craftsmanship and romanticism, reason and emotion. Occasionally one will give way to the other, but usually both are present in equal amounts. His craft is at once Hindemithian, classical, and Nether- landish; his expressiveness is incredibly romantic and.madrigalian. His music cannot - and therefore should not - be labeled sty- listically technically, or racially. It is modern in the sense that it is contemporary. The most significant and most accurate - and, incidentally, complimentary - thing that can be said about it is the music of the outstanding American composen,Ulysses Kay.43 SUMMARY The analysis of the choral music of five twentieth century Afro-American composers have been the purpose of this chapter. Each composer chosen for the study is living and has contributed to American choral music for at least the past twenty years. In the caSe of Ulysses Kay, George Walker, and Hale Smith, creative output has been extensive not only in the choral area but in other mediums as well. Their influence has been felt on their individual local scenes as well as on national and international levels. Ronald Roxbury and James Furman are rapidly becoming known for their individualistic approach to the choral idiom and to other mediums. In this segment, a summary of the various elements of choral styles of each composer will be discussed. Con- siderations pertaining to melody, harmony, rhythm, treat- ment of text, texture, and counterpoint, as presented in Chapter I will be used as a format to organize the com- ments given here. The generalizations are based on the 207 analysis of the choral works done in this study as well as other compositions perused by the writer. This manner of presentation was chosen in order to facilitate the drawing of comparisons by the reader. Melody One of the most difficult aspects of musical style to discuss is probably that of melody. Although a number of statements can be made about melody, the reasons why one melody is recognized by the listener as an enduring master- piece while a second melody, apparently possessing the same characteristics is recognized as inferior have yet to be formulated. This summary will be confined to those elements of melodic style which can be objectively discussed. Range and gitgh Motion Walker - Melody ranges are closely related to the mood of the text. Those texts which are contemplative tend to have melodies with small ranges moving more conjunctly than disjunctly. In contrast, the range of texts which are more intense sometimes extend to as much as an octave and a fifth and feature leaps as large as an octave or more. The ascending and descending third, however, seem to be used more frequently than any other interval. §mith - Melodies often extend in range beyond a tenth to as much as an octave and a seventh. The perfect fourth both ascending and descending is very characteristic. Furman - Melodies occasionally exceed the range of 208 a twelfth, however, many are limited to the compass of an octave. Lines tend to move conjunctly more frequently than disjunctly. Where leaps do occur, the fourth is pre— valent. Roxbury - Because of the nature of the four pieces under discussion, the range of Roxbury's melodies usually stay well within the octave. In only a few instances does the range exceed this boundary. writing is predominantly con- junct with some occurrences of the ascending and descending third, the fourth and an occasional fifth. Kay - Melodies tend to fall within the compass of a tenth. While conjunct and disjunct motion are somewhat balanced, melodies frequently outline triad structure. Much use of the fifth and fourth is made in passages where dis— junct motion occurs. Repeated notes are found more fre- quently in melodic lines than in the melodies of previously mentioned composers. _rthogs 9; Construction Walker - Longer melodic lines are developed from short nuclear elements by repetition or extension. Phrases are most often unequal in length and usually have an odd number of measures (5, 7, or 9). Use of sequential development is rare. Smith - Melodies tend to be unequal in length in an effort to adhere to the various lines of texts. Some use of imitation of the original line at a second pitch level is found but three and four stage sequences are rare. In 209 more tonal pieces, the influence of jazz is evident with the use of the lowered third. Furman - Melodic lines are characteristically short with frequent interruptions by rests. Development of the line is by extension of the original thought with new melodic ideas. Repetition and sequence is not commonly found. In his works that are not nationalistic in origin, Furman's melodies tend to be chromatically conceived. Roxbury — Melodies are sometimes developed by repeti— tion of ideas, however, most fragments of text will present new melodic material. Length of the melodic line is deter- mined by the length of the poetic line. Kay - Several devices are found in the construction of Kay's melodies. Numerous two-stage sequences occur, however, three and four stage sequences are rare. Exten— sion of ideas and melodic fragments separated by frequent rests are numerous. Phrase lengths vary with the texts which are sometimes extended by repetition of the final words. Melodic material with this extension is not usually repetitious. Tonality and Modality Walker - Melodies in Walker's choral works are largely modal. Major or minor tonal centers in the tertian sense are almost nonexistent. Melodies tend to move from modal to highly chromatically conceived lines. gaggg - Both tonal and chromatic lines are found in Smith's works. Those melodies which have a tonal center 210 tend to suggest the pure minor scale. Those which are con— ceived chromatically are atonal and thus have no key center. Fagman — In the works chosen for this study, tonal centers in the melodies are largely avoided. In only one instance (Salve Regina) does a tertian feeling become evident and this is immediately negated with the chromaticism of the following sections. In those works which are in the gospel or spiritual style, tonal centers are prevalent in keeping with the idiom. Roxbury - Melodies are largely diatonic or modal. Some chromaticism is found but is not used to effect a change of tonal center. Tonality does not suggest a tertian feel— ing in the movement of the melody, rather tonality is a reiteration of a note within a melody line. Kay — Melodies frequently have a tertian feeling. The outline of triads and movement towards a tonal center is usually evident. Chromaticism is also prevalent in melodic lines and is sometimes used to effect a change of tonal center. Harmony The harmonic idiom of the five composers whose choral music was analyzed moved well into the more innovative of twentieth century sonorities. In his choral parts, Kay leans towards the traditional approach but his instru- mental parts become much more chromatic, often featuring chordal clusters that negate any key center. walker, Furman, 211 and Roxbury are notable for their use of compound chords, quartal and sometimes quintal approaches to building verti— cal structures. In addition to compound chords, Hale Smith's approach to harmony is colored by frequent jazz sonorities. Typas of Sonorities and Cadences Walker - Harmonies are non-tertian with frequent use of chords consisting of miscellaneous intervals. A strong quartal feeling is prevalent in Walker's works because of the constant use of the fourth and fifth. A favorite cadential formula consists of root movement descending by a third and the top voice moving up a second. The vertical structures in the cadences as well as in most choral har- monies avoid the use of the third thereby giving an open, stark sonority. §El£2.- Harmonies vary from.jazz sonorities to compound chord structures to chordal clusters and most often are the result of simultaneous movement of horizontal lines. A favorite technique is a chord of three or four voices sustained over several measures. This device slows the harmonic rhythm in compositions which previously have had a steady flow of harmonic change. A distinct quartal sound is discerned and there are moments when the movement of parallel fourths dominates the harmony. Cadential formulae invariably have roots which.move up or down a second. The structures above this root movement may have a distinct jazz sonority or more often consist of miscellaneous 212 intervals. Furman - Most vertical structures occur as a result of moving horizontal lines. Chords consist of the second, fifth, and fourth more frequently than other intervals. Harmonies are non-tertian and as a result, the third occurs less fre- quently. The tight cluster sound is not as evident in Furman's works as in some other composers studied, rather there are more instances in which chord tones are spaced to give a balanced effect. Traditional harmonic cadences are rare even though root movement may descend a fourth or a fifth. No single type of cadence seems to dominate his music. Roxbury - There is a definite quartal and sometimes quintal approach to chord building. Although there are frequent uses of the third, there is no reference to ter— tian sonorities. Points of rest within the works are rare. Final cadences have root movements of either II or V to I beneath compound chord constructions. Kay - There seems to be two harmonic approaches in Kay's later choral works. In the choral parts, a definite lean towards tertian harmonies is evident. There are examples of quartal and quintal harmonies and a higher degree of chromaticism in vertical structures. A.pull towards a tonal center is always evident even though that center may change frequently. The second approach is extreme chromaticism with a tendency toward chordal clusters and chords with added seconds. This sonority is 213 more evident in the instrumental parts. Rhythm Walker - Changing meters are characteristic of walker's music. The following rhythmic devices are common: 1) the syncoped entrance, 2) the use of syncopated entrances by one or a group of voices, 3) the interruption of a driv- ing line with a rest, 4) the characteristic driving eighth— note rhythm in pieces with faster tempi, 5) the use of dotted bar lines with a regular meter to indicate accents other than those which are common to the meter, 6) the constant shift of the accent through the use of syncopation. §migh — A chracteristic feature is the use of the eighth and quarter note triplet. Frequently the triplet will be used against a duplet. Another rhythmic device is the syncopated short-long-short figure in various note values. Shorter note values tied to longer ones are con— sistently used — an untraditional habit in common practice period styles. There seems to be a rhythmic flow to Smith's music which is enhanced by the frequent division of the unit. Furman - Rhythmic figures are used as a means of unifying his compositions. In movements of Four Little Kaaaa, the triplet is found frequently, while in The Quiet Liié: the sixteenth followed by the eighth or dotted eighth is the unifying rhythm. Changing meters as well as fre- quent tempo changes are characteristic rhythmic features. Roxbury - The rhythmic pattern consisting of the 214 triplet followed by the duplet is a feature which is reminis- cent of gregorian chant and is therefore characteristic in two of the four pieces in this study. Another rhythm which occurs is the short-long pattern that may have been in- fluenced by the rhythmic mode system of medieval motets. In contrast to other composers studied, these pieces do not fall into the category of measured rhythms, but rather flowing lines free of regular pulse. The composer occasion— ally uses dotted bar lines to indicate accents which may otherwise be overlooked in normal phrasing. Meter signa— tures are not indicated. Kay - Meter changes are evident in all of the music studied. In addition, certain rhythmic patterns are con- sistently used. The triplet is found in numerous varia- tions and the accented short-long-short rhythm in various note values is characteristic. There are frequent tempo changes indicated not only with temop modification marks but also with metronome markings. Counterpaint Walker - Contrapuntal passages often employ imitation. Occasionally there is strict imitation, but usually free counterpoint between two or three voices is more common. In several instances the pedal tone has been used both in accompaniments and in vocal passages. This device is extended to the use of double pedal tones. amaaa - Free and strict imitation occur frequently in contrapuntal sections. Other developmental techniques such 215 as fugal entries, diminution, inversion, pedal tones, mirror inversion can be found. Recurring melodic ideas are often paired with countermelodies and repetition of melodic ideas at a second pitch level is also prevalent. Furman - A.number of contrapuntal devices are found in Furman's choral works, the most frequent being imitation and free counterpoint. Motives occur in diminution, aug— mentation, inversion and retrograde. On several occasions two or three melodies or themes are used simultaneously over a slower moving motive played in augmentation. In one instance (Sound Sleep By Night) Furman incorporates a canon alternating between voices. Ostinato figures are another important feature of the Furman style. Roxbury - Very little use of contrapuntal texture is found as most writing is in a homophonic or monophonic style. Two or three voices are frequently used but an imitative procedure is almost non-existent. At these points the melodic line paired with a countermelody is usually the case. Kay - Choral works are almost consistently contra- puntal with imitation being the chief device used. A favorite texture is pairing of voices (soprano with alto and tenor with bass), and with this parallel writing imdtation most often occurs in pairs. Use of ostinato figures and pedal tones in all voices and instrumental parts are import ant features . 216 Relationship of Text and Melody, Harmonv,yand RQXEEE Walker - The greater portion of walker's texts come from the Psalms. Other textsthat are secular in nature are from various poetic sources. Faster moving melodies with wide leaps and harmonies with more dissonant sonorities seem.to be used with intense texts,while melodies with small pitch ranges and more consonant harmonies are reserved for more contemplative texts. The same rhythmic devices are found in both fast and slow pieces, however, a more driving character is prevalent in intense texts due to the consistent emphasis on the second heat of the measure. §mi§h — Texts are taken from.poetry. In only one work, I'm Coming Home, does the text suggest a religious theme. Harmony and melody are both influenced by the mood of the text. There are frequent examples of word-painting in 23a Kaaa and chords which because of their use with certain words seem suggestive of those words. Devices such as pair- ing voices to denote the word "twin" and the use of two specific melodies to suggest "two kids“ or "together" are additional examples of Smith's craftsmanship in using the music to imply the text. Furman - Secular texts are taken from both poetic sources and famous documents. Sacred texts come from early church literature and from spirituals and more recent gospel literature. The mood of the text is a definite determining factor in the harmony and rhythms used. Rhythmic 217 devices are such significant factors in Furman's music that this element seems to share equal importance to that of har— mony and melody in the conception of his works. The treat- ment of text is usually syllabic except in those instances in Four Little Foxes where motion or movement is implied. The natural flow of the spoken phrase seem of little concern to this composer as the text is usually broken into small fragments by the insertion of rests. Roxbury — The flow of the Old English text suggests to the composer the rhythm to be used and this flow is not con- tradicted. Rhythm seems to be the first consideration. The harmonies used are-contradictory to medieval sonorities and thereby give an interesting, fresh approach to the set— tings. Melodies are gregorian in concept and are thus related to the text in this manner, however, the chromati- cism of the melodic line again brings it well into the twentieth century idiom. Kay - There is such an amalgamation of text, rhythm, harmony, and melody in the extended works of this study that these elements appear to have been conceived simul- taneously. Numerous examples of word—painting and special effects for voice and instruments are used to the extent that the works become small dramas. Because of the length of texts, treatment is almost entirely syllabic. Idiomatic Use of Voices Only one of the composers studied (Ronald Roxbury) 218 avoids the use of choral speech or other non-traditional uses for the voice.44 Examples of choral speech can be found in the works of Smith, walker and Kay. Furman goes a bit further calling for special vocal effects such as clicking of tongues, vocal glissandi, whispers, and screams, in addition to a special tone quality described as soprano falsetto. The five composers introduced in this discussion are conservative, yet innovative. They are composing within today's many idioms, eacn with his own individualism and characteristic sonority and each making a valid contri- bution to American twentieth century choral music. CHAPTER IV IMPLICATIONS FOR MUSIC EDUCATION Why Studngfro-Amegican MBélEZ Within the American culture, a Black sub-culture exists that has exerted an enormous amount of influence on American music. Less is known or taught about music that.has been composed by Blacks than any other non-white culture, with the possible exception of American Indian music. Black music has made a tremendous impression, but little is known about it. Ironically, those persons who have the responsibility of disseminating musical information and who should be most knowledgeable about American music are lacking in knowledge about the contributions of this ethnic group. Public school teachers, college professors, musicologists, and conductors, in addition to publishers and librarians, are among those who are unknowing about most aspects of Black music. A doctoral student of music who is asked a question on his orientation or comprehensive examinations about a particular period in music history is expected to be able to document his answer with composers and works. However, 219 220 to be able to name only five or ten Black composers, not to mention their works or to characterize their musical style, is not stressed in the academic curriculum. Many Black composers have made contributions to the music of histori- cal periods comparable to many composers who are normally stressed in the average music history class. Even in Black colleges, emphasis is more often placed on an awareness of Copland, Harris, or Menotti, while the contributions of Kay, Still, and Swanson are neglected. In an effort to acquaint their students with the culture of European and White America, they have relinquished one of their most precious possessions —— their cultural heri— tage. The argument is not that music in the European tradi— tion should be ignored. This is the basis of all American music, and certainly the study of it should demand a great part of the student's musical training. The music of Blacks and by Blacks certainly deserves to be brought to the attention of all American society because of its contri- bution to the culture of that society. There are those educators who would ask, "Why should so much emphasis be placed on Black music, when America is a melting pot of various cultures?" "Why not the music of the Italians, Irish, or other cultures who make up our country?" The writer would argue that ideally the study of all music is best. But one point remains evident: each above mentioned sub-culture has one thing in common and that is, they are all White. The Afro—American society is 221 statistically the largest of American sub-cultures and consequently has made the greatest musical contribution, not only in the areas of European—based music, but certainly in the more social styles. The liberal might as easily say, "What does it matter what race wrote it? If it is good music, that is enough.” Then, because the music has not been published, performed or studied, it is no good? If the music is really not signifi- cant, who has made the evaluation? Where did he hear the works, where did he see the scores, where did he study the history? He is assum- ing, I guess that right wins by its own virtue, without a champion, without a publisher, with- out a performance. Perhaps, if it has one, the problem of Black music is that it is out of the mainstream. But originality should have merit. A society which lives in segre— gation develOps its own culture. If that culture does not fit the liberal scheme, this should not make it inferior. On the contrary, and with aesthetics taking second place to the social importance of music, that makes it important. The liberal would also contend that to teach a course in Afro-American music is racism in reverse. Ideally, Black music of the Americas should be incorporated in its rightful place in the study of eighteenth, nineteenth, and twentieth century music. The fact that the average history course does not mention these contributions de- mands that a separate study be given. When the need no longer exists and all music is studied as music, the Black music course can be eliminated. Such an elimination seems to be well into the future because the first step of teaching Black music courses has not been realized in many public school systems, colleges, and universities. 222 It might also be said that Black music belongs to ethnomusicology. but one of my points is that this discipline should not be removed from the history-literature-musicology com- plex. Even if it is to remain distinct, we admit that a large amount of social music can fit there, we must confess that Hale Smith or George Walker fits in ethnic studies about as comfortably as does Donizetti.2 There is an abundance of information concerning music written by White American composers in the EuroPean tradi- tion, but scarcely any sources are available to the person seeking knowledge of music in the same tradition but written by Black Americans.3 It is an unfortunate situa— tion, because no description of American music is complete without including Black music. In the eyes of both Black and White students, total attention is given to White western music in the typical college course outline. This study ends not with a Bachelor degree in music but a Bachelor degree in White music. An examination of textbooks, course outlines, lectures, analytical techniques and aesthetic viewpoints will varify this conclusion. This network of course work is very restricted and confining in its presentation of music, its means, and its goals. Schools invariably say to the Black student, "we will admit you to our school to study our music. It is our music that you will study because your music is not really important, you have made no real con- tribution." And Blacks will readily admit that they do not fully know their cultural heritage, but this is precisely the reason that they wish to study it in an educational 223 institution. To the White student, the college says practically the same thing -- that White European-based music is important, that other ethnic music can be taken only if schedules permit. we must recognize that Black music belongs in the curriculum now, not just in predominantly Black schools and in upper level musicology courses, but in the learning process that begins with kindergarten and proceeds through graduate school. This is an important aspect of American culture, just as the impact of the Black experience is a major element in any social definition of the United States.4 If total integration of Black and White music is not accomp plished, we will have White students who lack formal contact with dynamic musical ideas. In addition, we will have Blacks who unaware of the extraordinary musical genius of their race, will forsake a potential career. The Use of Twentieth Century Afro-American Choral Music in Choral and Non-Choral Situations Another point must be made concerning the use of not only Afro-American, but all choral music in the educational process of schools of music. Based on the writer's obser- vation, the trend in most non-choral classes, such as history courses, analytical studies classes, and high school general music classes, is to use extended orchestral works as teaching vehicles. The use of choral works, whether short octavo compositions or extended a cappella or orches- tral accompanied pieces, is limited. It will be admitted 224 that large orchestral works offer more sophiSticated forms and techniques than choral works, because of the limita- tions of the human voice, may not offer. However, exposure to the choral medium is an important aspect of musical train- ing. Many students will advance through four years of instrumental training without any experience with vocal ‘works except what might have been obtained in a history or analysis class. It is also feasible that choral pieces offer in a less complicated way, certain concepts that the instructor may wish to advance. The music discussed in this study can be used in several learning situations. The composers, George walker, Hale Smith, Ulysses Kay, and James Furman have contributed to several musical genres and should be included in Twentieth Century American Music History courses. The inclusion of their choral works not only exemplifies twentieth century techniques, but exposes the student to another segment of this century's composers. In those classes whose purpose it is to train choral conductors for both secondary and college level choirs, there are numerous instances in which many of the composi- tions discussed can be used. In conducting classes, the Roxbury motets offer a new and different source for teach- ing the technique of conducting music in the style of gregorian chant. Any of the Walker or Furman pieces affords the opportunity of conducting in changing meters. In choral repertory classes, any of the compositions may be 225 introduced as examples of twentieth century literature. It must be emphasized again that there is no necessity to designate these works as having been composed by Afro-American composers. They should be presented simply as representa— tions of twentieth century choral literature. In classes devoted to analysis, the examination of choral works is normally reserved for medieval and renais— sance music. Twentieth century sources for analysis usually consists of orchestral, electronic and aleatory pieces. Small choral works are overlooked. Use of choral composi- tions by Black composers is non-existent. It would seem that the graphic notation of Ronald Roxbury would offer an Opportunity to examine a new approach to this twentieth century innovation. It is hoped that the analysis presented here may provide additional material for classes of this type. A recent addition of the Norton Choral Historical Anthology has included the third movement, "Elegy," of In Memoriam-Beryl Rubinstein by Hale Smith. This source also has included compositions by two additional Black composers, R. Nathaniel Dett and William Dawson. A Lincoln Letter by Ulysses Kay has been included in Samuel Adler's Choral Conducting Anthalogy. More of this type of inclu- sion needs to be done. Choral anthologies which are designed for choral conducting classes invariably omit any represen- tation of compositions by Black composers. In the 1960's, the Contemporary Music Project was 226 initiated in an effort to upgrade the quality of contemporary music in the public schools. The program gave MENC and Ford Foundation fellowships to musicians to work as resident com- posers in selected school systems throughout the United States. These composers wrote in a great variety of styles for as many different media as one is likely to find in today's schools. The works varied in levels of difficulty and were composed for specific groups of young musicians representative of contemporary school ensembles. The most successful compositions were included in a three volume catalog: Band, Winds and Percussion; Orchestra and Strings; Chrous and Voice. Not one Afro—American was included in the seventy—three original choral composers, and not one composition by a Black composer was published in the choral catalog that was the result of this project. The repertoires of most secondary and college level choral groups are lacking in compositions by Black com- posers. This is not only true of predominantly White schools, but of those schools which have a significant Black popu- lation. The renditions of spirituals as art literature are numerous. Gospel choirs are springing up rapidly in all- Black schools and this source of repertoire is receiving much attention. The art music of the Afro-American com- poser remains virtually unknown to the average high school or college choral conductor. A new type of organization among Blacks has become p0pular, especially in colleges where there is a substantial 227 enrollment of Blacks in a predominantly White situation. The ”Black Choir“ as it is called on most campuses, devotes its efforts to renditions of gospel music and possibly arrangements of spirituals._ They, too, are missing the opportunity of exposing to their audiences the full gamut of the output of the Black composer. Recommendations for Use in Choral Settings The purpose of this section is to briefly present those aspects of the music under discussion which might be use- ful to the conductor interested in performing these works. The discussion will include 1) publisher and date of publication, 2) author of text, 3) voice ranges, 4) accom- paniment, 5) length (in measures and performance time), 6) performance considerations such as appropriate use and level of difficulty, and 7) musical characteristics and recommendations for performance. Gloria In Memoriam (1963) SSA George walker Publisher: New Valley Music Press Northhampton, Massachusetts Text: Greater Doxology Voice Ranges: Sop. I Sop. II Alto 228 Accompaniment: Organ Length: 81 Measures 2 Minutes Performance Considerations: Sacred Moderate difficulty This piece would be suitable for college level voices as well as high school students. A high school director should be aware that the lower ranges in the second soprano and alto usually occur in the solo parts, although in measure 64, the altos are called upon to sing a lOW'F and A. Choral parts are more diatonic with easier inter- vals, which solo sections are highly chromatic. The accom- paniment is extremely easy and sporadic. 0 Eastern Wind (1971) SATB George Walker Publisher: General Music Publish— ing Co. Hastings—On-Hudson, N. Y. Author of Text: Anonymous Voice Ranges: Soprano Alto Tenor Bass Accompaniment: Piano Length: 42 Measures 1:15 Minutes 229 Performance Considerations: Secular Moderate difficulty The ranges of the soprano and alto lines are well with- in high school tessitura, but the tenor and bass parts re- main high most of the time. Stepwise motion is more frequent than leaps. The piece can be used as a member of the cycle or can be performed as a part of a program group. The piano accom- paniment is effective but moderately easy. Conductors should be aware of the mistake in rhythm in the alto part in measure 23 ( .J instead of .J5 ). The Bereaved Maid (1971) SATB George Walker Publisher: General Music Publish— ing Co. Hastings-On-Hudson, N. Y. Author of Text: Anonymous Voice Ranges: Soprano Alto Tenor Bass Accompaniment: Piano Length: 104 Measures 2:50 Minutes Performance Considerations: Secular Moderately easy 230 This composition would be recommended for high school as well as college level choirs. Each voice has lines ‘which move conjunctly and many repeated motives. Attention might be given to the rhythmic diversity that is found in recurring melodic motives. A high school conductor should also be aware of the low tessiture of the bass line beginn- ing in measure 82 and continuing to the end of the choral part. The piano accompaniment consists mainly of the fifth, octave, and the ninth, is moderately easy and vital part of the texture and mood of the piece. Take, 0 Take Those Lips Away (1971) SATB George walker Publisher: General Music Publish— ing.Co. Hastings-On-Hudson, N. Y. Author of Text: William Shakespeare Voice Ranges: SOprano Alto Tenor Bass Accompaniment: Piano Length: 34 Measures 1:54 Nunutes Performance Considerations: Secular Moderately easy 231 This piece is basically a cappella. Accompaniment serves only to frame the choral parts. The difficulty in range occurs in the bass and tenor line in measures 23-27 where these parts are asked to sing high and soft. High school voices may have difficulty handling this properly. However, the piece would serve as a good introductory work to twentieth century sounds. It is only mildly dissonant and tonality is still discernable. Although there are changing meters, the rhythms in this piece are rather conventional. That Yonqé Child (1974) Ave Maria (1972) As Dew In Aprille (1972) There Is No Rose (1972) SATB Ronald Roxbury. Publisher: Walton Music Corp. New Ybrk, N. Y. Text: VOice Ranges and Length: That YOnge Child 18 Measures 1 Minute Soprano Alto Tenor Bass Ave Maria 29 Measures 1:35 Minutes :fiar Soprano Alto Tenor Bass 232 As Dew In Aprille 22 Measures 1:55 Minutes Soprano Alto Tenor Bass There Is No Rose 26 Measures 1:15 Minutes Soprano Alto Tenor Bass A Cappella Performance Considerations: Sacred Difficult These four motets are so similar in style that they can be discussed as a group. Each is quiet and reverent and should be performed with a clear, non-vibrato tone. The range of the motets are within high school vocal limits, but the dissonance of the intervals that occur as a result of the combination of the lines makes these pieces a challenge to inexperienced as well as experienced choirs. The innocence and unassuming mood of these pieces would work well in high school repertoires. Care should be taken to gain a flowing freedom with the music. It is important to stress that individual eighth notes get a separate beat or tactus. The exception are words or syllables joined under one bracket (r-——I) in which case 233 the total time value of the bracketed notes is the unit of heat orpulse (r-1=J, r—1—1=J, .m=J.). These pieces, because of the texts, are usually re- served for the Christmas season. They are appropriate for any program setting either as a group or used individually. In Memoriam - Beryl Rubinstein (1959) SATB Hale Smith Publisher: Galaxy Music Corp. Highgate Press New YOrk, N. Y. Author of Text: Langston Hughes Russell Atkins Voice Ranges: I II 9' V-e- Sop. Alto Tenor Bass Sop. Alto III 25 Tenor Bass Sop. Alto Tenor Bass Accompaniment: Chamber Orchestra or Piano Length: 110 Measures (complete) 10:30 Performance time Performance Considerations: Secular Difficult This series of pieces would be more suitable for mature singers or possibly a young choir of trained.musi— cians. The movements are highly chromatic and involve 234 frequent changes of meter. Individual lines are not diffi- cult but harmonies that result from moving lines should be carefully realized by both conductor and singers. The piano realization (second movement) is difficult and would require a pianist with skill and technique. The first and third movements accompaniment would present no problems. All movements are slow in tempo and are highly linear in concept and construction. Care should be taken in mea— sure 42 where three voices sing the word "bare" and one voice sings “strip.“ Two Kids (1948) SATB Hale Smith Publisher: Edward B. Marks Corp. New York, N. Y. Author of Text: Nicholas Guillen Voice Ranges: V6 V2- 9 ‘va Soprano Alto Tenor Bass A Cappella Length: 52 Measures 3:30 Minutes Performance Considerations: Secular Difficult It is recommended that this dramatic work be reserved 235 for more mature choral groups. The tessiture of the soprano tends to remain high for several measures at a line. This is also true of the alto lines. The work is very chromatic but tonally centered on C. It has some jazz vocabulary. Changing meters are prevalent, however, rhythms are conventional and offer no special difficulty. All divisi parts occur in the alto and tenor voices. Four Little Foxas (1971) SATB James Furman Publisher: Oxford University Press New York, N. Y. Author of Text: Lew Sarett VOice Ranges: I II 2; £9 Sop. Alto Tenor Bass 80p. Alto Ten. Bass III IV 53 ‘3' Sop. Alto Ten. Bass Sop. Alto Ten. Bass A Cappella Length: 87 Measures (complete) 3 Minutes Performance Time Performance Considerations: Secular Difficult 236 The four short pieces in this cycle are characterized by changing meters, contemporary harmonies and rhythmic complexities. With the exception of the first movement which is basically homophonic, a linear texture character- izes most of the piece. Tempo changes are frequent and character and mood changes with each line of poetry is common. The choir performing this piece would have to be one that is flexible and mature musically. The cycle could not be used with secondary groups unless these qualities prevailed. Salve Regina SATB James Furman Publisher: Unpublished, copies are available from the composer Author of Text: Marian hymn (liturgical) Vbice Range: Soprano Alto Tenor Bass A Cappella Length: 34 Measures 2 Minutes Performance Considerations Sacred Moderate difficulty At first glance, this motet appears to be written in a homophonic style. After four measures, textures become 237 more contrapuntal with frequent use of the triplet. Care might be taken executing the broken melody line at mea- sures 9-13. Although basically a tonal piece, there is some use of interval relationships which might be challeng— ing for the inexperienced choir. In addition to mature groups, the motet may work very well with high school groups and may serve as an effective beginning in the study of twentieth century harmonies. With exception of measure 28 and the final five bars the 3 meter remains constant. 4 The Quiet Life SATB James Furman Publisher: Unpublished, copies avail- able from the composer5 Author of Text: Alexander Pope voice Range: I II 6- 2“ e 8 O SOprano Alto Tenor Bass Sop. Alto Ten. Bass III IV 4» <9 5? ea '9 E .6. Sop. Alto Ten. Bass Sop. Alto Ten. Bass A Cappella Length: 98 Measures (complete) 8 Munutes 238 Performance Considerations: Secular Difficult The four settings in The Qaietgga§a_have wide vocal ranges. The bass in particular, begins on E1, a seventh below the soprano and alto. There are constant meter changes and tempi and mood changes which requires a flexible choir. Furman calls for whispers, breathy tones, glissandi and falsetto tones from female voices. There are some challenging rhythmic passages with triplets in the fourth setting. There is also some use of divided parts in the last setting and a section for male chorus in the first. This would probably not be successful with the normal high school group because of the amount of preparation time involved. A rendition of one or two settings might be feasible. Sing Unto The Lord (1975) SATB George Walker Publisher: General Music Publishing Co. Hastings-On-Hudson, N. Y. Text: Psalm 96 Voice Range: l6 '6- O- Soprano Alto Tenor Bass A Cappella Length: 67 Measures 1:50 Minutes 239 Performance Considerations: Sacred Difficult This setting of Psalm 96 is rhythmic, dramatic, and forceful. It is linearly conceived,very imitative, and lines are rhythmically complex. There is much use of syncopation and meters change frequently. The tessitura is high in all voices. In many instances the soprano and alto sing almost equal parts. It is not recommended that this piece be attempted with high school voices. It would be a very effective number for more mature choirs. Epigrams and Hyma (1975) SATB Ulysses Kay Publisher: Pembroke Music Co., Inc. 62 Cooper Square New Ybrk, N. Y. 10003 Author of Text: John Greenleaf Whittier The Rev. John Murray Samuel Longfellow Voice Ranges: s- Soprano Alto Tenor Bass Accompaniment: Organ Length: 158 Measures Performance Considerations: Sacred Moderate Difficulty 240 This piece would be suitable for a choir with moderate musical maturity. While the setting was written for a church assembly, it could be used by both high school and college groups. The piece is basically tonal, however, there are some progressions which are contrary to the ter- tian concept. Textures consist of unison, octave presen- tations and pairing of voices with an accompaniment that compliments the choral parts but does not double them. Staphen Crane Set (1972) SATB Ulysses Kay Publisher: Duchess Music Corp. 445 Park Avenue New York, N. Y. 10022 Author of Text: Stephen Crane (1870-1900) Voice Ranges: I II 3 9 was Sop. Alto Tenor Bass Sop. Alto Ten. Bass III 4 IV ‘v-g- 3 3. e- 4;- Sop. Alto Ten. Bass Sop. Alto Ten. Bass Accompaniment: Thirteen Players or Piano Length: 16 Minutes Performance Considerations: Secular Difficult Because of Kay's frequent use of voice pairing and unison treatment of the melody line, three of these pieces 241 might be considered for singers with a moderate level of musicianship. The lower extremity of the alto and bass voices, however, may prevent the use of these pieces with some secondary choirs. Throughout the major portions of settings I, II, and IV, voice parts are doubled by the instruments which reinforced some of the difficult inter— vals that may occur within or between voices. The instru— mental part to the third setting does not double the voice part making this section the most difficult. Parables (1970) SATB Ulysses Kay Publisher: Duchess Music Corp. 445 Park Ave. New Ybrk, N. Y. 10022 Author of Text: Unknown VOice Ranges: I Soprano Alto Tenor Bass V25 Soprano Alto Tenor Bass Accompaniment: Chamber Orchestra Length: 9:30 Minutes Performance Considerations: Secular Difficult 242 The two settings which comprise Parables are of a level of difficulty that would hinder their use with many high school groups. Ranges in the alto, tenor, and bass voices tend to be extreme and intervals at certain points within choral parts may present problems. Many times the choral parts are within a tonal center and there are numerous instances of unison or octave presentations, however, the combination of intervals between choral parts and the instru- mental part is challenging. The small chamber orchestra part has been reduced to a piano score which requires an accompanist with skill and technique. Toussaint L'Ouverture - 1803 (1977) SATB Hale Smith Publisher: Unpublished, avail- able from Theodore Presser Publishers Author of Text: Adelaide Simon VOice Ranges: 9- e- we Lye Soprano Alto Tenor Bass Accompaniment: Piano Length: 86 Measures 4:30 Minutes Performace Considerations: Secular Difficult 243 Although individual lines are not difficult in this piece, the combination of voice parts is challenging. The group that attempts it must therefore be an experienced one. SOprano and tenor ranges tend to be extreme and may not be suitable for some high school voices. Long passages of sustained tones are found in the middle section and there is one instance of choral speech. The piece is totally syllabic with frequent division of voice parts. The accompaniment beginning in the middle of the piece is characterized by sixteenth note triplets moving in octaves. Summary It has been the purpose of this chapter to present an argument for the inclusion of the compositions of five Afro-American composers into the educational offerings of both secondary and university music programs. Choral music, more than instrumental works, of these composers has been omitted from the mainstream of the educational process. Devices, form, and many twentieth century harmonic practices found in these works make them viable for use in non—choral classroom situations. A section of this chapter has been devoted to the practical use of these works in choral settings, both secondary and college level. The level of difficulty of the music studied ranges from moderately easy to difficult and some of the pieces are not suitable for high school voices. Each composer has written works which can be used in any 244 number of choral situations. The exposure of their works is essential, not because they are Black, but because they are Americans, writing American music in twentieth century idioms. Tilford Brooks, has commented quite effectively: It is time that all of our educational institu- tions, from the primary grades through graduate school, fulfill their responsibility of teach- ing a;l of our citizens about al; of our citizens.6 CHAPTER V SUMMARY It was the purpose of this study to examine a repre- sentative sampling of the music of five Afro-American composers of contemporary choral music. In addition to exposing these composers and their choral music, another purpose was to make certain recommendations for its use in both choral and non-choral settings. It was found through the analysis of the compositions that music literature is available which is suitable for secondary and college level choral groups, choral repertory classes, and analytical studies classes. A valid argument was made for the inclu- sion of the choral music of Afro—American composers into high school general music classes, college level music history courses, twentieth century American history courses, and courses in Black music. A historical segment on Afro-American music revealed a choral tradition that began with the music of the trans- planted African slave, progressed through the arranged spiritual as art music to the twentieth century composition written in contemporary idioms. Another segment discussed the trends in American choral music of the twentieth century. Through this discussion, a proper foundation was established 245 246 for the allocation that the five composers of the study were indeed writing characteristic compositions. The five choral composers, George Walker, Ronald Roxbury, Ulysses Kay, James Furman, and Hale Smith were chosen from a long list of Black composers because they are eclectic in their approach to composition. Although James Furman and Hale Smith have obviously reached into the Black experience and incorporated certain aspects in their music, their writings have basically remained characteristic to those trends found in twentieth century music discussed in Chapter II. The music of all five compowers was discovered to be skillfully written each with an individualistic approach to his reSpective compositions. George Walker is most skillful in his ability to weave compositions from an economy of musical materials. The total sonority of his music is unique for its character and openess, starkness, and refinement. The sophistication of Ronald Roxbury's motets is evident as he pulls from techniques of the twelfth century and marries these with the harmonic idioms of the present century. His experi- mentations with graphic notation and aleatoric procedures indicates that this composer has much to offer in the future. Ulysses Kay is the most prolific of the five and has been composing for the longest period of time. His later works seem.more geared towards the limitations of the voice and ear as he approaches his vocal parts more tonally than his instrumental parts. There is With Kay a sophistication 247 which comes from experience, a maturity of style which con- tinues to grow with each new contribution. James Furman makes a distinct use of instrumental techniques in his vocal works. In addition to combining the techniques of two mediums, he also attempts to combine styles within one composition. This composer, also seems to be embarking upon new and different ideas in his future works, and will have much more to say. The compositions of Hale Smith offer another distinctive approach with the use of jazz harmonies that are so closely woven into the total structure that a new and refreshing sonority is perceived. For many the only valid estimation of the worth of a musical composition is the "test of time." The informa- tion given in this discussion regarding style and technique of the composers may be of little value to those who feel that this is the only criterion for judging the relative merit of a piece of music. There are many, however, who do not wish to wait a hundred years to discover if our present day American music is worthy of their consideration. Indeed, the Black composer has waited too long already for recogni- tion and consideration. Those musicians who wish to dis- cover what American music has to offer now should have found in this study some of the information needed to see this music in its prOper relationship to the whole of choral literature. FOOTNOTES FOOTNOTES Chapter I lWarrick L. Carter, "Black Composers, Their Contribu- tion to Serious Music," Orchestral Review, 1971, p. 6. 2Schools and Symphony Orchestras: A Summarv of Select- ed Youth Concert Activities, (Washington: U. S. Government Printing Office, 1971) p. 99. 3Dominique—Rene de Lerma, Reflections of Afro-American Music, (Kent, Ohio: The Kent State University Press, 1973) pp. 24-25. 4Hale Smith, "Here I Stand," Source Readings in Black American Music, (New Yerk: W. w. Norton & Company, 1971) p. 288. 51bid., p. 287. 61bid., p. 162. Chapter II 1Alan P. Merriam, African Music on L P: An Annotated Discography (Evanston, Illinois: Northwestern Press, 1970). 2Arthur Evans, ”The Development of the Negro Spiritual As Choral Art Music By Afro—American Composers With An Annotated Guide To Performers of Selected Spirituals,“ (Ph.D. dissertation, University of Miami, 1972) p. 31. 3Frank Tannenbaum, Slave and Citizen, The Negro in the Americas (New York: Random House, 1963) p. 42. 4Eileen Southern, The Music of Black Americans, A History, (New YOrk: W. W. Norton and Co., Inc., 1971) p. 67. 5George washington Cable, "The Dance in Place Congo and Creole Slave Songs," Centurv Magazine, XXXI (February, 1886) p. 519. 6Ibid., Arthur Evans, p. 35. 248 249 7In his dissertation, Arthur Evans states that one can study the music of other national groups who migrated to American because, there was a method of notating and tran- scribing it. Schubert, Schumann, Grieg, and Tchaikowsky composed music for their folk idiom. Later, Bela Bartok and Zoltan Kodaly collected.many of their national folk tunes and used them in a very artistic manner. It was difficult for this to happen to the music of the Afro- American because much of his music was based on "oral tradi- tion." . . . Many years elapsed before Afro-Americans were able to notate and transcribe their true vocal idiom. 8Hall Johnson, "Notes on the Negro Spiritual," Readings In Black American Music, edited by Eileen Southern, (New York: W. W. Norton and Co., Inc., 1971) p. 269. 9Ibid., p. 271. 10W. T. Allen, Charles Pichard Ware, and Lucy MoKim Garrison, Slave Songs of the United States (New YOrk: A Simpson and Co., 1867) p. ii. llIbid., Arthur Evans, p. 48. 12Ibid., pp. 49—50. l3Ibid., p. 57. 14;p;a., Eileen Southern, p. 209. 15;p;a., Hall Johnson, p. 272. l6Ibid., Arthur Evans, p. 59. l7John Lovell, Jr., Black Song: pghe Forge and the Flame (New Ybrk: The Macmillan Company, 1972) pp. 407-408. lBIbid., p. 408. 19Donald Jay Grout, A Hipporv of western Music, (New York: W. w. Norton and Co., Inc., 1960) p. 611. 2°Ihid., p. 612. 21Carl Gordon Harris, Jr., "A Study of Characteristic Stylistic Trends Found In The Choral works Of A Selected Groups of Afro-American Composers and Arrangers.“ (DMA dissertation, University of Missouri-Kansas City, 1972) p. 7. 221bid., p. 612. 250 23Tilford Brooks, "A Historical Study of Black Music and Selected Twentieth Century Black Composers and Their Role in American Society,“ (Ph.D. dissertation, Washington University, 1972) p. 442. 24nga., Eileen Southern, p. 462. 25Ibid., p. 464. 26Dominique de Lerma, Black Music in Our Culture, (Kent, Ohio: Kent University Press, 1970) p. 71. 27;p;a.. pp. 72-73. 23;p;a., Tilford Brooks, p. 445. 29The letters in parenthesis indicate the publisher of the choral works. Appendix III provides a key to the code letters used. Where publishers are not given, it is necessary to apply directly to the composer. 3OHildred Roach, Black Amprican Music. Past and Present, (Boston: Crescendo Publishing Co., 1976) p. 164. 31Halsey Stevens, The Life and works of Bela Bartok, (London: Oxford University Press, 1953) p. 154. 32Gordon H. Lamb, Chgpal Technigue, (Dubuque, Iowa: William C. Brown Co. Publishing, 1974) p. 187. 33Ray Robinson and Allen Winold, The Choral Exparience, (New YOrk: Harper's College Press, 1976) p. 471. 34Ibid., p. 472. 35Ihid., p. 472. 36The term aleatory is derived from the Latin word for dice player. 37William Burres Garcia, "The Life and Choral works of JOhn wesley work (1901-1967)," (Ph.D. dissertation, University of Iowa, 1973) p. 154. 38Karle Joseph Erickson, "The Choral Music of Daniel MDe (1926— ) written Between 1952 and 1967," (Ed.D. disserta- tion, University of Illinois at Urbana—Champaign, 1970) p. 137. 39Marlowwayne Johnson, "The Choral writing of Daniel Pinkham,“ (Ph.D. dissertation, University of Iowa, 1968), p. 60. 40lpi§., Ray Robinson, p. 493. 251 411bid., p. 494. 42Louis vincent Pisciotta, "Texture in the Choral works of Selected Contemporary American Composers," (Ph.D. disser- tation, Indiana University, 1967) p. 392. 43Ibid., Karle Erickson, p. 44Horace Reisberg, "The Vertical Dimension in Twentieth Century Music," ASpects of Twentieth Century Music, edited by Gary Wittlich, (Englewood Cliffs, New Jersey: Prentice- Hall, Inc., 1975) p. 322. 451bid., p. 362. 46Vincent Persichetti, Twentieth Century Harmony, Crea- tive Aspects and Practice, (New York: W. W. Norton and Co., 1961) p. 163. 47;Q;§., Horace Reisberg, p. 373. 431pia., Karle Erickson, p. 137. 49Ibid.,.Marlowe Johnson, p. 20. 50Ralph Ricardo Simpson, "William Grant Still, The Man and His Music," (Ph.D. dissertation, Michigan State Univer- sity, 1964) PP. 301-304. 51Charles Edward Brookhart, "The Choral Music of Aaron Copland, Roy Harris, and Randall Thompson," (Ph.D. disser- tation, George Peabody College for Teachers, 1960) p. 268. Chapter III lHildred Roach, Black Amepican Music, Past and Present, (Boston: Crescendo Publishing Co., 1976) pp. 150-152. 2Ibid., Vincent Persichetti, p. 163. 3The "syncoped entrance'| is the technique in which one voice enters and is followed by two or three additional voices a half-beat later. All voices continue homophoni- cally. Taken at a fast tempo, this effect is somewhat reminiscent of the medieval "hocket." 4Ibid., Vincent Persichetti, p. 163. 5Comments from a letter written by the composer to the writer. 6Program Notes from 1977 recording, Tpe Spade Smith Singers, Grenadella Records GS 1033. The recording features Leda and the Velvet Gantleman by Ronald Roxbury. 252 7Ibid., Program Notes. 8These comments are offered by Gregg Smith in the intro- ductory material to each of three of the motets. 9Ibid., Gregg Smith. loDouble inflection involves the use of the natural form and an alteration. of a note in the same vertical structure. llBMI The Many werlds of Music, MBrCh 1963. P- 3- 12Malcolm Breda, "Hale Smith: The Man and His Music," (Ph.D. dissertation, University of Southern Mississippi, 1975) p. 25. l3Karamu House has as its purpose the promoting of young Black playwrights whose works would otherwise not have the Opportunity of being staged. The house has been responsible for launching the careers of many Black playwrights. 141hid., p. 34. lSIhid., Hildred Roach, pp. 152—153. 16Ibid., MBlcolm.Breda, p. 46. 17Ibid., p. 85. 18Ibid., p. 85. l91n jazz ensembles, the roots are usually played by the bass who ”walks" the root line. 20The American sixth is an added sixth above the root that is used instead of or with the fifth of the chord. It was used extensively in American dance band music of the 19205 and 308. 21Choral Journal, (December 1973) 14:34. 22This work was recorded on CRI Recordings by Robert Shaw as a part of a joint project between Cleveland Composer's Guild, the Kulas Foundation, and the American Composers Alliance. 23Ibid., Malcolm Breda, p. 113. 24Ibid., p. 113. 251bid., p. 117. 26Ibid., p. 119. 253 27Ibid., pp. 114-115. 28Richard A. Monaco, "An Annual Survey: Secular Choral Octavos," Music Library Association Notes (September 1969) 26:149. 29Lawrence Huntley, comments from Program Notes of the premiere performance of The Declaration of Indepandence for Narrator and Orchestra, April 28, 1977. 30D. Max Garrison, "Declaration' Makes Musical History," News-Times review, April 29, 1977. 3l§alya_3agiaa is one of the four hymns of the church commonly termed Marian Antiphons. 32Klangfarbenmelodie is a term suggested by Schoenberg in his Harmonielehre (1911, p. 470F) in a discussion of the possibility of composing "melodically" with varying tone colors, on a single pitch level as well as with varying pitch, duration, and intensity. 33The Quiet Life was premiered December 16, 1969, in Ives Concert Hall, Danbury, Connecticut, with the western Connecticut State College Choir, the composer conducting. 34D. Max Garrison, review from News-Times, April 23, 1976. 35Because this work is still in manuscript form, it is not possible to give direct quotes. 36Analytical notes by the composer. 37Nicholas Slonimsky, "Ulysses Kay," American Compgsers Alliance Bulletin, Fall, 1957, p. 3. 381bid., Hildred Roach, p. 122. 39The other composers chosen for this honor were Roy Harris, Peter Mennin, and Roger Sessions. Their visit afforded them an opportunity to hear musical performances and rehearsals, visit schools and conservatories, and exchange musical ideas with Russian composers such as Kabalevsky, Khachaturian, Khrennikov and Shostakovich. 40Richard Thomas Hadley, “The Published Choral Music of Ulysses Simpson Kay -- 1943 to 1968," (Ph.D. dissertation, University of Iowa, 1972), pp. 251-271. 4lIbid., pp. 272-273. 42Ulysses Kay, comments from introductory notes to Epigrams and Hymn, 1975. 254 43Robert D. Herrema, "Choral Music By Black Composers,“ The Choral Jgurnal, December, 1970, p. 15. 44In works which were not introduced in this study, Roxbury delves into graphic notation and a number of idiomatic uses of the voice. Chapter IV lDominique de Lerma, Black Music In Our Culture, (Kent, Ohio: The Kent State University Press, 1970) p. 27. 2Ibid., p. 27. 3Dominique-Rene de Lerma, a musicologist who is current- ly professor of music at Morgan State University has pre- pared a bibliography of more than 2,000 entries on the sub— ject of black music. This source, The Black—Americap Kusical Hepataqe is published by Kent University Press. 4Ihid., p. 28. 5Quiet By Day and Sound Sleep By Night are soon to be published by Lawson-Gould Publishers. 5Ihid., Tilford Brooks, p. 10. BIBLIOGRAPHY BIBLIOGRAPHY Books Allen, W. T., Pichard, Charles, and Garrison, Lucy MoKim. Slave Songs of the United States, New Ybrk: A Simpson and Co., 1867. Cuney-Hare, Maud. Negro Musicians and Their Music, washington D. C., The Associated Publishers, Inc., 1936. de Lerma, Dominique-Rene. Black Music In Our Culture, Kent Ohio: Kent State University Press, 1970. . Reflections on Afro-American Music, Kent, Ohio: Kent University Press, 1973. Davison, Archibald T. The Technique of Choral Comppsition, Cambridge, Massachusetts: Harvard University Press, 1945. Forte, Allen. The Structure of Atonal Music, London: Yale University Press, 1977. Grout, Donald Jay. A History of western Music, New Ybrk: W. W. Norton and Co., Inc., 1960. Katz, Bernard, editor. The Social Implications of Early Negro Music In the United States, New YOrk: Arno Press and The New Ybrk Times, 1969. Lovell, John, Jr. Black Sang: The Fopga,apg the Flame, New YOrk: Macmillan Co., 1972. Lamb, Gordon H. Choral Tachnigue, Dubuque, Iowa: William C. Brown Co. Publishers, 1974. Merriam, Alan P. African Music on L P: An Annotated Discography, Evanston, Illinois: Northwestern Press, 1970. 255 256 Patterson, Willis C., compiler. Anthology of Art Songs by Black American Comppsers, Melville, New York: Belwin Mills Publishers, 1977. Persichetti, Vincent. Twentieth Century Harmony, Creative Aspacts and Practice, New YOrk: W. W. Norton and Co., 1961. Roach, Hildred. Black American Magic, Past and Present, Boston: Crescendo Publishing Co., 1976. Robinson, Ray and Winold, Allen. The Choral Exparience, New YOrk, Harper's College Press, 1976. Rublowsky, John. Black Music in America, New YOrk: Basic Books, Inc., Publishers, 1971. Southern, Eileen. The Music of Black Americans, A Historv, New York: W. W. Norton and Co., Inc., 1971. . editor, Readings In Black American Music, New York: w. W. Norton and Co., Inc., 1971. Stevens, Halsey. The L;fe and Works of Bela Bartok, London: Oxford University Press, 1953. Tannenbaum, Frank. Slave and Citizen, The Negro in the Americas, New York: Random House, 1963. Ulehla, Ludmila. Contemporary Harmony, Romanticism Through the Twelve—Tone Row, New York: The Free Press, 1966. Wittlich, Gary. editor, Aspects of Twentieth Century Music, Englewood Cliffs, New Jersey: Prentice-Hall Inc., 1975. Schools and Symphony Orchestras: A Summary of Selected YOuth Concert Activities, Washington, D. C.: U. S. Government Printing Office, 1971. Dissertations Annett, M. "An Analysis of the Piano Sonatas of Three Black American Composers: Roque Codero, George Walker, Hale Smith, Ph.D. dissertation, 1973. Breda, Malcolm. "Hale Smith: The Man and His Musicf'Ph.D. dissertation, University of Southern Mississippi, 1975. Brookhart, Charles Edward. "The Choral Music of Aaron Copland, Roy Harris and Randall Thompson," Ph.D. dissertation, George Peabody College for Teachers, 1960. 257 Brooks, Tilford. "A.Historical Study of Black Music and Selected Twentieth Century Black Composers and Their Role In American Society: A Source Book for Teachers," Ph.D. dissertation, Washington university, 1972. Erickson, Karle. "Choral Music of Daniel More (1926- ) written Between 1952 and 1967," Ph.D. dissertation University of Illinois at Urbana-Champaign, 1970. Evans, Arthur. "The Development of the Negro Spiritual As Choral Art Music by Afro-American Composers With An Annotated Guide to Performers of Selected Spirituals,” Ph.D. dissertation, University of Miami, 1972. Garcia, William Burres. “The Life and Choral Music of JOhn wesley work (1901—1967)" Ph.D. dissertation, University of Iowa, 1973. Hadley, Richard Thomas. “The Published Choral Music of Ulysses Simpson Kay - 1943 to 1968," Ph.D. dissertation, University of Iowa, 1972. Harris, Carl G. "A Study of Characteristic Stylistic Trends Found In The Choral Works of A Selected Group of Afro- American Composers and Arrangersi'DMA dissertation, University of Missouri, Kansas City, 1972. John, Marlowe. "The Choral Writing of Daniel Pinkham," Ph.D. dissertation, University of Iowa, 1968. Kumlien, Wendell. ”The Sacred Choral Music of Charles Ives: A Study in Style Development," Ph.D. dissertation, University of Illinois, 1969. Maultsby, Portia. "Afro-American Religious Music: 1619- 1861," Ph.D. dissertation, University of Winconsin, 1974. Pisciotta, Louis Vincent. "Texture in the Choral works of Selected Contemporary American Composers," Ph.D. dissertation, Indiana University, 1967. Simpson, Ralph Ricardo. "William.Grant Still, The Man and His Music," Ph.D. dissertation, Michigan State Univer- sity, 1964. Articles BMI The Mapy worlds of Music, March, 1963. Byrd, D. "The Meaning of Black Music," Black Scholar, 3:28—31, Summer, 1972. 258 Barroff, E. "Black Musicians in the U. S." American Music Teacher, 22:30-3l+, 1972. Brooks, Tilford. "The Black Musician in American Society,“ Journal of Research in Music Education, 2:18-28, 1970. Cable, George Washington. “The Dance in Place Congo and Creole Slave Songs," Century Magazine, XXXI, February, 1886. Caldwell, Hansonia. ”Conversations with Hale Smith," Black Perspective in Music, Spring, 1975. Carey, R. "Choral Music and the New Aesthetic," The Choral Journal, 13:8-11, 1972. Carter, Warrick L. ”Black Composers, Their Contribution to Serious Music,“ Orchestraereview, 1971. de Lerma, Dominique. “The Teachers' Guide to Recent Record— ings of Music by Black Composers," College Music, 13:114-119, 1973. Dower, C. "Ulysses Kay: Distinguished American Composer," Musart, 24:9-10+, 1972. Garrison, D. Max. "Declaration' Makes Musical History," News-Times, April,1977. Gayle, A. "The Black Aestheticf'Journal of Research in Music Education, 20:195-197, 1972. Harris, Carl G. "Three Schools of Black Choral Composers and Arrangers, 1900-1970," Choral JOurnal, 14:11—18, 1974. Jones, T. M. "The Development of a Black Music Syllabus for Elementary Music Education," School Music} November, 1972. ' Lawrence, Huntley. Program.Notes on the Declaration of Independence for Narrator and Orchestra by James Furman, April, 1977. Monaco, Richard A. "An Annual Survey: Secular Choral Octavos," Mpsic Liprary Asspciation Ngtes, September, 1969. McNeil, A. H. "The Social Foundations of the Music of Black Americans," Music Educators JOurnal, February, 1974. Riley, C. "The Creative Black Man," Ebony, August, 1972. Smith, Hale. "Here I Stand,” Source Readings, in Black American Music, New York: W. W. Norton and Co., 1971. 259 Smith, Hale. "works: Ritual and Incantations," Music Educators JOurnal, January, 1973. Southall, Geneva. "Black Composers, and Religious Music," Black Perspactives in Music, Spring, 1974. Southern, Eileen. "America's Black Composers of Classical Music," Music Educators JOurnal, November, 1975. Southern, Eileen. “General Works, Review of Records: Black Composer Series (4 vols.)," Music Quarterly, 1975. Tyler, R. "The Music Culture of Afro—American," Black Scholar, Summer, 1972. Walters, H. "Black Music and the Black University," Black Scholar, Summer, 1972. APPENDICES APPENDIX A COMPLETE COPIES OF CHORAL MUSIC USED IN THE STUDY 260 .r .z .§.U.§£.'= :9..— ..8 9.5.5:»— UB! 453,80 3 2.201538 fl votes: 3.3.: =< .cdé 3. a; 12.68» 13:38 3.2.383..— A A I: a... A in: 32$ T .I 4 WIN” I n fix. I .55 I. .55 r 11 F H I Hr (in F H) i r I“‘ a... 2:3 .2 :3 In. SF .3 .. .2 £73..— L b L b )I J In J a. - .9... so» Ii. 1m. he a. - .2 h .- 4 I "I I ‘ h l H Fin 1 i v2... ” L I Fl Ll P k )0 1 A \III . {I} II) III. 9a... L. L .t. .L\ L I 1. .111. .4 “IF Huh .I MIIIIII.I)I|I)-.II. all»; . Iilv?!) ’1 L55 cane. 'Oll||*ll|'flllll.'dll I“ H a ‘II‘ ‘ 1“ ~ Ill in. II) I. I- lift)- :3: I» r a II III F T F I H T H ‘1 I r.- as a u I M illi. [HT u I II I fin..." 52 .h o u 9 III - _3- Ifll - h o n" a... 1... :1... WI. filii “ I I. I m I w I ”In..." 83:8 l H) % 1‘ I h F L.) \I.‘ I LII—L . . d ....nhrr. _. -..._ ea 8.... . . IEBJSB 898363 a: 01...! £9.68. .53. Ea: to>eoaom 2E. 261 .I III I... I. In on! u H, \HHJ‘MWIHI s ”HHHHWH“ r! “U w 1‘ .N PI ' N II w H : w . i. .41 )7 . ...................................................... . ................... . warm )L 1m... Lin}; )..:).. .T)!L.\.!L\ n.” .L1 I n I l J %1 ,dpflfi AWN u II.“ ha .I I J “M% , II . i I” r a. , a 4A “(.rk .w‘\mfi(c (. III 35 m ........... l5 ............................................................................... :3 - .s. a. luau... » no-8 - sot ) , . 563...... 8.. _h1 Wu... I... . in. I I.Ifl, Hui In hm # I u in u 1 ‘ 3 )4 - an 4 . 4 ”11 Ill: I68 8 28 5... 8-9.... 8.... I. e...... . a. - .2 [$7.3 ) \Ill 1. P I \.I MHW‘ INN, rmw I" M. .l# n F. urn Illmm mhw upul m" “Iii 4‘ .I II II Fm“ " u I H “ HM“ \Wh h H J \MH n ii 1 H. 4 hF I Na .. a... c. .22 in. Scouting: 31.5... 832...... a 8: 9.2.2261... .5 b . .5 .IKPII. up ‘5 3 PS I l l "5' s I E g E g % z 3.1 Inn-1' L .48 It: i “”hH mm- H ~ '1 4%? 5:“: 4H: I E ‘I 262 .8 ) I O H H 1 N H 1 4 A. \Ill} 0 \1). it"- . _ . L) ~ 11.13.". ‘11}. III. A} [II |‘\ 1 k I... I 1 I I “W a in 1m "WI T (\m i A III\ w A J - to... .6. - a... :1 3.2.6 8.. - So .86... a 58-5... to... It: L ”5.2.. ms... pl)? H h H HI) W n Ln 5 B u I . n h . r 4F .n L J H.- a i): In a)“ I I I u u h 4 H Ill-h .. I I i I M n .M n W n .r u 9.0.... :0. u a...) ll 2-...20 use I .- U .88: a 537:.» 9.0.: I.) h b n u I L H .F P r 1 I # W "“II'IIIDIM-III'|||NVI. (I an... a 507008. F II III .41." llllll'll "IA. "Il- 1.. a. I"|ll-lllllld|ll..laldl \ l N l-‘.| l'l I- I lll'llllu'ul 1.... 1.. II: I) 1 -1 I i), . T I .F F In fl: FF H .7‘ fl - I [I H H H fl I . u. l H h I! i . IF 1 I‘ u) . hi F 4 i (H . ‘ iii. .2... )2»... 5.... lion . so! a... 9.2 A! .2 In L F I In, I n N [P l in" lull '0' I. ll 7“ IJI.IIP - P -Jl I . lulllr" - l J a 1‘ 263 a . ” .> .1 .Ii-in‘g 83v .278: t a: . 6 .5 - .2 I543 264 its... 2.1;. .2 .3: a. .1: 2.88 55.8 3.2!... .1 ! Hm. him 5 .z .53.}! .218 2.5.32 93: ago : $3.113 “I I} in 1” um I E Uh “WWW «I: 3.33 S“. 3 in 05 .33 P) b Emmi a . m .3 fl 993‘ . £3 .9 .395 a... .00: j b I b H » Mr w H E N. % 4F Wu H [I'll-l A Nu m L I I I MW w I ‘ — 93..— N i H n.- F m W I I d 1.63.... 1 O E< an I lb d W- h I T w w - 43% - w W a I + .. h - u 4 .3. F ‘ H H I I a I... . a i.9—a.—. 285 9.2 .593.- c .3. 9.03 7.8!. an «at. M n {m HF N [HI filw 5 ‘I «L— HLH|4 L4» «in I. An» I WI a I w ' + I N|I< uni—Oh. “ +\‘. 4 h 1* H I g I 1... 83. Sc 13%. 08.: 3 Inigo - no. 80’ A. u «out. on .2... undulumlfl! Ln " “a s I. H J I L I? I i J r 2 .l .9: 4| .8?! I [.33. u a w! W ‘ ”I i W! 035 6.2 .FSI- - .3. FEET—o. 0.3: 2402:. Fun I a I w P w I M . 05:68 , b b L j . :0 N“ La .w .Tm I m - u... 8.... i u A. I i L! flu in b ‘ 41 HI 4 4‘ d ‘1 a“ I J “l I ESQ-(i 3333;: 5.. .3-82 38593685.: SCH—.33 3 =35. a ka3< a: 89: SEE O .uv—«H 265 MN 2.: 9853.5 H u m u‘ xxru um ‘NU N‘ u H A 2...». a A A: M ( 8: one... 93 MII‘ HHhH mllr—Illl ea. 5 .58. .5! 5 PE... ‘ “‘0 8.3.52 “I! ill! nulh III! F5 4" hhpd 266 ‘m k \b Lat m g m 1.? J. J..._ u_ I ”I Mu H {Mn 1” # £1. «9 in 95 .8: 0853 II F - T .- E’ W “W .I. I 0 ~ I I t “I I h I d}. F .‘ Idn H H! H 1 h H a... C m. N Lb. .5 lb - F l.- Fn H.— b~ u '1. n .I F NI I Li I L! II Eli I I I III M‘ I ‘ ~ I J.” 'I I H I ~>I ' F- I H i 1H] ' 1‘ Ll; g: I NIH 1. In ‘ .88. I: 32-..... 8358.3: _ r i I h h i ‘ — I1 h! ~ in > I I l I " iv # .0. u ~1~ m. u u I Q Q I .59: 9: $2-3... 8 zl. E9: 05 .1. .32 - 3:. an «I: 5.3: n - by h ’ - - I N h - N I - I ‘ >1 I H N 1 I I F H I E- L r E Iv I H l 14"”! H N 4% q 1.9.35.3...— .F3Du o as It: bog on «I: ‘ III h L» b I NH ‘I i I h - b I. ‘II F I HI “I - “I L J- l II " - H “I I -l I I II 1 I - HI ”I 4 ‘ a q “ .Eoia - .3. .303. u «8 9.0! hug N b L IJIIJ‘JT'I I N‘INIH In I I H ‘ I I1 ! I H .1 1H 1 I LI H I I LH I H J. H I I! bI I I I Hi H ‘ I II ID u'!.i ‘ ‘ .‘ lull, Eat- a so. to! :38.- oo «I: b .9 I h H H I r l I h I J I J II I ' I} d 1 14' A. ‘ ‘ .‘ 267 I II I I L ‘ [HI h‘ I U P In. I IT M ‘ ~ 4 I‘ ICE ‘ JIH I HI I l ‘ I n n J... u n s I H n HM M H I N .p.ui.as.s .— — — h L 5 RH r h I I l l I I H I u I l N I I I i i I I M H I r5 . 1V NMW‘WWWWW I H uuuF‘ 51‘ II- .1. a II II.I JHHHHHHPII> i I h! ‘ ! F I .8... S... .=.. 5.... :5... S... .=.. 8.... .8... mwmmmmu h B_I\ LP‘ % W I! E I‘ s! h, p I‘ ,l I h : I I In I.” L b : I I II! b h I in ~ - In ' I L I! ‘ i I! E L {I Ii I 4H I I ‘i ‘ IN - h I. H [I l- I .A An In .0 a o 0 ANI. . d. :1... «5 35.63 .55 a... :0... .63 .65 «:3 cost .6... .5 d! L p .b .5 up .5 MWEMHHINI I. I! ,L Ix“ hair L“ -l ~ ”h “f" In _I I u I ,I I HHI I flu in N in ”I I 1 1 o I . . .u 85...... =2... facing? an... .33 E3 - 83 o 4‘ I 'D II I- I:. 1Ii INIH IHIH I Hhfi- N u h J. L It m- ”I F I‘ll IIII N" u u .M ... i. a _ _ Q g: WNW M .mew .m v.— B-s I 8 . ‘3 B o is H ‘ In I l -‘ H I u In I I‘ .I 1" F I 5.! - H—I - u IF. .I I~ HH“HHIIIHIIIHHWH I hklx Ln \H I15 hi ill I h - n-I F Fl- 1H J} l‘ I IHWI, IV\ “I Allw H.I\ AK A ‘1 |le\‘ 4 IFI ”II I‘ H ‘V F ‘ ‘ ‘ I 1‘ 2.3 E2 - 83 o afll .mW .m filllll n-I, .3! l HHHI‘ h in HM H H I_I IFI A‘ I ‘l Nil .. .L In .LI - My. n 1 I I H Hui ‘V “ I1. .I u-I n J 4‘ H, I[ 269 a! h::: I u~au III. at .AiAAgj‘ L \ ,4»; I 935-0 HI m .r I F I I bun J: H‘ .filfl I H u I IN" H II J I I I II H d ‘ Infill g An” 103.20 “I LJHA .. . .i J m I i I I I I I I I II I I I I I I I &l[ 4 r I I I [I I ”1‘ ‘ ‘I IAII "ill. he a. lot :2 I! W n I I I I I I I} I I.- ' F ll _ HI I I- I I I l- b I II I I I «I «3.30 I can be S I _ 7.3 9:... b: 5 0.33 95. E .r Jllfll ”I I9 IN 1' tin I I b I I I -l-r N “ I I- Iu u 1 I. «H H I ~ .xnu nunnnnu;. g\ 1.3.50 93 a... c. in. ~ .33 n5: 9: 5 0.3! 95. A I an" —r A hm ~il IF I N HI ‘ in I I P l l I d l o ‘ ‘ 2:: an. a. 8...! 05. IIIH I! H .n . h A A. I! In NH 1 F‘ N- I i In M = u c i A. I A M NH O I 1 2:: ma. :— 80’ 95. Silliuli'no I I. Irmm 0. .tIHwTI-FTI I!“ .- -“‘i> J I #4 H ‘IIII—Il Ii I I H I 1J1.” ‘I I lull F I. E = .830 .EL: L . m I “n flu .- m. In" N! \a rm P. = .226 1.8:. I H >1 u fl N n - r..nnn_\w kw A... = i .35. b ‘ IN E a. 9.2. 95. I - I In E l 5352333 E. A d 9! HF I ~ - .u u u u n F I I I I‘ 4 1% 89.8 Put. a I I!“ I I «320 ‘03 .55 «:3 cost .33.. h“ n u n L“ . n . . . u I'M“ I “H I II I IILI -I.I"ufl & All" > A A _ A A % our-:0 to... .65 El Ex.) :53 fiul n .7 4 .r . .n. m I _ . u lax. ham l'. I ‘ I ' ! I L I g. s a... :— Eot at”. b: a to... .85 a... .8... .303 III J1. D a t . H“ II“ IIWIvII I! H‘— M!!! 4%" I" h III W I II I Yquudn Fl I I 4 I I I 4 I I ‘ H I . . H N A A A 4. I] ”E m. on: 05. 52 = .21.. .85 ED e.g.... .32.. a » F N» w .I y‘ E: ‘ ...l..... lullnfluufl.nfi I. D g‘ A H H Aviliifllo‘ 'I..I 2'70 ll ‘IIII—II 271 icon: 3.3: -< .< .u .3 a. use! .858» 19.36 33:85 88. .> .z .§€-=...9§£§= J... ,6 E33... 3...: .2! k E. o. .5135 . 5. we: 5.32:1}: _ _ s L .L n 1 4 an q x. - . = a. 5.395 11:5 .232: w. \l\‘-»\ «:3 WIWJHfifil-IE!wWMI%?L$ :8 .2922 k..— 3.:- §=< - . .- . m kwfi mammfiamw 2..., {ll H 2... a E}. .23 . _ a.“ . 5.65.. 2.: c. . .5 ncm u... :mmwfim mg: L . ES 2: 2.... ”5m ¢m¥A<3 mOIOmU 50x .53; 272 MTIHmwmflil! _ v83... 2. 2 3.3.5 fmwnwww. BMW n It. a a 1 H I 1 2. 8 a. .88- IIJII . I II ll‘ flay—I.“— "a". L-.. 32. w “an “final. l I n . {l‘ 9.3 2.1.. .8. m H;- gtullluaao... a .8.» m fitfl: I... USE: Ln“. Hfiwi In... 9.9.... Stetaxx. .t-E ..,fiwfi$f. 3 - . .3 callus... 32.2. as. All .- F HI!!! bx . a» .11: have. 273 .Ill SAB—.2 . .5 oz» Ill! P51— 2: 3 5.. . .5 IIIIILES a: 2 . I 1 {Eta—2.. s - % .11 a 2:» [is 95 2 . gm 1‘23»... 2 . ,274 Lb 41 _ . a... 1% L L .232: 3 - .s h E Ell‘ 2'75 T|,u.lll I| W. I '00 iv . h) .11 u Ii. ... 276 8.. «i=0 N— I! llll II !‘ Hi1 ‘ E E a i m. IIIIII I. ' II“. III! 8. W !::| iii > ; . 35 | I“ H... l l||.i . . . ‘95 iii' if nu m I“: “Mal l!!! I!“ .. 53!! m5 m! m: N I g nun—v q" Ill ‘2 If E I. 'I {I . .= "u m ml; Illr3 ill I. I!" III; "I 3‘ ll- '" || III ' III .., I. ... .. "'t !.l.' ill ' II 1' i '° ll! "Ila "! 3 m 3 "I ..l I" I . I . ~ ‘I ,. .. II .. I I I I... n.. n.. I... I‘ll III ‘.a .' u. . 2% H " "if ”I!!!" 280 333133 'iii .. Ill 3 I, ‘3 III III I I "III: jllk IIiI l I I I ....................... | : g F ’.‘ II I: ::: ... ",7; - m . III - III . fill 'III -. n 9 "I 9 “ ° IIIIIIIIIIII ' , 3 III 5 In : II III 4, II "I In: all: ' .......... fit I III . In“? t i. 3} '1‘ ”E IlIlIllll IlII’“ 281 l‘.‘ .Lii I!!!ll|lll ‘ ii. I" II I“ III III " II“ II III III III: III||V THERE IS NO ROSE OF SUCH VERTU 282 "God the benGdI be llIL 11L IIII III III III IIII II" _ IIII III IIIIIIII III 11 III III “II ' III II' I"'"11 . Ill 1111.. III "1: II 1111 1.11 1.1 III .- II 1 IIII1 III|1 II III III III . . . IIII . III . III III III 1 I" - IIII 1 III. IIII IIII IIII II“ III. I II" II as Al .1 d urlh .___—— By Ih-l mu '0 any Inll In th By III! =E=I.= l - «I III __ U) ===== II - «I In '— 1 -| 1 III 1111. IE: ,7 [Iii III III; III] III" 1 III 1 IIIIIi ll || 5 "I," III 5 .11 "III E}! .1 mill 1 IIIIII Ron-Id Rubin, (1970) For Mixed Voices 'l'rul Illonsl words All right: "mm! (9 Copyright I972 by WALTON MUSIC CORPORATION International Copyright Stand 283 north ” ‘ N! ’ we'd - Iy an we all this I 5l_ 55% F” W ”I ' I H: g H % 1! ml! .. J: H: "H H" 'i' 7 III ”w H - . .3 am In: Mv ‘ml u . Jim I - gm: nu a: : m: 4 an: r j .. ~ III! II" = = E I a, . . ‘ - - I 7 “I! III 3 my g m: S '5 tlin ‘— _ —— Ind —— —_ op-h I r I L a *— J _—_n —— _" —— —'Al - 3‘ “ -. —_ ————_ -h m Im a llll :- .. s .. ml : l : 0 mm 3.. I ."vg . .. ' .u'. i ‘ . III! In. :2! In: |.;3‘ I..2 I) . ‘|.*..’ M W Walto- 284 mg! 2.3: 5‘ 22395 38:56 ~9§.¢E&£ 20:55.38 23: 20555 3 22 22.25 © FF'W F II! F F 0::- oa-—u also cl .2010 2.. so. no. 8 can: =. no In:— 3‘ N... 142.‘ .% O-——ul G's—I 03.9 0: ...JO 0‘. I: hO‘ 9O .Uflu‘ -I ha ”Imu— ¢ L p P L 3 .. 1% L be... ~I=I32 50.!» Oz<—k . n x BOG-O. ‘38:: I— w I I x an: w I w I 29.3 oo— 4 ani a. an: :3 nal a no u:- a . 3 .w a: a - an... a. an... :1 . an! n «o u... u .T ..n w ..0 Wm mum “I .9 9.528 a . L IIIII A3 . 1 4 1 4 t hO'IO. oIOhO'Oh .— ash: Emanuel n.— 5 5 :. + .2 3. : .- a a .- as H 8 D3 3 ‘ T .2 .3 P; l b‘ 1‘ a“ '3 '3 ‘ E 3 o :3 l' :3 286 3 A 3 .m '8. ~29. .23.. :2?! a c .IlnIIL FLIIL rllll. ..|~||L ¢ .3 . I— . o. . _< .3 . I— o— . _< :1 - cl 8-3 a . N _ f ... . u— . o— - _< .3 .. I— o— - _< no. . 0! 3-3.5 fl _ ~ . rlnl‘L .1. - a. - o- - —< .2 . u— o— - _< .3! . CI 3.380 a 4 . - ~ 7 rr Y‘L ... . a— . o— . _< .1 . s— o— - 2 not . cl 3-3 n r P b a 4 . h . . ~1 .§ . E. -2 c an: hcl :0, EL“ hm m .. no -3 a an... ha... :03 gunman L1 w W % A I ‘ D.-.— c noun has. :03 .2.- ..5 on: .3...- oa! aov.n¢l v: 31-9I 287 3:8: 2..... .... $6.59.“. 352.930 3......35ts 22:29:89 was: 2055.. 2 E. ...»...ch @ W ' “mmm I w 2. . J. . 4 - m .5... c. . w I»: _ ....flm. M u - « .llo . o. H‘ F D “ LI m u m I a ... a. o... .. can l8 3 a... .5 on W . . m .mw HI Fin I I o I .‘ é mm m d 1 T u E . m L. 2. q 1.. . u 4 m m. . nm< closfl .huaow oh .Exm 08.5 .. =2. 2.. ... fine... 8...... 2.. 8......8 ....- 2...=2.. .98.... a. 9.2.5.2.. 2 ._ 6888.. .. ...... 38...... ... 2..-8.. ....a ....3. . 3 38...... 2 2.2.8... .26.. 2. .82.... ._< .858. 88.... o. 0!... a 2.3 a A b.2898 8. 2.: 8.58:. «E. .22.... 2.5: .8: to. . 2. 3.6... .8... .....26 2:. Q A fin E 8 W u .|[ ... ".1 .fia.o..3.o..§£...n.2..o§u£ 2:32.... 2.... ...... 2.. 88 ......) ... ..[. .38... 2a .22... Baez-.... ..o 333 8. 8333.8 «E. .3508 .8 8.2: .85 82:98 a 8» EB 94‘ .3833. .88 has... ... .1: 82.. 2 23.2.8. 2 = 60.. £8... .9. 2a 282-...... ...-mm .829 :05 ....- u=o_ ..o $235.3 .8 88.—x: 2..-Ema so...) ...-B . a .4 .85... 3 =3 .85 .3 £5 “392582 2. 8.2.8....» 9.. .32.... 2.... .65»...— 250 88 u... a. 8.5. «33.». ..c v.2. ...—£0 5.3 $80 c. 2 .83.. 5.52 E9... 8..— ....u 8.50. .30.» b? 2- 8:: 2: 5.8.8.. .582...- 9...2...._8 2.. ... 8.. 8.8.2.8 2.. o. 2.5.3.. 2.. .3233: 9:- 82.25!- o... «5.83:. 838a «$3..» 2.. got.- .. v.59. Sax—3.20.. ...-£0 a .53 .< .658 .9550 53.53... 5.3 3.5.5... ......o 5:820 38. a ._ .52. 32:88.... 2 582.... 2.. 5:3... .953 ... .8338. v..- .583. 9.- 8:... n .32.. .___... 828.922....» 2 18...? o... Ea... 939.! 5033 8:: 3a: 3: 523.850 338.. 2: .u :38: 0.3.... .9 :83: 5.5868 8312» a a b.523— 3:8..— a; [no bcn- 0 ct- Mn-Iet Do - l. - the one. | I a | . 8 r . a . N! h g ‘7 .2 fl '0 I ‘J! . I IN- E in: ‘ w" '3 III-I % ' has, ltu- tun ot-l- cl bu- F! Mu-let De - [no - - «Ho 0! !!! I!!! ! 288 L I it — _ I; I T “O I - r “a. ’ no “a. ’ J. n- > lo- , >. - Hr — — I. II J — _ van - Iris - , ‘ I —‘_—- _ — li "a ‘ ll - his pro no - bl. II “3‘ : Iris ll - I, '00' .‘.-“fl _‘WW\ I' I I V l I his 'GII' 289 no. .03 00-. - < .00.. u 00.. a... . .0... a. u 0.. ... .o I !l I P ’ ’ b H1 .! “H q H . 4 .E 1 . . 1 . z ...... - < .00.. u .00 a: u .0... a. u 0.. ... .o a 5.. a < :0! u < .0... u .0- 0.. - .0... d. .. 0.. .___ .0 m m a q a k a < 02-. . < .0... - 00.. 0.. u .0... a. - 0.. ... .u I ! I 3 J . [Lam «H.103 290 .2338... 0191...}... .l I. I .l '1‘} ‘on ! ‘ .llill..-‘[. . .’ ..li...l...li..--||n lall. . .q .. -Ir .. .. !|!!:hnmw.mmwmu - - I: T11!!! «Mm! .... 5...... .3”... I... 50...: ....l. m: ......m mmfimm... ..nl- ...-...: 40.....1! 1115.61.12.52. z {>Iz..¢il.lt... ...-3.... 8...... :23}... 22135-0. 0 .903. i 20.- ...-PP £218.... 1.. . I... .--m. zimWEuT . ...... ... ...... T!!!..w..... .,..-..., Ll.!‘p!!i-llrl -llb. 3r!) 4......tifiigtz ......tt!!!‘ D3208 ...-:0.— 08.0513? 8. ......o 3.8. ...... 238...... .22.... a 291 II. .52... I... ...... LtLth mum. ... latin"): I‘IUII ll. 5.... it «W3.mxh--m . HF): .I—! .5. .I— is. 8......‘1... mmmtm- ... ...... 33.....1... ... ...... ...... ...... mWnH ..th cow-cred with pun - plea___ F—J— IM LB SMITH TWO K IDS {or maxed Voices (SATB) a coma- Tnnnlucd by from : Ubrc‘ by mom}: GUILLEN 292 {cod . . “I g I; ., I ”L: s n .:l a. "I _ z- I _ I _ \ . III 5" a 5;: = ._ . ~"I . 3 .. 2 ~12 -: .. ..l )fi 3% ""9 5 J; I I No... r—J—I 1 fi I tranche unme— plate like nun-In. dogl. pm. like sum-In. 7 3 V A ,. plate like m‘h‘ dun. I‘m.— beg-punch {mm the name. from the some out 0.! I 1 cl: n 5} W ' III ' aIII ' H I ll -2 ., 3 s I II III ‘ I6 = -= -' i .- "E- “I . ‘ u "I ' N L I I. III; iIIk . i3 8. I? III “ Iii ’ WWI" “3 I ’1 Ill "‘ .... il§fl§ 5in ’95: w I ~I ll 09 ‘WIM g ’£ , H h' '5 "I ‘6 !! 3 ll -. I! I II I‘ll I I“ .. , .' g )g "f‘"% 2““ in!) ”MM? II I" 31W" I5 «E u": I: § _ é ET“ ‘I H.|’ 2"? 2245. IL... I I'P: E m9 tn.” - '3» l t," J M 4 § 3 3 g 5 ‘ 3 5 ggi‘ I: SEE I _ . ' toad cut ophylluo l l } 5. «Q_ from the same. plate like Inn-In. (hp. 1 1818-. a tempo man I. ".3. A. null ‘ v I Q :7 wwlmtyum-nqmummm owing-um nun-0 WtUIHMC o Kilt!!!" Istanbul Cwmlcnnd by All Ish- have! ' I l I - v A I gem-er._ In a (botany... on a ml - try-nl¢ht. r“. O I Y 0 I v \‘I. l ' . . . wfi \ are r I here I . _' . I V ' their here heads are close io- gem -er._ their new} pm ~=*1%£EEEEa£§ l‘ l - gem-er. - goth- er. I - M- er. ‘ to '_- ...... I heads are clooe_ m v Made ate ciooe_ to -Y I . . 0" I‘ I ‘ ”.0 r19 L at theta-He 293 1 I _ r. - £3 . “E '1 :3- . 3 _§ . 8 - I§§ H '3 1 0 HA $$ “ 2 I § '55 - ; 5 “H .I ”i -I 2 . . 2 z 2 g TEE I “ - ~ EL! _ 3 i .- h ‘ b In 2 III: || 2 .-.I: vL Ir = ll l V 1 to d to - — their min are tire-less .'='.:= their mouth! J 6 ere tire-lees l 79‘ .___— *7 I i q g "I H a II I .2 w -.l‘ _g am; III)I ['5 -I 2 I» . iii 5:" ‘ 3 "‘9 .1» J g i G a < I- D M II I III e iiii . q: a II“ I?! I"WI i;i “ ~ g".D‘ I "'2 III; "IE I .I i! i II III III! II I" H II III II . .32: " IIIIi _ III I I“, I: a E In g fiug "I; 3: II we ‘3; '_3 I! I! w- u u gigug lug “I (m ' I ~~II g M gxfllg . . em i .L i II II I h In ° 1 'h d " «I - iii ‘ 3 I! I" I)»;l ”I! I i i "I - E II E I "5‘ Eli ' III ' I .I. I ..I. 2 II I ii . I~ ll hr ”I 9% I g \.g ILg z 3 I I 'I i ' I." I H II .II 3 I I“ g I I I, III“ I at J 5 i .. a 3 a a II E ' I 3 __ 5! ‘I A; .... z 3 LI _ II a: a < i- n Ire linked by their bel - Ilea— endure greu . y and o-vcr L— L . x H are linked Ivy their hel - lies..— L 7' Y endthe lonl um main-core un - a “:3 , 3mg enann-cere un - ' I V are linked by thelr hel - Ilen— ond the They— lonl L [K L 3 II J ' I I I I in MA. ’3. ! L I 11' 1] I I r1 r ' V are mixed by their be! - lles They— green 294 ‘1 ‘hu Hi» “WIN. “4» ,l .L . M Z» "I “m "I. c. ‘ Ill - .lll . 7‘ i ll 1"" Il .. M and L 1 by dual: bel - Ilen— ero linked ' . J I Y Huck! "- two hands: one white. one... L A endure L l by the" be! - "on... L- V 7' are Iliad - 7' M P food H! -.m; l ~ 1‘11. '. f c —-' two ood "n ‘ . {'R I < hands: one whlte. one- I are llflod EB I l the! anIt . by their bel - Ilen— Indthe are Iliad they .gl « .E .é‘ f E -.E ‘r A'.|/\h 1 5" 1" I I hands: one white. one 7.. hint-ll I “010-. 295 ...-.0: 0.05“ _ |—)b —) — . .l] 1 p I- 'M i! l n fl n 1 l w. I.” s w w . . . In” A 3 4 a M I I 4 7 .l I all Ill] I.r l ‘ [\‘4‘ .l (nu/K . (\ A v f fi .fi fl \ 1 £4 \ A \u \. \. _ . -\|.)#\l/ Illrl.\)|, ,... nJ .| has. 3 ‘ré‘IIIII 5m: 1' ' III! III [III I. c I!! "I, I II. .*I ”I. I Iii-I II" “I III _ ...; II! a “ m ['-'-‘ i I!“ .5 I“: ':I g I I ‘ 1' II, 23 _i|_;., ill! I: II I III III! III II III ; III L IIII III- III: II IIIII:m "le ‘ ‘Ii " Ii II E III ‘Iln' III; Iii! III; III II"! ”(III III" ' IIII' illl III III .III . :2" II'.I fil: . II III' ° III! II! II“): III );I III "Ii!" II II E IIIIE g III" I III! III! II II! |i!!lc e l l I” I‘ll 1 ““3 - ii] 5 2 —‘ I. _, >' t 5 . . I IIII < II II III: III lI"I|III.I in III!!! (III, ' "III!" I ( III II'.' II" [Ili “II \______ III I III II I... 302 i S i E \\l E ”III {II M III myI I III III: I "I I’“ III IIIm - III IIIII III IIII III. III "II II'HE “III I III: I III 5 ..IIII'a 5:" III Izllll' I 'I; . III |II|| II I III IIII;' I “Iii? II"; III E III II I II! 5' I II II IIII “In“ ./ '5 '2 II 2'!!: 0 v L = 303 ‘ II" III I:III III IIIZ'I = IIII III IIII I: IIII III III IIII II III III EIIIII III? III III III! II= "I in] lit!!! .II J! ;!!: 5 .; iiii I I III)- ' E I' I fill: -‘ '13 (III E III g IIII — A." a “I. III 5 IIII I III I «I III ~ I a I .tn 711v ., A firmly o! w: mu. INT, Alan W. tam. (“by gnu-luau. .- — — _ con - ao~lnlo —— — .— o l III . ”i _g fl? 2% fl? Efi (IIIi lh nussnu. ATKINS Al pi I) v.) r =3 . _=_ —_ — [Maud {Ir _—-—.-——_ := _ __ E IIPIIII I I I I E.I III ) . . \ gfiifi‘m Q s“'3 .!. > 1'“: . 3- 3 III ; III ;-II ; Ii" Ii' ° ° II : II.' 2 III I “‘IIII ' " . . III II! IIII III' |||I : I||lI ; s a = II ' III I!“ III III. I. III "I II In” "II ‘3 =5 "I ,I' '. >-" El ‘ M "' “Sag :-‘ II I ll ~ m :3!“ “all “6%. II ° {I I II" I I II- I )‘III [III ‘II . n. ‘ H‘ ... an a ‘ - cl- [c I. 0 ' VET the Cf“ ‘1. -I - _ .. I O u . - ________ 0 '- In D .I O 7 [ul - ly— - _ ." v and soon Ti E!!! '0 ll" - k’r 'III 3 _-; -V — L_f 5 304 305 V M114: Jim .. 7345:27/17‘ 1 ’da Vik mki-Jlas 7441M lclt r-J—v 7L1-‘nu-ril-{is (2-1m Jo - u. img‘f tip/94m 3 ‘ mj‘mb rt'l‘ls's JO (2- {ins - Sev fAine lmyfifu/ fl?“ >\ 7fz/ 'wa—rifvlis {i - fi¢s__. jn ‘ sc— flaw '[t'e-$__ J} ' 54-ffli1m fi/‘Wd—rfl-{is in)?“ (Vfiom fin“ — «(10¢ ._ .S/c'szfiru dis fldrrfi—m‘gu¢_ yiée... #ru 51‘s m‘zuz _ :76ke._dru dds flar— fi-ML'ZLtc- éfl'kgf‘m dis 4’ £ © Copjrizht—lyy Marion Music, Inc. “ISO-"fl I“ 306 Z "ro'u'a-iut - Ah: ”(1(- 1'5 ’ firs... ’4' ”ls/0'16” an- am! 5‘3 vow— (L— an_ 1111 $23 flika'fi5_ min- is- {us_ 4' j/a. -/a-{¢-on_ ‘1er 5:3 Minds-“firs— N1 ~ fo—k-on_ fla ‘fl-[z—aw- 11:11:15 [2139— [um flal—mlidmé fiafls. flat‘ styr/oigf 4t 4: w h r1x9;_ Juan fla/‘ud-soukja/Is. [If fife/709.2% {14; range._ Jam fld’ xvii-Jan} 141/Is. fit 4‘ ”’3'?— Mn flaflmu‘rxu‘s __ flaf A“. '48R onion-cm 307 /'“IMivf-/l¢ 3’ 3 7E Scarvfef, fau- inj/fla wcs __ cf flaw-9(— 6:41;- #4 t. can 71.: scar/(d, rodr—igflaqucs of flaw-Auk- id 4mm. 4‘: aka-vhf, roar—(xfflam— 0f I’CS‘ ‘ gloom._ '71:. 54Ar—f‘t,roar-19//Am¢s of flaw-avAAJs- flat. 5‘1 afrfa— a... fink (fa-flask _ w‘ H7: Skar Shaf’ferffic Armask_ uJ‘uiéz. char mus-{£71. slat—thrift: fat JA- mu£_ wAifiz 5 Lac—r WM» (in. jfiaf —b.r fL‘a/LszA-wask _ call?- 5AM 11 Am' “an “AIM-8 ~ 308 4L “7231.54” N" (Monti! 0ft”) Nu (mfl: open). ARK. P-‘BR MAID-"GI“ 309 ‘ ha‘dérf 2(103 J Q/ L: 4 frts— on {’9’ nut fy—nnt Art-2° man ”I'm : m [ta WI’JI 310 6 [fhouf and. sixjgtj Voicas- lffroxinmég/t £45“ 9711]] flai,{,aag “\— 4 ,. (PH—gm W .6 SWAS frzf— by, of gm'fllfl, 7 h“ ,7? < . n L , I :E—E/gfiisw 4% {fix—:3; x f, _ strdeS/rbé-Lg. of Era-fin, fis—sahtP— :2? 3(‘_élf‘—\ g “#3? :A“ , 5171214: flat”? a; 5;“. fl“, ' ‘ 5755;“ 3-—1 Egg/4:1 Mr? A 7‘! l I I V sire/es fut—£31,915 [A fire, ________ mysamt, _ A l P“ Mono I‘m/~13- — — 4 I ‘I; I r T firszi x f _ ("x {”5aiu L‘— ouJ’jzu'xi _ 7Z9.” 2‘ x6_ in V*505¢.[l¢£ emf-{e1 oat/r: lath—lei wir: — 04: '14 ail/ft— 4,11 , M 41er 311 75:2"..153‘.’ V 7 fift‘d f/arn-éy-d‘nt fire: ford“ flan $9 «at flus. 15mg Ant 52:5. my 19,—mt firms, fun. In.) __ JT (3" All wu‘u- far :5. 3M 115-444“. /// fie flack [41’ IV A- fir file Bfluk [ti-cr— ”fir winv {Zr (“‘2 .5le [IS—«— L—z‘pr A 312 7315113. { «Ila: flea rt —s£:k_ fled-(fl J/M‘sick... flurf —5i4k __ I ment-$4451, of fraud fia-Jom-rvck ‘ J/Lty in Waifrl _.'-—q j-——' mn.Apr’-zy flaw-us offirt MK rot/L ‘ ct— 2’9 (”Mm .__1 ’7 mcyn-Alf' by, of jimaml Haj-an — (4%! L911?” (Madman ~——q mm-bcr— nylau-as of fin. and FmJom. focL - (Jr-£11 Lu UJI‘LW An 7! auxowlem J 313 704.9: 1' 1r f—lflas 9 n is. ‘74 7f fréncc [£25. Print: Prince w‘w__ fl'i H ct ml“, , , 314 10 . “mama” {-1104 1"“. Wu 0 on a $50 50 wk“ a“ sprivgjada 001' hr 50 «2110.5: Sprig kids. 00% Lnr So Liv/unfit 5 H5 Senlxoui LCF .50 when {ileSPfl'a kna’SJu‘t luv" 17:1. 2. ‘—"’/.';tT-t»u/5 first 4M {imam-'5 fl: earns u-fau bis fzrst 64m fix-Jus__ fie. fams “‘f’” his first du'n finvdzarr-f flg firms u’ For; {725 firsfdu'nfixgu-J— j; fants— “’f‘“ his . P.45R nonzmnem L518?“ 315 7datm’xt- lie: 11 1:“ Ju Jar rich,J{~M-1:wtnsm an HM dcgustm 35 oil- nuiaasg auto-vac)“ Am: “ea r-vli- Ila-stung. I! I" . FOUR LITTLE FOXES Duntinn: About 3 mlnmes LEW SAIETT In loriut III-cry a] -y Au JAMES yuan/m l. Speak Genlly 316 11 111: 1111 1111 1111 g; I I111 111 . 111 .1111 5 .1111; 1111: . 11111111 "1111 1 mm III21||I III:1|II1Ill 111E E 11 E 1111 E 1111 "'1 I!!! . iii. 'iii II. III: ~11 111E II; 1111 11!:1' III III 11.111111111I 1! ii! 111.1111111111111111111 I|1| 11.711111.1 11111” 11111 = 31111 :1 '2. 111. = “1 - .....15’ IE1”:1}|1III 1111 1132. f: 1.11!!.. 1.11] 11"..i 111 ml 1 1:11 5111'1511 Iil 11:1“ 1111:1111! "' 11 111111111 11 11131111111111!!!" lllI 1111‘: 111111 1111151111. 111111 I! 1 1 11 1111 . 1111: .11 A 1'I III! Z In. Au Pun q! la Scroll. Ullnnlly 01 Flu“- hr". hut um. his: II. pun- no fun €mull with Earth.- A 3'01an and n4 :qyrlglleJJOSIu by AI-n Johan Sun". III published by III 9 "7| Oil-rd Unlrtufly I've" Inc. Pvinld in U. 1A. 317 , l' I 1 ’ 4 . . ran H m r ‘ A \f fl fi‘ ‘3 o m_1 . ) I H” ”u - - I not scan I I a PIE .2 . to. 2.3 8 .52.. co . no. .l\. ... . :8 ...-31.x g... I i NIIHI IP . I | d I ‘ INK-n"... tnktl {VI E}- ... . =8 ....t 850! :2: D: 5.: ask w I I I £83... 5? .83... E :6: o... co . 2. v2.3 31 _ _. I if I... .IN d d 1 fi‘ . A. '33 no“ _ ‘ ‘ Aiv .35. 2: 1.9:. o 2......- .8. 33:3..- 3 \f \- KI ~M\ m 3 fl. » I w 0‘! no» 83.!!- 5K 6:... @ “Bo—o .3 I .3 2: .. L _ §Illulu\ I 2..- tworecos-I 3.. :53 .....z 2: =2. . .... i... P p p p I > § I ....I ..x «§§Q "UK 8.! :8 83..."! box: \. g ...» . L » hr . I I IHIFII—H 1 I u H I! .3... 1.1 271.. _. «IF. I: .. . ...“..Mquh... flwuflfl. m I HWHWMIWIT. ”In. . ( a 3.8 ._. 8am... 85.—=2 .h- I I . I I .2: III—I. .8”, I b I \ll- I ImI.‘ u Im M. mama-1.111” mm: i e 0.8% 8!... ‘ 0! “II as . :3 ...... ...: b . :8 a Run I“ .3 m H ..Hm I IIW son”: I .or o oi .....st a < . :8 ...... .... . :8 ...... \I»..=..m I ose‘ tax Shut.- . 08‘ VIII‘ I. . :2. ...-.3 Imimflimmillll I I I I: 22:8 .1 u I I. I J < I .1 .. .1 .....E .... 3.: 4 2..»... 23.3 \. bzom .___.3 .n o 3. Go Lightly 318 III_. .IIII_ III: III: 8 III! ‘lI r'z'E In _ shone! them from >4V> .— =- . , I. - In than. from A. {I v .; '_¢.v->" ‘12-" Ill III; III ' III‘ I ii" I Iiii IiIi IIIIII‘”E III III ”III III In! lliiI III “II g ‘ I 5 11 iii‘ iiiiI III. ( il ' LI' 5 III ; LI. E !;I E III» - IIII I 2 !!|| 3 “I z I!" E III 2? !!'! E. will 'Il Ei- IIIII II- 5 It!" I: 35. 3:!" 3 u " ’Ii " i' 'ii 3:: 'E '-'~ II! II, III, III! II III III I til I 'i! I Iii. a i: = :E._ liI‘II’ III. II I iI. II: = II". III: III I I ~ III - III.- III : ill .3 " " III III I! .. ._ III “ " Ill \ III III gxIIII III II.i VIII.“ ”a" -IIIIIIII ; .. II" I5 E a II g ~ ‘- II: T s A '2 . , . 5 iIII 5} M iii > II _: Ill $ “‘9 g}; M; “1.“ I i~.- H“ II“ Jill J'III ill! II“ III! . ,Ii E] :III ;:II ”I 357’» 7 jjlr I9?! 7 In; 5» M ““ .u ‘5 iQr gig I“: 2| ,1: III!’ I. _ h' [III "II II If! v-7 3 . oh ‘II‘C "Inn no a fif<> in tempo m mow forwd 5. 3°; '5. , . . I °‘ (izzl ' Illl “ I. I|:‘ h i ._ ' u I, =' ; E“ a "'I I. " iii In _- it 2% .: :I I I a! I 35‘. “I "’ . in“ IIIII 3 } Q" Q-II'J A ‘-_ in“ — _ 7 —— 0 i . I _ .._ . 1‘ - 'YISP'inl. .‘r 4. Step Softly Allegro leggiero J. u.l76 7 I‘ O k .1 s n A [.10 I l4 II II I: I!: III :! L: ufl - I], lie, lie, no" - ly, Ilcp Iofl - I], ’ loll - I], m, Iofl- 11, step III I! : ll ‘5 a! - In? 2* :3 ~ u: ‘5 . Is: 'E: i-zl e u = I. lii— ’ 5' A I!: 3 Im I" llll 1' a ‘35:; I: ‘ Im llll ii! E J!!! r" '!.l L lofl - ly, clap Ml - I]. step coll-Iy, III, Step soil-1y, step == —;- March In]; Ion - I]. Ilep so" - Ry, soft - ly, step so" - ly, step so" - I]. step - I], ate, I - so“ _. . Io" - ly, slop Ion-1y, Ilep so" - ly, - y, step nun-1y, Hep on I H 'i i- m n NI“, M. in I:: !III ‘ iiil Ilep II 3 IIII_ n I III II} ; IIII 5 3 "I - I II ' . -I. a fig III = II III '” f" ' IIII ' I III III II 3 IIII E III :I .— I:II_. III II . ' II .. a |!I =5 lIEIII I! I . III - IE: III ._I 5‘ II! 2‘ "I'll IIII !- -_ IIII .. fl gga§§==s m :Eéé'fi‘! [ "I ' 'l >. u.“ »_fl: . I III II IIIII'. igii .III III III - I" 5' 5'! = ~ !!I = a !II 3 In. ml Li f AI!“ AI I" ' [Ill “(ill !Ili A ||| iljll 5 ‘ I?! I II '5 3}" ' ° II 3 2‘0 321 5. —.g. ‘d-v‘ 322 ...—,- _. _ 199‘, .. .— '2..- ' -—_ “.___-.__— v ‘ . .... fl, ' ... - up. 51- .7- - :‘n‘ no" -d|- IN” .3: .. M ' _ , - I" u‘np f9 3‘- - sun, u “u -‘- “emu "-n - -rv-1 V- - 9‘6 V , b A —___.__— — 323 not. w‘ _ _____:_____, n. ...-.___—-I’————'———-— ; ‘____._—_————————'———: “---- no- . a " ————-——-—-———- __ ___—_._—-.—__—————___.__ .-____.——————____———————-‘I_-—————'_—— _ v T-tq. I_., . HM - ' ”'“" M. ' ‘ ___.——_____—-.______—__-_——__=_ ___.__——————-———— ...—— ____.________.—————- _ _ .. A ‘ -Qv an. ‘I) | __s 9,.“ .a-wu 324 Alexander Pope THE QUIET LIFE James Furman _ 3:031;- mg 1. Fanfare and Pastorale Hap-P] the Man} who“ wish'a‘nd rare HIP P7 the man, ”has; . wtsh ad cargcfire ,4 f The ”Man whose Ma's}: and ' car-c A 7 . . > / Man) whose wish 3 art) care. A ix :0 Fa- igr - nal *1 P3 - i-er. é‘naz.‘ pa— ter — nal~ a —.cres .___.— ' - ier _ naJ. a- -cres 325 A. :1: v A 13 Ar P1P“ I ‘17 . h" I A 1.1”] I [l A l 1 V1 r, IA I In [ F] I I 11 I 11 1-9 1"! Lr _1 V I I . Con—ten? . PP I ' ' A 517%: fin 1 11 J I I 1 1 (I I“ I: 1 l r I *'—o ' V l tb“ bre Bike P}, 17‘ Apt-f7”; V I 1 T: on a! n. l I — I J I | 2 v1 1 fl If I T ‘r 1 A! l #1 1 L 1 1 l _ 1 I r‘r 1 1h,- I V I I I . . . V Con-teni- HS . pp ... son a cresc. 1 I . 3 4'1] r 1 \ I 1 ' — 1 VI TL jHaa. 1 41 ' I I v I I 1 l 1 1 I ‘ 1 1 JI-yIf fl I1 5’ - on ' ' '- . ‘ F a CPES be 67.-— u . c‘ . 2.0 _ brea‘thc . Vlvo J:¢"‘u I63 na -7:ive In his ougn $Po°“3 .1 A We?» ‘- 326 2.5' w hose ' P. sive.) her-As with mtk)_mose yells . Lr¢33,_;— w‘I‘l'h milk) whose gieZAs wH‘h breaé) :33”: him) was: un’fh mag)... __ ulch ’ breaJ ' b L... ' I: I‘lcg (loft-z “‘i- 1’0 J‘; circa I“ §ZocKS {up-[317 .a-——~ - SUP'? ,. Rafa 35.93:; not 327 . 30 . rhvfu'fly: J‘s-£54." 'Su trees 328 p. rJe ndosf- fish-an Ie __ 7 'Perden 05 576371 ' ado-:32.“ > A Sum-me? hiwcnz 5...)" mar— J;Ic'ossimo ' Sam-mer- ~— 9 e P 4 en Jasl....r';dr0 pe_rJen 06L- 329 wh-‘f‘er John‘sshno Swan-mel- 330 Fire: .d— [Brea+h 3 r w perdenéasf —* win-m- 3 NIn-fer peréend°$ 331 'I 5 _I-- . Thetb Oure‘z' L53: . Alefiander Po c . H U' at 3 ' Jam F ‘ P 5,523"? amen-132;“ MiieJVokgs (3’3“)urman Anda fife ' '=¢”‘C3 60 Calmo e sostenufia who can ) who‘can'unzcon --cerjn-¢ ch}?— .- 3) 4e 51' who can un-con é cam- e; .. ’ Bles‘f AnJgn'i'e 0’ Uh. ' 3’.‘ 332 [0 .|:_ Circa. ‘72 Le creSc. Slide ‘slide +_‘_.a -———- accel- a cresc. -- J fellanao -- . . '3 "stage. a way Y ) w 1 calando m1 m 3 333 psi) mosso J: c I“ “6 bOJ'Y) Peace —————-—- 0f- kealth_____.oj-_____LOJ~ \h,____.- bad—7,_._.——-—— pere ___- Peace 'm hefl‘th .___—.___— °S‘ e P“, J: at?“ ‘5 334 Alexander Pope THE QUIET LIFE III. Sound S - Adi"?! hang-:3". leep By Night James Furman .= CIKI 5'? - 5 S’eer—L— s7:— N6911- 5 ...—— P ""P' shad-y- “‘35“ “1% )—_-"" . Sou-\A steep 37 Nigh‘f“) sj-uJ-7_______ ,\ . SaunJ SleeP 31 AnJanTQ flung-'1". J': CI.P6‘ 5! *6 - 53W”. J'Jb inn} (5; 1) gcfh- e r._ to $(mely) .I& J: drca 63 rec'- tion, J an; (.3 rec- re— a. J tion ' am! in —- no- gain; 63 ) Sueef rei. - y-e— a - flan J:g'rn 63 . J V jueef rat-Fe‘ a ——'_- tion) J =c§vcl Inf .....N .—_...—‘- .... ...—..— 336 a‘tempo ,5. J D “that“ cazanda ..... :0 (circa which MOS‘P 20b please 63 ______'does A , uh 3c. cence * mun? ) " Wélfca (:3 :qmm which Mos'l“ Aces _ - .- .. - J:.h(Z.-l> In: all; a]. v: 1 n3;— gacals .5 p... :SEI‘t 2::- ._8co¢ co 2.3.9» 3.5.... 55.22%... E.» Ecum =5 33:? on asnfifitfif ”5:23 E5352. 0552?: 295...... .358 “.8533 EEO 55.— 20%... 5 5.3.68; 0:352... mane 2.350.» 5:0» 3 ... is...» u ... ".5: 533m 35.3 33 .3 ... 3538 .5: .235 88 2:: NN zo.h<._.zu2:¢hwz_ 8..8..8-fi SEE....E.E=§..=< E25— xuaa .— Eco-._sut >) F J||."' . N I o, .llll.l|‘ H II‘ 'I '(a- Jl‘:.ll'.llllll '“ I I Ii“. .l ll...| '.'l l q ~ . Al.‘ .1563. 40.5 .2938 «in 1 h l I I i I l Ila H _ on! - ecu .82» [use -2»— ..33 £8.28 dun—a 3» 3». guns 5 h b P h i b b F r I N J ! «H H {hi i HHLH E n. Fl... n L & - 8c: .35 .156: .8... £93. .8... I Ir h III- 1‘ I N i 1 1 1 I I! 15...... “.8... 5.6... .8... FH~I '50 .Qil I.) \I I \III . D n I. b n I HI H I‘ H H i H L in r H h H II F I". O. E 38 dun:— . I} b P l l N N N uh n I H H HJfl F H H H fi h H I I‘ II: 4 Hr I fill». lg E 1A r—3—1 r-—:—-1 In the oflnk r-"J-fl I ’ I HIV: And— r-3—1 clung nod chug of spent and shield.— Tlme was nah r—'3——1 tint—... 1h: 09-!!! In file OHM! 341 And- } V I I spent MM... clan. tad clan. of Therein: 1 I /"—"'\l J ' L_.3._J f r Psi; L___.J.__.j ._il"i lit: .15: 5-4 Then m from": sea CINE! A Ind-en p . ..IIEE I-‘a L Slick Rid- - I .‘l. - It ‘ib : " Z and dash fl "‘ l u .3? H l I: .§./£I "B clash anddnh “11“"; H . ”4. LLEL' 2 I“: Wu»: ‘r |.¢»§ 1*; “E I»: ~25 ..i .5. 1': hoof dull h» Id... ‘1 '4» 04.4 I I " 4 I. “~ I .II ‘ ll -.: II _m in!“ tall I.\! 0‘- mill! M. .a I .1. J l 'I n, J G 342 ‘F ‘- ,IIITJT 9:... u Sea ...-x... Eek - Seen ...-2» en. . ‘ q... u , .|.. n .L r «L ( .Eu . Eu gun! l.o...8 «3...:— auaE .38 I1 H I 1 H u I h H 14 F i. h I 1 ‘11 G I I I G . Eek - 3th .8!» is . .5. «2.:— l....EB to . 28 {in it . 38 ..an T T a? H h 1» LT LP fl ‘ h D I D 9.0: u 3:: .23.» II. .c ._v... u ...... in... II .E< '63.... v:- .09.? \I/ J 1 1 nfl - 9'. IL plll . I... q ...ll. H 32.: u Fri .kst u Fl H [be .780 e...- gnfiu Itc< [30.5. £5 3*? Fl. M L .II a. ll. Fl a L 343 344 * ruff. .. u r” .1‘ - K... n ( a .5 ...... .8... 1:12.: .o ..z: ). a: 2.. .... ...?!u .8... t. p b .. p L F H H h H 1 ”W 1? hi L“! a" F 1 w. d I my W II I p.— 345 \II IIJ \‘I .II III w h H H. Hp II ‘FAMPiIJ III-IIlI-l. - “Hun" IMHI I lllll III! : Ilusflunu III II I u I q. .... II\ 1.!III\ a I? {Skunk flux 5. )5) ‘Ilrlm‘fllu’I ' '( ¢¢¢ Mm ...... ( K3 ...... be on: 2.. ...! hI n F I . .I I “I I k I W m . WW I an; M .5 .o 9.... .... ...... .. .1 II ImHl « . I I w .... I H... _F I ._I I AMW . I I! i..' \ ....n .6 ....o. ._o ...... ..c ...: be ...... out 82:. coo. 9.: .39... 2:3 39.31 ._qu . H F .H .11.. h .L .ulhlllllllllll-I?!‘ MHVI .lllr “I if al-IIIDW M .II .I .l ”._IIIJ‘ lulltr. A I - I F “L I * I III Q'u' I u . . . . . . n H ....n he :1 he :1 be £9 .0 ...v . St 22:. a8 8: ES. 058 «3...... ..an m I I - .lnl. I I I I I I I N I roll I II- F I: ..\G .. [WA , ll\ ll\ W 1‘ A" ‘.,IIIIIIIIII I I -. INI h IF N FI mm H” H” aw II I llllllll‘ _l'lllll\\~‘ (“IMMI— ( @ fl Ag N z i g 8 I: '6 I“? § 8 Fiqd nmfifi 3 vi. 2: 5:2. £53 2.. cc .5: thr ~H~~ I'll.II'.:'IICIII.III'II-III'.‘II'AII' ...v I ‘ “I I I'.'v-'.‘ I nip I ML I t l be 9t: 0.: 93:. .162! a... 8-3: I L F I 51:1 Fifi Ef-‘II W I pk I I “1 I I @Q .4 “ d F high v. M 346 dash. clash J—I [_‘J—I r—~ —-—_ u I II I v II III I" III g III E ._ : g g IIII Ills , "I III III 1 1 I: III III E I I 1 =3 E > La I" ill 3 I“ 3 _ m I '3 3 u... é " - I" "II "I ; In ' I: ‘ g «E . «I III-‘3 .II-~ E .a = II E II. III I ’ III 4!:‘E 13 “:34! ii! : I; III III N :5 ”TIME HE" E 1‘ 1 I "I g l T; .. =~ . ! 1 I III' “I C Ian I an ..: I lIII E iii : "il 3 1 I , 5 '3' I: ll III III III F" ‘5 ”'3 JEF‘iJ' ; I” “:1 g I l : || :.| If . ‘ III! _II. ‘!I ' in: In”: an a." 2..-n a.“ :g: " I I I I _. _. ‘ I I I 3 i , I 1 ., I , i - I I . ‘ I : MEL”; :3 1— I E III I _. _. g - 3 511m : Ll " - é -a g 1 E 1_ 3L} mgr“: E z I u! ‘5 [ -: 2 - I l e I . I - ”‘ I" H : g E g . g ‘ i g -— 5 ”GI I . I l I l—iii 1‘: . _ L; 2. filial :3 i n—I—fi . Ma - =- .. =.___ = r—J‘fi bur—1. . dad! and (Iain—— I‘“’—I _ anl_. dadl and dull nd_ (Ink and dad! clad! _ and... clad: and clash. nv-—-* = 1 g g l g . II [E '3 E I '3 " '5' 7*: I I I‘ : l , < I . I "a H | I 5 l. . 5 -- I - x .I: “ ..iI ~ ._III, I! ‘ III I“) I I (I ' Ii: Ii:’ li:(4‘ "I Iifl‘ lug. 347 band 4n. mu m... 2. Mystic Shadow Mys-llc dudw.__ bend-lug near me._ My: - (k: shadow. fry" r FF“‘ ‘ z Ir+_ 3 '5 1L... 2 V 0 s. s. g p“ .. - . RE A I '5 MM '5 g “a; ‘ é «mg 5 h g g v .f g “ s “L g 1: — ,0. 'c : . g N a ,N ‘:I 1 ‘ ...:b l ‘ r i , l i " a... l : ..,... l . . > . _. E E n -. L" ' E I -~ —. S 5 "W E . i E...“ E E ‘w - 4 g r- g g 1 i .5 "r! g I E [jg-=3 .5 JEN] z: __. t ’ E 1%.; g h.“ ) ‘ 9 '1 '1 ‘Ln . _ I? 5 JP" 5 CJH .3 . I L04 bl- - - ‘1 ‘ Ea; 348 3.: 20 .— :_ _I m L-s I. I‘ L E L.:>z ll; .5 l l '1» a» I 2 I: x ‘ I 'r In a . “:5 .32 *1; I E = 3: "b ‘2 I_.; II I. III “LIL ‘F F“ 5 I“ ’ 8 " 1.. r . .. L.. .. H { xi; L‘=‘. 3 I 1. l L I]: ‘I! a ‘all E(' E ( I I III ; I ' ' llll) I I 2 ‘I ‘ J E»; ‘9' g Q. IIIi I I lill I. E i l ‘I I’ ' I ”J -" 9: ii. I ‘ 3 ’ 3‘ W W ... II" ”I” g “'5? ‘I =¥ ‘ I? " g 7i “:5 a «4.1% II- I“ L; ‘4: :8: L‘ 05 M r- F .5 E I. I \ CE” .I. g g L w"? 2 . 5 we - s [ 2 = I“ [ E ; E I . é “*3 LE ‘” ._g . . «I . g ":;,= ) E a I"! . é * 5 III I «C; | I , ) I L g .g L I - 2 g a? I .. = 3 E E I I ”I )E.M $- on 2 _ - 2 2 @ - I ’- 3 ’- EEI . ’- 349 'I \i J - x '3 I " . . a. _E .2 3 ‘ -' .- I. ”I .l I?!" ' m ..“ a.) , in! in.“ in! isll ms. 35!! In. 1.;5 Im :II In. :1: 22 69 L Feat not that I - T‘ & *5 4M in um, um, Him I ,/ "+ I ITflF 1~ ‘ 5‘: '9 L4.- 5 . . E 55 34 H E —.~1 gt. - E ‘l‘w l‘l‘Wfil “MI iu-H H W3) 3 r5 EEEE .33: E2; 33!! 53! ’r""7::' r—J—n Fear not um lsbould qua-vet I I I qua-vet .___—.__— date . For— Fcu no! that Ishould qua I! t—'—'3'"1 __¥ h! Fen not ,1 7 ' It ".1qu I M Jodi! 3 ~ ’ 5 | E... 52 ga- .5 §‘ m l " i g; ( W (a. db”. ‘2' 1| “:H- (a ' "'Hb €- “5| “a ‘( é “ .3 [5 “I“ H Pocopfim J-«. 1 m 351 .2: =0. F L- N u‘ I N l I! i l P F 1 i I l1 4‘ n L I F | r i H! F J H. l|l I .1! . __ E F‘ I I I H I! I! n. 4 . I s! I 88 .393 E 2 c i‘ H .l n ,/P gm fl 1 . .- 14- P ................................. g h ' ... L FFF l . ‘fl . J 4 l I'Els L . :H .V.‘ t n “I .... i a w .... J I'll’yl ll .‘.74 n‘ N H II..\_ H I l. u 4 H [4‘ F! i I J ‘ H .9 P h r . “.: H u h I 0' F J F . 4‘( ll‘.‘(‘ 2Q 28 352 ”m \ m. l. "W“ W am“ . ‘ l" D “Lulu SI L £ fitL.. 5 J13}. ' I ‘ :) Bits: M, . 757" ' * ... fl b - A E J “J‘ ) g #3 CS- ‘ (3:; W ‘W < If «4. , I , fin " m a , . -m .. E m- w“ i LA L ‘W? .. I '1! l 'Ef EL m r b‘ fin ?" film :1 ‘m ( i t #4" wt? r. firm ' c; '.:L "Vll E $1 ' ' “3m [ ) W _ 1.. ) fill? L N 4; 4 ,. d L; < W W -——— r q J 11!’ J. 12: I I I r I I I I I ‘01 . [F4 E apt-HE E E“ '1 4M l“ E H~ NF z~ E; PM? E” EEEE‘ E1]; 3 -’ Y W shad our r i 23‘: Q)? fin: I I j 1' LL 4 \___—__/ w W 11' J «Eur. J E : Lap-E ‘ T- I " :2 s4“; -_. m :- :fi D M) 5 ’i J J J 1 L \ ¢~ " i t r: L‘ila‘ r a') rrl a‘I '|E_I I.) il w' I --...=v .'z. --.!:z a“ 43!. :5“ . .. lg: "..é‘: 31.. 30 II V I 5 l I _ I I through sprees of nhhl:.____ And___ a he med ‘1 353 '—r_r-H A i val Jays bhck death of lluomh 7T God!” ”God! __. E}! \ I v I I I called, he 33 354 32 .: . . ¢ * - g ~ 3 4L ‘5) ‘g L: :h: '3 g g a E " g 3' ~ ‘ . ¥ "' 1E .: E #3 E3 5 a. ‘im. 2 3 -§ 8 v F- “; 2 z --4 4“ m- ? "r. :> a“ i -:L d i E F" .0. l}. :' I: .. w-é s Hm; ' :- ' .1:- {Lin I J L? L. i A i . E I :’ g . “F L r . 1 r 3 J. E "it“ P§"§J I »|l $.55 " 3. "‘ 2 , ¢ 4 L :1 J g lj_l Cf a I cal! _L—E TV a fl = J 2 ct call In; t I L r'l '1' ‘ 4F" p» 33. J ‘ H - =.. $ 7' I ' (“n-1E ' l “E _ < 4 . 4 <3 > mocked Mm: _ I l J - 37 36 J «r. A ‘Q r I l J ”W h L w [33] ( ( 356 * kJ’l} call - lug... W all - ing. I space he went call - “13.- afl-fim call - ing. - ing. \ I 1'— l I Hod call . ing,_ caII- ing. . ISou EL} I God!" § “God! can-ing. __. can-ing. can-ing. ._ call-ing, Had &::l :2! EH ' _ all-lug... «thing—.___— a é 39 a tempo l' ,————_—_‘ W Tv' r _. Gd!" *1» 19ft __. God’" A‘L>’_\ ’1. 171 .L I I ’ l 357 I . h. In; “I I E '1~"~ Fir” "F" .1...“- !A" ”N L MI) I};- «I. . m; ill . ( ) . . . . Iii 4+ \I 0 g ... n ~1- 3 ‘“ ~ 7:. ‘ .. c a: m: a I E. III III-- ‘ .. I. - m." may '6 '5 «a ‘ ,1" r I'D 7’ I .I I I I I I a (Hm I Li man .A .‘Ie . I; ~ I- .. ’ [9 . I - ..II , Mi ' ~ I “:5 m '1” E'j in de- ni- 1 an *7!” g I 2 I a n 4 Es 9 E . .55 - i " I: 5 A I I: E ENQ‘: ill: ‘ t fil: : IIIE : l 41 #I Y 1 [L] W I J ? :wlfl I "W ‘2 I I I I I w "93.- 2 in dead. ”__. #:l—P f5 358 hand. IA 7 4 _ _ «wifl 5 A [é§5%§?§i hr I @ ESE!” /\l‘_ I“ \ ‘ I r:-— J-———I 1C r :- Smnle sword {mm "It I I I rAfi]____I ‘ky. [QM u : $--- . I..I... ; u... : "'1 : :t: z .UI— 1 1 i 1 43 42 “J H ~.‘-. 1? n3 L. !I IN (.II , II? II '5 “[3 ll 2 I! i”? in H3 I3; - >§ “I :3" I: if! s' 5 I" ("7 M g L " {U- .9 II: 2* ‘I E III g ”‘g II“ '5" ‘i.5i 31! 1w e .E 2 :1 yr a -\ I- i 'l " T 3 :1 ‘: E‘w A '3le é-nll .- A ‘ 73 H06. VFW?" ,) -£;|I| "d|| Do not weep. __ I lone. sleednnon :- lright - ed Mfij’ v E AA if“! __.“ £_ El 359 Do not weep.— -|one. steed no on a [right - ed a sub. )1. .- mldfi. _— é ‘Wu ‘£$| 1 (. E“. _ Al RU" ( I; ) .r I? [:1 I ‘§ I D § 8 I 8. ) 360 N N r N N I I n H H N N h I u H I N F I In If I-I q q d I I.) “Ila w. .I w W ‘ III III.‘ a... .23..ng 68.9.33 9.: u. .83.:C £8... .39. - 1: I b N N L I. b 0 III’. IF H“ I“ H ""uul'la—.‘i III'III. IIIII Iv I I I I I. 'IFI1 I.I.J'Ial4".a ..IMIIL m. 4‘. J ......E .32....» 68-2. .3 2.. x .8... ..c I so... 26.. ' I I III]! m n 4» W "“l.lhlu.n..ln""""|.ll ..... ILId x. I I I A! I. “"llllh.‘ I I . rInIIL a n2 ......- Iguofl €099.33 2: a. I SEC .52: 25; .— I) ) \II - III-III..- I'lliltilr I, I'll-IIUIIIIIIIIII‘ lll'l J. III.'.II.IIIIIII 1 H a _II .IIML .. ... 1 u. a I .35 68.8332: 3 I 22¢ .35... 95.. P L k ll'l.ll.|l”""" N“ h ..JJ Il' Illil‘lllllllvl \.. s | q Ili.‘ I I I I'IIIII'III‘I. I... PI H M w. M .m I I q . . W _m NI H H c... a... Ia... ...... 5... I 6:. .23 ..t... 6:. a... 9:. ...... ...... n H n F W .I I VI .. 8.: t-c...I.§.t... .5 .5. a... ...: ...... ‘i‘ ‘ " i H 9 M “I II 0. (I "N IN 4.1 H“ '1‘ p h— II. m m "I“ I - II IE . d . I11 W a c. 59.82.. :2: 32:. ...-u... 8. .23. 9.) £28. 3.-.: Eva“ I . . I . - IF fl h I H! N H 1 MI I F 1‘ NH L1 H 4‘ h '- qfl ‘ ‘ (\ c. :5..ch 9.2: ...—u: .8 7:... 9.! £53 9: .3.— H H h - ~ H I- II I! h d h u . < c. 52.22. :2: 9.25 Iii: .3 3.... 2.) .....x u: .5 W N W N N H Ifl 1 F I . . _ I . A w I I 2 5222. I5... 5.: .2»... 8. .52. 9.: x98 9.. .5 I I 4W 3 rr m. H 2.2ch 8. .8 .... its: 8.25:2 . = Each 91 361 - ther lum- Med III the yel- low much“.— Tn .. a q uh] I: *4} x «r- F I K: ; 3.. i ‘: E t :- 5 5 1| 3 r1 8 8 ¢:.. § E] I. . .I ... 1: E ‘3 ‘b E, -4 n 5 3| .. § e..."- 5 D = 5 é H” m g g . 3 Eu. 3E] b MD H .___ . ...... _E—H * ' u " buy I I s s g N— i » i ~ I Iaf- e 1 'c 'u . III-o. > E .-- g I_ap-u 3 "TD ( . - .. II 1.4.... u . "i , . g & '2 I = E i 2' in-” 2:. ' -.29- .. III u I a s. L _;._I é .l S t "g < < .. < A... < .I h :3 Ici.‘ E — S a ' :0 1b '7 E c I- E" t _I I I.!"”T:; . < i,‘ s N «rel. >— ' ' l r n [53] MI! gqued and died. 362 4 HO 1} ) 1 \I II ll # p rku‘nmu 11 ‘ a E H . n (\x m III 28....- .E .c .38 __.... Inifi. 1.22..-. -8. {2.5.81 ._0 87”.? 8: Eu... 5. :3...— 65 H H m an. n». 1% h “1 E > 11 n J 1 n J L‘? NI I F «VOL M ¢ .w tf||\‘ II. 38.1: .6. .0 .88 .2; [891... '45:... .3. .8 3.0 is...» 2: Ev... 8.. .Ecm Ills ||IJ - H p u L h . O P F 3 14 u n I I!“”“II’.II|IUI ‘lnluul «I \ 1m I L‘ 1‘ I d ( 1“ M- l..sou ....- ..v. _c .3... 5.3 loiéu [...—8:-.. «2 £2.56: .o 02.... o... 52: E. 2...: ..IIIIIIIIIlo... K)» R . w . . L b 'srllll... N» >1- , n u H lu I‘llIIIIOIIlIlI'II fl H I, I 1 I III Ilol'.|-|lil Ibl l: .||. | \lh r J ‘ ‘ m. lieu :- 3. o :08 . .I -R I. . . ..u....u.6.¢ .0 85-3» 2.. £2: 5.. .5...— Inllllullnlldau Q . .... Sn L .5... _ no. L » b x p u H7 um I. Iil'munrllml m H“ .Jb. 2:. :2: o. ...... ...... c. or xv SO lullfllum I v ‘7 IIT r cx—crl-lrucc- of kill- lng.__4'A # l he Make plain lo Ihem r‘j"! v c:~«I-Ience_uf kill- in. ,_4«_V-v.. "K Make Main lo them rra'l»lencc_ol kill- in. -...74___. Make plain In them . III] 11.. 7 u «ctl- knct_ of kill — ing, n an L A & I l 1!! $371 3.1 . 'rll’fl ._/ 5' ~- '-. IH '5 IF 2 E .5 : -:§ ~~ v - is ‘t ‘1, .2 A ’1 _J null Adagio W J - «1.5! m. mono iili III! iii! corp - sc‘ fickl— what I lhou- sand corn «2‘ field—WHPN 1 thou -sand And: ndn l I!" [I lp'k‘! __— _ ill iili field ._ wherr 3 than ~ and corn - sacs And a hm whose Mo - Iber— Act-glam ulna-.54 field—when: "mu-sand corp-m— And 3 HI. mallo II" W -ll| _iilj earl _r’“ 364 > I c F u - _ILIJ _ h l L ‘ H W M 1 D» LI I J I ~ III“ ol- . F I ‘ H W‘ H d I .3... I I i II _ I h‘ N l i M H N N I‘ n! u i In F O. I“ O“ O A [ lllllllll“ O 'Iull' a. ‘3 F i H H “ II [4 hr} H q A? I.” g. I \I ’ ’ ’ ’ J, ’u - i I I N m H II Ni F! H u I. M H uh I H I n h I F l - W m I'll I F N F‘ H I I 1 1 II“ .r o I .3 33 p r P D I F b - h 4“- ‘ IIIIIIIHHHHHH mm Y m um IHI: II. .583 H .c: c: .903 .9. DC JNN 335.3- E E e». .3 I W ..... its. . m H. a n I 1 .P. I. . n F F . 3' 'III. . 3‘ H 1 I H|1 1 all IIIIIII-HO. l - Ill\ .82... SEA Fl». .L m as. ... lies. 3.. .5922... 2.. ..c IIIS..=£ . .. l£.§z b . IF 5 ‘1 h llll'll .Ilall'uhll'llll'l'uunfld n rIInIlu . .I. L n I .33; 9.2. n m “W ".34 F Ir LP n“ .I. I ‘ w m “r “....94 H r -.£ ! I l H .I' h F h h w can hum“; - _~ .- IIIB 3 .1 :- FF!“- war. 365 l T 3 wean \x ‘ "H ‘E’ )‘5- -. ) 366 ..llliiliic it; «9...: I $1.85.. .82 »1.1222..|.ll.: 8.02 3315‘! :i3>xxa;.~. b 2% .2. .8 .. ... 2:85 32:65: 3.58:5. .ogfi 32.73:. .32.: .2... £3. 9:. 322-85. 5:23 3.252... s...— u... 52.5»... 2: EE. :3. 53.5 was coo—.5 v82! 3 032.0 tan—3:8.“— ..c— 22>: DZ< m2<¢0§m .~5-...:....ui c.3336 5!. \9 8.3.5.3: t. s .2 {tit 6.8:...“ .E.ue~2fi 8.5:». I... a... .z .93.. .....2 it: 59:32»: n est: \2. Ti Kit: 99‘ ins-«U inx‘cny‘ :5- .ba sch ..c :3.es w...e..3..::5..u >2. 2. .332 ... 3.2.55.8 2. £21.83 .....im a... 5:23 .5820 5.3 .5 .88. .28 2:. $252 5.2. 9.896: .5 Egag.coxzu_ilnm= Eats-93:8 83:82:. 5.8. .oB£8>-YI§8953§§8§§338§ .IE 2 833 a a. .55.. 2.3.83 0 5.3 :85:- voccuuxo :- .o .58 2: c. ..to! RF .mso— En £982 a:- £9 >25.3.. in; $82.58 8! .555 its; toga: 2.. .0 >35 .2280 2... .0. 90:23:35.0 83 :02! 6:1: 35. «Sabin 367 368 - H--- KM TKMMMWKTN Hi. --.- ._ K .. Kr fmfl. .0 939 95 ...:u _o .39.. 95 I. rd Mwiuda 2 H. _. at J - IK hulKLKKK If \’.°|8 W. a --K,m_,-.¥,(: “mm. mm. In . Tm muwifi‘. w... It". I'l'l Km“ prKKMTWKKTW ....-.KKM... a: «2.... 92:13 :3 _o 956 92.... as: fl: Tzlufiwmmlwufi‘dJ fitflnw “WKKHHHIKKJHHK-.. (L; _. WWMWKKMHMHKKWuKs KW I - 9. a2 ...-... ohm—Ea KIIKlel I' ‘il '|||l'.- lifl I ’ It"!!! I.‘ Illvi‘ ‘l ._m-ml..ui -KmHK K 369 9.: 6:3 .o ! 'IK .H + l - I‘ll ‘HK F K! "KKK. . w i - .KTIMLEVK.‘ . n--- K.I.---~*HKKK.IKIL‘K2KI.HWKK&TKI~KM« oh— In... Mr 1m 9K - A WWI.“ w-..l............-4., u. H.. - O59 *KILyKHJ..«H.KH.HMMKH 370 .fi_—.19I2888952... ............ =5 ...—89 El- I «:9! 95 3.... Wm". AKA?- D--- WAAKKKw-w 34A - 1 1 (j. A: w ...-9. 2.. ”.... ...-£3 .83 2..—:2 i.\|’.8-§l-.d.=ufit - A ._ .3 . i -. .. .--..K. .....- 2K9... Au: :9 n 2 once... so! ............. ....- fl- ...mK ...... ..-...mmrgganAiw . ”4R.-- ii- i:. idi- A. -.... -.K. ...-.....wn- . .... ....K. ...A. «m..- K - -....HKWidiAnu - an =8- 2...:- Tiwwwzwmi .....\I: a... 5.3.5-369 any 9: i\|l|}u9...§n-o ......Kfi...K.KWK.KKKK ...-Km --wuw..i....mu-H -H H... ......H... ...w.i.......l..........i..h- wt .. .....tmuhwlm. WM “find .-..--u.» M- .a .M T? -..-......AA A-_ E ...-A . . .AxA. ...-w. .....A...... --.-u..- ..--.... ...- - WUFLU 3.3L.- .-ao .....mflw... --....K-.u...m....u: m r. ..T.HHK\«MK.I.HHKK.HHKWKPHHKHNW%L 371 p a. in, -“ “F I .i-.......r:fi......n - use-ha... 35.3.19 3. 93.-hast..- ioet E 2.033.. 1 m mmm .. . . ii..fiAA.a-L 1“ Li W H fl(ma Wilmmiiiiii. \ii ...-E 3 30:3 5.3 In...” .83 L I 55 \i E .... ...- 3- 8.. 3... .21. o..- ooh- : !I i0...» 2.31 nil-iiL-i u _ ..LW “...-3 .. midi-AKA... iii-m... “.m- ., .. %iihii¥ a M.\ a 33 «.3 i.3- -..-nl3\'i-_uo£< iii. ...-...... -.-.-. EiEH-KKKKKK. 093.093 69!... .§L&.58.3H_-.1..-o~85.< line 5.32....» 372 ...—6.. u is... o»... 113.111.1111. 1 1E MRMNWWWHE .8...- l: E ...-8.1.3.5 rt. .25.. I .19... a.» 5.3 wQHIleHfiWNMAHmWHJw 1%,“. :11 - 1 Gal... ...-... 82% \- .....- 1.: .... fiWHmlflfl WWIlH—“J .Imuq11111l1'1fll1ln.111111)|.1m.11411:lm 1 . 1.1.11.1111. .... 1W11H111 1- .11 1 11.11 .1 1 “3M .11... 1.1.11.1... , DF luau-F 5.05:. .1.- nor: - \IIII/Bc._1on .08.. J... 1. 11-11%. 11.111111113111111 PP: 11.11.1111 m» .Onbkb .21... 5...... .58.. ...... If»: 5.....- at: 1P . 1. 11.11 m-- 11111 . ... .rbfithh E 11.5.3.9. 9:. I. 9.9:. 1...... :28: we: 111-1.35.2...— Ex: _11.1 kWW.an..1111H1‘I111111M#111111 1 .u 11); 11 a 11 1 1:31.11. 1. 1111mm111m£ 11 “is... \. Cass.» n— v— 373 abhtb - 1! I H 1H — h : I1 L i H I L H ‘ at 100.3... a. F H b- I ? I F I ‘1 ' 1!! - 11” w F ‘ 1!... i 4 . 5 E 3 a: . ’ ’ I ... H 1 I H1 H H 1 > I H N :u ..I 3.3!: ... 02:. H‘ H b F u I N I I I I I 5-1 H Ifll ....les ... 0:33 2.159.. 0.: II.) 3 I. 1}) “It 1 . _ mm W. «WW “F“; a ...11111 1111. 1.11. .mil. 1... w 11“ 11 u1.1H.I11HI111. 4 Q. U - . :11. .-%1“ It; Finn-1&1.-. “UNI? 1« 374 W. ,1. 1- 1. 1 11,- 11 .1 .11111WFM1MM..N.11T1I.11NHHI 1 1 I E P \\) p I .29 3 105.89 1 9:. .80 I: 1:939 1 1.9:. .206 0..- =0. _i1flgii . 1 1 1. . 1 1 1 1. . 31111111111111.1151“. 1.11-1111 1” 1 11111111| , L L 1 1+1I1Tu1 imllillllulhhTmTilmiw 1,- a .ll. .-11 1. .T 1 .1 . 1 Wm: .11.:111H1111 9 IL I!" II 111' voEEo - 9:. ...eo f.-..2...-...£._. 52:22.8 1 2:. v..- 08-15. a dust 375 376 2:13.. :1... .2 .<.v..= 3 ...-a 1.8}. 23:31:38.2... 28. .>.z ...!» .12 .8113 ...... a: .8...§...C 3...: :13: 3 22 its 0 $~o~2 .1”- 1 u I . 1IIEI I r A 32.23: 2.39.5 3.84 .2.qu 1. 1 50h WI C a fill Hillhi Ill|1111| 111‘ I Q- bl m I H I “11 e~—< F Q m pal, 11-1- 1! 11 - F— WW m W4 1 I WW I 1111,, “wwttduwww. 2358 in r.\ 9:530: 85...: 8.3 .1. a . 2..-up uma£u§< 20 2E. .— iatuunawz Eh ‘5 983‘ OK. > [ N u H F 1 E w u n . .. . 11 1 p .. 1 .111 . 111:1 1.11.1 @ ..1 ... 1 Eu.- .m 1:84. Dial... 379 380 W \‘ILAV w a. I I . n .. r“ ml» m m P W WP... +- L H ‘ ‘ 4 I IE . (x... . { Le « u p m - - x L 1 -. Ebb I. ‘1'" I I5 ‘ 5F : { ”r ‘WJ ii? .... a... 88 ...: ... 2 3.. 8: I. Ills: ._ .. = .. ...... u__. .... b Q hlnlu _ r L- - F n Eu %' L‘ “M1 I“ Jw HE .r A . III“- I" LL 8.! -Ilflunnhmm .... x... ”(4‘ #558 ...o___ .28.. n.......... 6.: ._ 55.. .... .8 u 83’: I n n n n -. 7.1.3 5. .9» = 1... FIRE» Hg: w l x782 H ..- HM M - .l g I._, .- F [‘11, ... I 4., m nfllflhfiw ‘ willll‘llllulldlhltll L ‘ ml. II ..k E \oweé ._ 8:: .....c— .9. .3: 8.8.33 .... _— :— 381 Q m J ) I n, n . k n _ . n .. _ w. hr v F 3 {III a n a W m 11' a.” 1H“ m 1.1L!” \P..M.. 0% a B .r « a I. r. I: a fill" n a nullil ‘ 5.385. 138.. _ m. 1. a»... 1.- 38 a... E: a .2: I .. I m I . DI; Ill-l I'l'IllI 7 WWII ...l..l1l .l...l:l,. II.IILIII||-|lu|l.dqfl.."m| "nun“.l .\ (. ..... :41 1 .u a Luminafi "r 1‘ . III FTL ill-.Ivuk 1A A . ..Tu Feeiooiouaooc - > u - . 4. MP1 If n I m “H J W‘kumlfil Illa” Ilo meJ CL. 0.: . Lli, _ uhnk'i. fik'pu; .: II\ «3.2.... .m 2: M p J:c&‘ll I u ma mosso -! LE 1 1 all! cook then she was fly wile. I. A — 382 I? ll m< II T—AL” W’" n c. ho i 7 dut_ gitl and ac...— — A I ‘63— .___- "Incohmah each night I'd any at hoIc. 1A And he But no oI_aI P0001... ciao-I_..— LP. I V ligh I'd any It bone. 05-h etch“ each 00 } J: phi} 383 ) )— I N L“! - t o “(m m 0 (I A It. as: a .821 mm - lrr 4;! " JUMP-H III! u I L . .... .m «33.. .8... llilllmr LI] |-. F 1 ...... I I ‘ 6:85:11]. Jum- 8: .821 _ glob a I‘D . 1‘! llo ho to In! m I: r 384 ’ II I 3- . 4 ' .___. ‘n "1'" my m V , J A N a W" E (‘ 1 1.1: I 1 3 1‘ g is r-‘.- ‘ . ( . ‘1 “.7 - p . uh I 4‘ 8 o H q :2 LP“ a _. A" d .g a "' “on r- “; . . w A 5‘ L5; it 81‘ ‘5 \ "i at I"; " ‘5 41; ; i . ' EL ‘1??? u ' 2‘ :3 ‘:_'; : § ..- E 385 IP ”I. “I I m1 H ‘4— a 1‘1.— . .cufim \ . 5‘ é H h (I‘ (I H ‘ . .~o=cau 50a. «in. oi nllzsozz ..= aua. «is: p — L J b p - T n I.- | “MI“ ~ I N— u . ..7: W I“ "- ‘ ‘Ju I “'1' I ln ln'. a 23»... B 1IIQJ F b . b— h \— 5 s— x— B V (‘1 I (t— .l‘ I‘ 4 4— [\1 IJ£111£311£ J111111133 ) H N L Li‘ L I b “1 Ix! - ‘ 4 IN d 5 l3£111131£ - x - ‘ ..Jnmlll... . ”Wadi“ W! m ”In...“ lfllmmnmm . . - \ See . a... ._uuu- Cu 386 .Ill -HHWWINHIHHI I.“ :11 Full]||~|ln~l Willi“ Ii- {-MHEE. \ ilk ll\ . - 1 2..-uuw 3x2; 58,—. 2:59:01 ugh. .= «tax 39.22. ch 5:... 23: r gm 9:...2; :! . IO,H‘ H I uallfillxthiit! I Vuu?‘ \r ...? . 5.: Ami... will“ ,H I! ...l Ullnfiot .3. .22.. 387 ”M ” I: 1‘ L ...-n” :01 m 19:: an: 8.53 9:. N L I . 1: K83 .. q * n m I 1 n h w 1 “ “nfi H» m _ _ r \098 ‘1 I lug, r “.0!”- on. 1”“ 2.3 I mom...- 8 13.“; h H "2...- ec ‘33. 3.50 9.. ans! 9. a: cam . 3: a r W H 1 m “H“! b T u '0' III I 'l! as... .... .3... 2.8 1 D n b I! TIIIIIIIIITWTW‘ HIM'JIIIw L m a MW! 9LMT. T .F .1 8...! on a}... 2.50 a; ‘ ¢ Jul! on a: 3...»..— 388 .339 .2 . .. - .22.. .... ...a... ...e N If“ ll‘ - 4 W H ‘Imu '1‘ ‘ v m K 03‘ e ...»...E . 2 2.1..» .2 II...- __8_.__.... 8...: 7%» r lm L ~5- u n .1 n “V L I ELITU ‘ "“lllnw FIP‘. nfl ~ H d 6N mp r 2 1 n ... S a u C ’ ‘(I‘II’ i - AIMHH .52.... «:73 3.2.7333... 1M6 ...-0.9.} J I so:— 3 w a all. '- IIIH Lb [ - $1 1 ‘I l I I I d “I“ l I I s: x. ll. - 1 Il- ll'l‘ '1'“! I II HI] IF‘ '|I.‘ ill? 6 Q 1...: . 1.: .... .... =81. =7... 3...... nlllvtho _ J n L} m Nu|4fi“ figmlnmmwflm mmu o. u m 1 L n ‘ 4 .882 action 389 A "3...... 33...: .... 1.2.3.. 1. 5-8.. c. .‘l .. b m m Q“ . p ‘1 (‘ q [\‘J (I. 8...... as. 8...: ¢< _# L h + L1 ' I “H H h 4 H 1 [MI I L alllullL * ...2: a: . g 3. y b > ‘1] i - NJ i [F . Twig? T H1 l Pl 4 1“ m u ... m m “III‘I§ A m J J. i. m (x lvli WT I m u . this F J 1m. 4?. m m e b? up ‘ 1‘ a qum L ..I! . A HrullHA ..lu: in» L F4 mull-kw LI 4* I fl. « w i u o (u h\ “J A I .3. ... a. lull: I E 8.2. ~0- 5. 2214“] +. , Til»? 4 . E 2. ...... a... ...? — 390 W a NM: Q, :L'l 2|2 Sop-no -.—. _———————.——— 9:432 Iva I u-penda- Both: Tenet 4. 1". _ I I _ i I 1 l | i, *-'- .”._.—_J "a ha in I- h I i . E a: Eu- ”9+ L I_.——’-————l - v53 - I. parlalo f b;- uh youhve laillu . III 7 3! ~ ‘Tm 391 Meals" I {>1 ‘lp—VH 1f 1 Inhabit. huh h (A fin—‘I I “NI (>1 392 ) n ,n p nu. DI L I! In‘ H JII.‘II‘H W I h h likillllhl Ill-“fin. a J w m .- . .h- u T u i . « N m . L M A. 4 4 . . I . ‘. A s . ‘ v 4 P w P F E» III .IIL II I llllill I H m . L Ell-"nun" Jr a ¢ a“; “LimmmHWH u. r H 1 la...— »..ana la» 5 in. on: 3.3: 2.2:!- l I! 53...: s . NH 3...... 2...: .___.2. 1. 3...». I ~ - ' ~ I fit 2" iii? 393 50-. J(I in"... “.0 A 1315 inn-twice scorned. 0* You've I 80... A 1;! I t 0!! HI: .4 mo- [ll S ”'5 II M oh- lull he. no I'll r“ paid tun-pled {he lay." ”é” f You have -.h-— :1 I. (II ‘ a é QJ IJJ1/- If I. :- f3 : 394 w . ‘ (1. Mm‘rxi .08.; c3 ...uos.xo :2...- 8.8...-. I. .5 F W» m i nhr =5 00 I n In! D - IL 4 I ‘- lb “TH-r L I. MI hip 0‘ Jb hll‘ M! II”! "I m “nil-III: ( LP r; ... v 2 .- n- .c 0 U \A I» §' W F' I ‘1 «J ’ rm” .ML b R‘ M'llh .r .l L '- In] - — «in f I n W F - . a“ 0» lo] \ll‘ q 95...: .39.... +7 *F V H 395 '3‘ § 13A H‘Hl M“ F v4: fill «at» u a» d 33.6.98 :3 .433 :3 . 2.2.. xi :3 u I»... as: .03 :18? Ira-Illflflluuunllulh fig- .. "Mu m1 l A .....3 .... - 1.... .3 .3 -1. .3... ...”B .2. .119 1 . » a A w up" .I ll. ‘ Ii 'iflh «I an. Hum."ll hflflm."dl .r flull -. i , ' n h .13 I . 1...... :1 ..3 -....- .au... ‘3: .2. 918.9 ’0 .- 0 M A o . no. bull Im‘ o .003. ‘3’ .03 813—0 _ 396 0‘ 1 E l 3 2a In... ‘0».- 13.10.3305. #anwm 397 du.\.sx llll‘llll.‘ ( .UQNKU .UQNLU . thhu :. APPENDIX B PUBLISHERS OF CHORAL MUSIC CF DM EBM GM GA GWM HP JB NK NV PUBLISHERS OF CHORAL MUSIC Carl Fischer, Inc. 62 Cooper Square New YOrk, N. Y. Duchess Music Corporation 445 Park Avenue New YOrk, N. Y. 10022 ! Edward B. Marks Corp. 1790 Broadway New York, N. Y. 10019 General Music Publishing Co. Hastings-On-Hudson, New Ybrk Galaxy Music Corporation 2121 Broadway New York, N. Y. General words and Music Publishers c/o Neil Kjos Music Co. 525 Busse Highway Park Ridge,'Illinois Highgate Press Galaxy Music Corp. 2121 Broadway New York, New York 10023 Hinshaw Music Inc. P. O. Box 470 Chapel Hill, North Carolina 27514 JOseph Boonin, Inc. Hackensack, New Jersey Neil A. Kjos Music Co. 525 Busse Highway Park Ridge, Illinois 60068 New Valley Music Press Smith College Northhampton, Massachusetts 398 399 OP Oxford University Press Inc. PA Pro Art Publications, Inc. westbury, L. I., New York PM Pembroke Music Co., Inc. 62 COOper Square New York, N. Y. 10003 RMC Remick Music Corp. c/o Warner Brothers-Seven Arts 60 Metro Boulevard East Rutherford, N. J. RPC Rudmor Publishing Co. 33 Riverside Drive New YOrk, N. Y. 10023 TP Theodore Presser Co. Presser Place Bryn Mawr, Pennsylvania WM Walton Music Corporation 17 west 60th St. New YOrk, New York 10023 APPENDIX C THEMATIC CATALOG OF THE CHORAL MUSIC OF FIVE BLACK-AMERICAN COMPOSERS 400 For any who 0 LORD GOD OF HOSTS Palm LXXXI'" GEORGE WALKER J - n Publisher: General Music Publishing Co., Inc. Hastings-on-Hudson, N. Y. 10706 401 For '7 MM Praise Ye the Lord GEORGE WALKER Psalm CXLVIII Moderately JIM Want! Allo [mm But ”man __.—.___— L J. , _— J :1 Praise )2 [he Lord fmmlhe hen-vet‘s, Praise Him - —— Praise ye the Lord fromlhe baa-\ens abs: Him - I‘\ I #2“? I‘l i *1 ...—1‘} A _ __f I _ ;__- —— Pram ye— J"- Lovd fromlhc haw-van. Pin/'3: Hum , “" Io »—:— , ‘ lhe— Lord fromlhe hea-vms. Pulse Hum - Inc. General Music Publishing Co., Hastings-on—Hudson, N. Y. 10706 Publisher: 402 G v Than 5 Un Th rd George Walker thanks U . v ¥ _/ Publisher: General Music Publishing Co., Inc. Hastings-on—Hudson, N. Y. 10706 403 for any and: J. 3 O PRAISE THE LORD Psalm CXVII GEORGE WALKER Energico J- I31 Soprano 0 ane . Ptaise Mm Pransc 1mm Pmse . Praise um Franc . Fame 0!! m In! rah-rad on]; Publisher: General Music Publishing Co., Inc. Hastings—on-Hudson, N. Y. 10706 404 8 WITH THIS SMALL KEY ‘ Sister M. Them Gently J .n GEORGE WALKER Squaw ‘ With this wall key —____.I With this small key—__. 1 Team 1' I .. With thh small key I r_s:&%r3;%@ soft - Iy shall un wide mom: of your II soft - ly shall un lock the nude rooms of your Elli 3W} __— ml‘t - ly shall ttn WET—Eire erg—i Molto rit. . . . . ...... . atempo éfflvL .Ijol # ,1 7L— - lencet .___. and stand .42:ng a sea-Hair land clear of the stand_ nandetear of the ' _ — standclcar of the Ian—on —and stand Publisher: General Music Publishing Co., Inc. Hastings-on-Hudson, N. Y. 10706 405 For Four-Part Clone at [Ind Vote". a cape“. George Walker Susan D. Kceney‘ Gently (J I l0!) Gently (It '10!) I lllfl. the peak and touch __., __ up- on the peak and touch __ E "If! the atand .. .u.. —-u. can - not al-waya stand up- on the peak and touch ._._ can-not al-tvayl .___ I .___ ___._- .___ __. __ ____ __. m ___ __. I --u“) u I I‘l‘" Associated Music Publishers, Inc. 8666 Third Avenue I Publisher . 10022 Y N New York 406 Ave Maria James Furman - v-t'm'a, ---2 fZa-na, Do-mi. - ma, are-”the Dc-m't-nus te-e-Jm, 'be-ne-d eta. tu 3n mv-Zi-e-P't- bus,€i7 . . , ' a. '. 133-com; ba-na-apcta W "‘9 f’ ‘ I" a it: ‘In e-ri. Publisher: Unpublished,- copies available from the composer c/o Western Connecticut State College Danbury, Connecticut 407 €956,790» Lona Expecrep Jews ‘ CHAMP! waster uYnquom human cum ; .5 . .. AWN ‘3»«gwwwum . '“Pf‘m JA a 5 rue ‘C- ' «Input-1 «He- sur....... . ' MP“; W 40 ...... one. m... “SW-W; ”1"" t». m» ..... '..'§ree; «mae‘MJfiul with has... 1|, p.» 5H0? J:a..0 MTV-f . __.»:“s. Fran our ”menu.” re- lease w, m .. 58.6mm" at Thu. ' V I- . x ..... 398'! . 2“” 9"). LUtI’ it“ h 'MMW and Sin: 70°10”. "55 tofu fwd ow mt'm Th“... Je - - - «as, re-tuse ass My: 5'!“ "I: Publisher: Presently unpublished; soon to be released by Lawson-Gould Music Publishers c/o G. Schirmer, Inc. 866 Third Avenue New York, N. Y. 10022 408 (Aloyw nut-auto“ be ladVoloaa.8.A. T.B..a Cappella wtqu-uu' Hé't’ttetttooxh JAMES TUBMAN .... -.. .... . a o .c [.0 ._- ... f— —: 3 . _. O- m - w-Ioo -y\Ih. hd-hh-lno-m.” ‘e z: .2' lab - H-bo-ylh. N-Id-bo-M. “__‘(I ' A I __- .__— __— 0 bah-kh-bo-yuh. H- lob-Mom. Hold-ho-yllb. bah- lab-loo-yuh. p EIOC J hh-Ioh- loo- yuh. u‘m ’ ma hab- H-bo-flhhb- Itch ~Ioh-bo-y'tlh. I , m. halt-lab- too-yuh. bah-lah-loo- .ll“? .II~ .11 .III I"?! 1:: :Ii :1' J A AL 0"“.— - _- L — — lab-loo - uh. huh- bah-M400 mmumumflo-tn y ‘mwquSbvar-wumuwd I Han-nun: watchman-ltd a: main“ tut-nan the Chapel Hill, North Carolina Hinshaw Music Company Publisher: 409 Gospel Anthem SOME GLORKXEIDAY tor Solo voice. Mind Chorua (SAID) and Plano (Electric Organ) JAMES FURMAN Words and Music by 35.-blue avvay_ I'l gva-aa that: Some Glo - tion Day -»L bal- lo - II . u Aad m; [In - Glo - tion Day- O O 6 C 3 0 g 0 n l .1 h . s Y iv. awn. ud pm... xrr 0B0 F Y O 3:... SlN Publisher: 410 Gospel Anthem 3 based on the Spiritual GO TELL IT ON THE MOUNTAIN In: Mixed Chorus. Solon! and II. Ina: timetable. Beretta-Ion. Piano. Organ and Electric Ian JAMES FURNAN Bouncy J-uu > .. the hill. the hIIIa Publisher: Sam Fox Publishing Co. 1540 Broadway New York, N. Y. 10036 411 (mtg 73mm w‘ i“ Mug,“ J, n.“ . I.) [lbrfafion ; A. i: — :—:.—--'.—=—: :_'-::—'_=.—'_-" I Lt: ten Butt-us- AIJ- SIS-C01,- .05 “caged-ad In“- Me. our f. E?.L=—«—-—.=—='—__— _.‘——=‘---—.————=—_—=='u ,0 way 9&- __.—__— Ux-I'Lu frallt-ars - an] _ Sii- his, _ We are. :Al‘L-ud hue- fill. our \ > ‘:=—';_'= In _3-_' __.— ——-.—* 'r— "__— AP- ? . L 7” 1 f Fa-Htus avid in It! hurt.- tn]. .___. Li: - to. J—_4—-——-————___————_— _— 1 a-— —=————— -——_——--——— *.————/ b—I--— _-—:# _ ...;- ‘l‘ltm JtJ at our -llona.-Itll. .___— L‘s-hat A - .~ r 2 4.. /~—\ __. __ , __. ._______ .&_———————— .__===="_ # I J , , V . " i'v ;- _3'vfifi =- 3.3V; 3- ' . taumunfinuflJ-l ‘—-———-* __.I_.—.________________- =—. ..- .___—__- I v __7 J a _. \. Publisher: Currently unpublished; available on loan from Theodore Presser Company Bryn Mawr, Pennsylvania 412 I.) Hm.» Luck; I “It ‘ if __'__—_(2£24_‘fl2______ Shula I345 5,654, gmizf—E:~—__=. ...—a- z ‘5'“ b... a: bun - - Just- for... n In”, In: with . —" ‘ui. S D I:- ._. .5 s. _. __=:'.'.__ m. - - - as 7; lott,\V_ Em. / :—..._.. __ ' __.—4:. \ :25— __= _ .. _ - -- - - _-_ _-—_ ...—_- can—— L..— - - “i— -- V SIM. a and; _ Han, h; wart! Hard- sf hi: jal CV-'r#, dasr/ and tau. hurl—I3, ‘ rat" ' h n ‘vr ( '3: _'_"=t—-_= “it- -- ~ 3. -.=-.-——_;T-_-———-=—-:—=—__E - .....t... .. ... odd-5 413 ,III.) EVERy DA! ISA NEWDM 17 Holcufa. JJ7Z 1 ar— -—— a — '- a-. —— —- '1 - A-— ”— n'———-r—— __-—u .__a_ .__I ——--"-A ‘— - u-———-—— a — v —' — ‘ f In: (a Mil/L- in Ha ten-13k, [.01 b Lug-in 6“ rain. _——r— -— -——_——_-—— ——-———— __.——___-- _ _— -——a -_— —————_—- '__r W - _v' _v._ ‘7“ (at b ...‘Zt- in If; Jun-(95¢, lane b inns-tn ("a rain..— ‘ _ lI-_ ———— ——-—- — ' = =-.—-. v _ — — a- — _Irr.--I<”— .... ...-u _——-—--u I —._a I — — — g. — —rr.r nu :— _-— I_. 4 _- —_ -_— I — -—=-—.——— -r —- - -_ I_—_ In ‘0 walk- in (its Juu- U“, I”: b— nut-in 6,- rain A..— A a v—...—— — .___ -___—- —-'_=-=t-l—-u —--—— I'll..- --’_—-l'll'=a - — — — _ — —_=— - —.—__—" __.-:1. I- --__——_v n—auu——————————-u=: .__—-‘ m.- L‘— . -.- __ --—_——:-———— —_-——--=——u- I_— (on. 4’0 all"? in Hue :«u- “3“,. [M b walk—in 5‘ Min-..— Ius -- -—= __.—_— 0“,...) 2--- __=’._____.. .. :- I v / mym... fly “a... if» 1.....5. It...) 1 ' 4 5‘. =37; .. -==§===:_ 7535535; I [M the aw- i, of erg-nit”. And He got -¢e it bitty}. - ...—.— __—__-—-——-———‘—-_ can _=——————-——-——_———-— v I .«_—————-——-—--——————==— . t n- —————-—— r—nrv- _——-—— 'r.'——— I but at: (071' L11" of ¢D¢'HI:‘a_—. [41d H". 1ui-;£ if finflJ, __ ..— — ..—-— —=—___w--—-—_r_=— -— r -7— vu- _oa—-'r— .— -— -— — — — —- a— —. r—r r—_~===:= :—— ..- .. -_'-1I'-.-.A—-——-=— r—un——--——= -_— — -—_ -=_ _n—_ -- - V.— (we “re cort- i: of :rc- 1153—. Ind .¢ gui- at If 5hr”; _— _— -————-— __i‘ u-o—w—mo——_-r—_—_———a-—_ a—--—-----——-—-- a— — — —— =— —rr= _——- -—-—— .3..- A .. I?" I [we Ht: amt-713,4 eve-amt,— /"J ff", iui- at Lt fancy. __— 213. l... T‘t—fl = . .._5 .. .1'.‘ ——___~ . _- 6 7 I 7 1' ezaa I. IIII.I -.l ... 4 61.5 suiq ~1Jut(J=1na g S. __— _ v .-__. ___________ ..__ .___________.. . ..__—..__— __.. fl. ._____.__ __.. , I (EM swan. ~JJut(J=1:o) . ..- __. __ 4' - ’ ’ - - -91... __§__=_’__£_.___-.___ she’s: 55;.— _=__—-=___:_______-———-— .__.__:====—_—.: —"—————;:E-_ _____=—:.‘_.__—=$ 1.1- .___u . _s ,' __.-7’"!- 15*" , .7; ’13“: ,.-.).. -, .- '. é’ , 7 w y "are. 37 53.3.1 I 414 41 N.) Wkaf Gaol Isfl Warm? (can We. 11 (fl. Ea ~ Coma Viagra.» ' o ’ Bra- diets- and Sis-tart, ’ , a. MALI mu 415 Tolkmmo/Mnfllolmm IM COMING HOME Ind (SATB Oman-pp": «vitamin-l I’Lfll walnut Dunbar“! mim, IO uc. __E _____ __m __. a“ T_ u. n == ..- __= m m _. . .. _= _ c t ..m ..m ”Th1 IA— _ , . m n ‘u ._M_ r m _:_m _m ‘ m __ m \I . 5 u a _ . m a.“ M E... __.» .___;C E __ m m T". M___h_=m___m___m___ : _ ____m __.; __. - ‘ __. n. n h. ..m m _ m m _ , a __ E __ - ____ .m m. n m _:_ : ._ =.. .u = . n n m w a. E __ ___ ____ E E M. m___m__m___m___m___ _ w w .._m .m..m.._m. ._ __..m __ ..m E - == - E .= _ m m __ __ E m... -,___, __ _ m x s o v.1 .m. T .m. a. ..m. m n. m m. m a ..__ a a -..“m a. a A r y .5“ .?. am. 9 r: E 10019 Edward B. Marks Music Corporation 1790 Broadway New York, N. Y. Publisher: 416 rn'n w Y W ds I Th B Arr. Ulysses Kay Modem» (J- ca. 112) All voicu in unison M N" YodtlidBUO-h F I911, Id'vIr-Ufld in - W 90-— 550' -Mm-uq hr m - M bun-“DIM A J. C. Penny Project Publisher: 417 Arr. Ulysses Kay AmmnlJ-nlfl) Publisher: J. C. Penny Project 418 1°. ODE: ‘i‘o T'i'i'ia 'EUE'EBCB . Io: Men'e Chorus (TB) e cepprlle KICIJAEL BRUCE ULYS‘ES KAY (1745-1767) Allegretto J- ca. 04 Tenor Hell . __ been- teoue 5*— J Hall. _ been-team- Allegretto J: ca.“ arena-er... of the wood... M - Plano [FM only) E twat. poco 0 para ten-dent on the spring!_ Now heev'n re-palre any true. poco e poco he" '0 C] re- pet" thy true. poco e ”to Publisher: Duchess Music Corporation 445 Park Avenue New York, N. Y. 10022 419 To Leo-rd do her 2. HAD I A HEART For Hen‘e Chorue (TB) e ce'pelle RICHARD BRINSLEY SHERIDAN ULYSSES KAY Tenor Baas Pfiann H m com-mu! on!“ (1751-1816) Andante J- ca.” ..__ Q cantabile Had ! Andante J: ca.” ne‘er cmld tn - pure Publisher: Duchess Music Corporation 445 Park Avenue New York, N. Y. 10022 420 2 1eroeul?;:uuz:ssizigijglgsfifJGuurCfieb For Ilen'e Chorue (1'38) e copped. RICHARD BRINSLEY SHRIMP. ULYSES KAY (1751-1816) J. 1340 Jim. Tenor Bernone Base "crew Anepo )- 7240 Piano (I'm when"! 00h, Publisherz. Duchess Music Corporation 445 Park Avenue, New York, N. Y. 10022 . +11. 1!!!! ff. "i‘.., le4ll1. ..Olr.‘.!t'.|‘.JI.-II" '. ‘lll' ’. 4' Il', 1'1!‘ .II‘. III’I‘!..I.‘. Ji