A STUDY OF THE RELATION BETWEEN THE
CRITERIA USED FOR CHORAL CONCERT PROGRAM
BUILDING AT THE COLLEGE LEVEL AND AN
ANALYSIS OF THE ELEMENTS OF MUSIC
STRUCTURE FOUND IN CHORAL MUSIC

Thesis for the Degree OI pI'u. D.
MICHIGAN STATE UNIVERSITY

Maurice Gerow
1960

This is to certify that the

thesis entitled

A Study of the Relation Between the Criteria
Used for Choral Concert Program Building at the
College Level and an Analysis of the Elements of
Music Structure Found in Choral Music

presented by

MAURICE GERCM

has been accepted towards fulfillment
of the requirements for

Ph. 12. degree ln_MJ.S1c_

    

Major professor

Date 1211.22.49.60—

   

LIB R 4
Michigan
Unive

 
  

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A STUDY OF THE RELATION BETWEEN THE CRITmIA USED
FOR CHORAL CONCERT PROGRAM BUILDING AT THE
COLLEEE LEVEL AND AN ANALYSIS OF THE
ELEMENTS OF MUSIC STRUCTURE
FOUND IN CHORAL MUSIC

MAURICE GEROW

AN ABSTRACT
atbmitted to the School for Advanced Graduate Studies of Michigan
State University of Agriculture and Applied Science

in partial fulfillment of the requirements
for the degreeof

DOCTOR OF PHILOSOPHY

Department of Music
196p

Approved \MQD JAN

 

2
Maurice (1er

ABSTRACT

The study concerns the practices employed by college choral
conductors in selecting and. arranging choral music for a public concert,
and an investigation of the musical elements found in the individual
selections of each program relative to the scheme of organization
determined by the choral conductor's criteria of selection. The study
proceeded to gather information relating to two questions: one, what
criteria guide the conductor in building a choral concert? Two. what are
the reasons for varying degrees of structural monotony in the music
programed?

Nine Southern California colleges and universities possessing
relatively similar characteristics furnished the source of data. Information
was gathered by personal interview from the choral conductors in each of
the colleges studied.

The study first analyzed each situation in terms of those external
or internal factors which might influence the conductor's choice and
arrangement of selections. Information was obtained relative to the purpose
of the choral organization and its subsequent home concert, the experiences
and influences which contributed most to the procedures of building
choral programs. and those factocrs which seriously limit the conductor
from freely selecting and programing music.

The purpose which was revealed as of highest importance is the
value of the choral organization as an educational experience for the
participants. Other purposes in order of their importance are an educational

experience for the college audience, and the fact that the college places

3
Abstract Maurice Gem
a high degree of importance on the choral activities and their contributions
toward the cultural life of the community.

Those experiences and influences which have contributed most to
the procedures used by the conductors in building programs consist of
experience in program building, research in libraries, attendance at
other college concerts, and of relative importance, scores obtained from
music publishing companies.

There appeared to be only one factor which seriously hindered the
conductor from freely selecting and programing music. This limitation
concerned the lack of musicianship and vocal maturity of the singers.

The next area considered involved the process used by the
conductors in choosing individual selections and arranging the order of
single compositions into groups and determining group relationships.

In selecting individual compositions for possible use. four general
criteria were held to be highly important. These consisted of the over-
all worth of the music, the literary worth and suitability of taunt, the
inclusion of selections of a light or humorous nature. and the matter of
the over-all probable appeal of the music for the performers.

I When combining individual compositions in order to form groups. the
overnall aspects appear to be of little or no consequence. In this
phase, those specific criteria held to be important are the following
structural elements, tempo, mood, dynamics, quality of sacred or secular,
rhythm, harmony, and meter.

The final phase of the study consisted of a study of the 156
compositions pmgramed on the nine concerts to determine the amount of
music structural interest in terms of the amount of variety and contrast.

or monotony found in thelmusic.

4
Abstract ' Maurice Gerow

0f the various musical elements studied, a high degree of structural
interest was fbund to be in the variety of voice textures, varied
positions of the melody. root-movements, non-harmonic tones, dynamic
levels, mood, and harmonic complexities. A low level of structural
interest was discovered in similar dynamic levels, similar levels of
rhythmic complexities, similar meters, and similar levels of harmonic
complexities.

The results of the study show that, (1) the majority of conductors
do not give sufficient attention to the details of music structural
elements or'are not aware of their importance for attaining a high degree
of variety and contrast in musical interest, and (2) other things being
equal, it is reasonable to expect that a choral concert containing a high
amount of variety and contrast in the musical elements studied will have

a high degree of musical interest.

A STUDY OF THE RELATION BETWEEN THE CRITERIA USED
FOR CHORAL CONCERT PROGRAM BUILDING AT THE
COLLEGE LEVEL AND AN ANALYSIS OF THE
ELEMENTS OF MUSIC STRUCTURE

FOUND IN CHORAL MUSIC

BY
MAURICE GEROW

A THESIS
Sibmitted to the School for Advanced Graduate Studies of Michigan
State University of Agriculture and Applied Science

in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Music

1960

”";:17.:./

fill/:14.
“"1an d9: .0
/ n

FORWARD

There are choral concerts either so good or so bad that discussion
is inevitable. But between these extremes there lies a vast middle ground
of'everyday college concerts neither good nor had enough to arouse the
discussion which they deserve. Fbr the past twenty years the author of
this dissertation has attended such programs, long enough to convince
ihim.that many conductors who are perfectionists in matters like performance
quality, audience receptivity, visual stimuli, and acoustics, pay little
attention to the basic problems of selecting numbers and ordering them into
«a musically satisfying concert.

,As a result, this dissertation asks two fundamental questions:

(1) what criteria guide the conductor in building a choral concert, and
(2) what are the reasons for varying degrees of structural monotony in
the music programed? Also to be examined is the influence of local
conditions within each college studied. Consequently, this study is a
dissertation in music education and performance and a source of practical
information to persons interested in the topic.

The writer wishes to express his gratitude to the members of the
committee for their valuable comments and suggestions on the manuscript,
Dr. William R. alr, chairman, Dr. J. Murray Barbour, Dr. H. Owen Reed,

Dr. Roy Underwood, and Dr. Milosh Muntyan. Finally, the author would like
to thank his wife, Zelda, for her patience and encouragement in this

undertaking.

iii

TABLE OF CONTENTS

Chapter Page
I. INTRODIJCTION O O O O O O O O O O o O O O O O O O O 0 1
Nature of Study 2

Scope and Limitations 4

Precedent 5

Relationship to Previous Studies 13

Methodology 14

II. CRITERIA FOR.PROGRAM BUILDING . . . . . . . . . . . 23
The Audience ‘25

Sources of Musical Enjoyment 29

Choosing the Music 37

Scheme of Organization #3

Unity #6

Variety and Contrast . 52

Order 58

III. INDIVIDUAL ANALYSIS OF CONDITIONS PERTINENT

To THE PmBLEM O O 0 0 O O O O O O O O O O O O O O O 60

College A 62

College B 64

College C 67

College D 69

College E 73

College F 75

College G 78

College B 81

College I 83

Summary 85

IV. INDIVIDUAL ANALYSIS OF CONDUCTORS' CRITERIA . . . . 93
Program A 9A

Program B 99

Program C 105

Program D 109

Program 3 11#

Program F 118

Program 6 121

Program H 126

Program I 129

Summary 134

iv

Chapter Page
V. INDIVIDUAL ANALYSIS OF PROGRAM STRUCTURE IN

TERMSOFSTRUCTURALINTEREST............ 141+
Determining the Concert Norm 1U9

Concert A 153

Concert B 168

Concert C 186

Concert D 199

Concert E 211

Concert F 226

Concert G 237

Concert F 2A9

Concert I 261

Conclusions 292

VI° MARY AND CONCLUSIONS 0 O O O O O O O O O O O O 0 29“
Summary 294

Final Conclusions 302
APPENDIXeeeeeeeeeeeeeeeeeeeeeeeeeee 305

BIBLIOGMY O O O O O O O 9 O O O O O O O O O O O O O 0 O O O 325

CHAPTER I
INTRODUCTION

During the past few years musical performances at the college
level have experienced a tremendous growth, both in quality of performance
and in number of participants. Glee clubs have often combined into mixed
choruses anda cgpella choirs that carry on extensive concert tours to
nearby communities. Their ability to perform the classics of choral
literature in a completely professional manner has come to be recognized
as a common thing. In short, they are beginning to be accepted by their
audiences as leaders in musical taste and skill in choral singing. With
the impact of television and radio upon the general concertgoes, ,however-
college choirs often find half filled auditoriums. Much of this interest
lag may be attributed to ineffective programing of the individual choral
selections to be performed.

The art of program making for a choral concert performance,
an important aspect of a conductor's trade, is often neglected or
minimized in the training of those who are responsible for public
performances. An examination of college catalogues will verify the
fact that few music departments offer a separate course on the principles
of programing for public concerts. Where does the young choral conductor
learn this art? He either resorts to direct imitation of his own college
choral experiences in public performance or develops some concepts ’from
music courses on choral conducting or musical style. The importance of
developing criteria for arranging an interesting and musically satisfying

concert program can scarcely be overemphasized. It is about these areas

.
..‘

In

I'M"

of program selection and arrangement and the possibilities they have

for enhancing program interest that this dissertation is written.

Nature of Study

The reason for this study is to secure specific infbrmation
about the practices employed by selected college choral conductors in
selecting and arranging choral music for a public concert, and to investi-
gate the musical elements found in the individual selections of each
program relative to the scheme of organization determined by the choral
conductor's criteria of selection. Following this will be the testing
of several hypotheses as to why there are varying amounts of structural
monotony in the individual programs and how these affect the musical
interest.

In this study the factors of program selection and arrangement
are classified for purposes of study under two categories. One category
deals with the problems of the conductor as he selects appropriate music
literature for use on a concert program; this will be called the external
or expedient. The other deals with the structural elements of each
composition on a program; these will be called the internal or artistic
factors.

The first and major purpose is to determine what the situation
:is in the process of'program building on the college level at the present
'time. The process referred to in this study includes those external or
:internal factors which might influence the conductor's choice and
armangement of selections. Under each factor there is a list of specific

aspects that are used to assist in determining what the situation is.

3
Included under the external factors are such points as: type of college;
source of talent; program building experience of the conductor; purpose
of the concert for the college, the participants, and the community;
concert hall facilities; equipment; budget; type of audience; and rehearsal
schedule. Under the internal factors which might influence the choice
and arrangement of numbers are: scheme of organization; reasons for
selecting individual numbers; reasons for combining certain numbers into
groups; determining group order; length of program; and, use of the
principles of unity, contrast, and variety.

The second purpose concerns an analysis of the structural elements
of each selection programed. This analysis is studied in terms of its
relationship to the programing criteria of the conductor and the method
used in building a musically interesting program. The structural elements
analyzed include the following: style--to include type of chords, degree
of tonality, use of non-harmonic tones and other dissonances, frequency
of use of certain chords, scales or modes, contrapuntal devices, root
tone movement, modulation, form, key, meter, tempo, rhythm, mood,
melodic position, voice combinations by sections, coloristic contrasts,
accompaniment, and the use of such miscellaneous devices as solos, duets,
and instrumental obbligatos.

The third purpose of the study concerns the posing of several
hypotheses as to why these programs contain varying amounts of structural
Inonotony that affect the musical interest. Not all the hypotheses are
‘thoroughly tested, but sufficient data and other information are collected
‘to indicate possible relationships in important areas. It would require

arl extensive study to test thoroughly all of the hypotheses. Among the

problems which are hypothesized for purposes of this study is that of

the lack of sufficient contrasts in style within one program. For

example, much of twentieth century music will fall into the eighteenth

or nineteenth century harmonic techniques. Many twentieth century pieces
will be less dissonant than those of Bach. Other problems are a low

degree of coloristic contrasts, and eternal factors which are circumstantial
obstacles, such as inadequate rehearsal and performance facilities,
rehearsal time, or lack of talent for the performance of more difficult

music.

Scope and Limitations

The scope and limitations of the study appear to be eight in
number:

1. Because of the limitation of time and finances, the sampling
of choral programs has been taken from those colleges located in Southern
California, and conclusions are, therefore, limited to those programs
studied from this area. It is believed that the same conclusions would
also apply in most instances to other colleges in the United States with
similar conditions, but this belief can be verified only through further
study.

2. No criterion or set of criteria for judging structural
elements containing a high degree of musical interest can be expected
infallibly to satisfy individual requirements of any conductor or audience
Characterized by striking individuality of musical taste. It is realized
that nothing in the realm of art can be conclusively proved to be either
highly interesting or monotonous in so far as the aesthetic taste of every

individual is concerned.

3. This study will not attempt to study such factors as value
judgments by the audience on the music performed; the effect of the
performance quality on the audience; acoustics; and such factors as eye
stimuli of the appearance of the singers, the printed program and other
visual factors.

4. Programs studied will be on—campus concerts performed before
audiences consisting of the college student body, faculty, and interested
lay people of the community.

5. The performing groups will consist of the usual first soprano,
second soprano, and alto voices; first and second tenor, baritone, bass;
or soprano, alto, tenor, and bass voicings under the direction of a
music department faculty member experienced in choral music.

6. Performances will be in concert style without the use of
theatrical effects, such as scenery and props or special costumes other
than the traditional choir robes or concert dress.

7. Musical selections will consist of shorter works and not
those of the complete oratorio type which are accompanied by large
instrumental groups.

8. A structural analysis will be made only of the choral
selections performed and will not include special solos and ensembles

programed.

Prec edent
The whole area of choral concert programing has been somewhat
ignored by researchers in music. Mbst of the information available to

one interested in this area appears either in a chapter in books on

choral music or in articles in commercial magazines. Research on the
problem of choral programing has received little mention anywhere. George
Howerton stresses the importance of establishing criteria of program
building. In his article in the Etude Magazine,1 he states:

One of the greatest problems which a choral director faces is

that of program building. To select material successfully and

put it together in an interesting sequence constitutes a task which
to many directors is the bane of their existence. It is not

enough merely to locate a series of individual items; if that were
all which were involved, the matter would be comparatively simple.
Each item must be interesting in itself, but, more than that, each
must be so related to the others that the resultant program possesses
contrast and variety and at the same time enough of a thread of
continuity that it hangs together as a unified whole.

In his book on Techniques in Choral Conducting, Archie Jones2
devotes one chapter to program building. He discusses two major aspects
in the process, namely, selecting the music and arranging it in program
style. The suggested criteria for selecting the music give consideration
to the text, vocal range, worth of music, and probable appeal for the
singers and an average audience. For arranging single numbers in a wellu
rounded program, he presents three factors--variety, contrast, and climax.
He defines variety through the use of selections "both sacred and secular,
light numbers for encores, spirituals, excerpts from the classical masteru

pieces, and numbers modern in harmony and in spirit."3 Contrasts may be

obtained by alternation of style and mood, rhythm and melody. He emphasizes

 

1George Howerton, "Program Building," Etude Magazine, December,

1954.

ZArchie N. Jones, Techniques in Choral Conducting (New York:
Carl Fischer, Inc., 1948), pp. 57-68.

3Ibid., p. 63. i
J

the importance of unity in variety and contrast. According to Jones,
this may be obtained in grouping sacred and secular music together or by
dividing the groups stylistically, and in every program there should be
selections which bring climax to the program. Climax is defined as a
part which ends on a high pitch of exaltation, and brings the program
to a triumphant conclusion.

Noble Cain devotes seven pages to choral programing in his book
Choral Music and Its Practice.1 He suggests three ways of arranging
programs, (1) by chronology, (2) by mood or spirit of text and music,
and (3) by contrast. A program planned on the basis cf chronology must
progress from the old to the new without regard primarily to the text or
the mood. He states that this is the "oldnfashioned'way" of planning.
In mood programing, the program would begin with some number which
establishes a definite mood and changes later to some other mood. As
one example given, he refers to sacred for the first half and secular for
the second half of the program. Cain suggests the most successful
arrangement for present day use is contrast, in which various styles of
musical works are set off in sharp relief against each other. "A modern
work of secular nature could be followed by a number like Morley's
'Fire, Fire My Heart'."2 The principle of contrast can be carried over
into the matter of keys as well as that of texts and moods. The author
states that one number should not follow another in the same key. Other

1Noble Cain, Choral Music and Its Practice (New Yerk: M. Witmark

21mm, p. 103.

topics which are discussed briefly, are: length of program, critics,
soloists and assisting artists, guest conductors, encores, stage effects,
and the mind of the audience. It is rather interesting to note his
statement in respect to the mind of the audience: "The program should
be so arranged that it will appeal to any normal human being."1
Regarding the actual task of building a program, Krone2 discusses
the role of the conductor as an educator, Showmanship, length of program,
use of the audience, and types of programs. Concerning types of programs,
he suggests that it is "usually a good idea to build each program around
some unified central theme, rather than just to give another program."3
Several examples are given to illustrate this concept. In conclusion,
he advises choral conductors to "build your programs like a good meal,
with an appetizer, soup, the piece de resistance, selad and dessert."4
Unfortunately, he does not spell out in detail how this is to be done.
Hayes Fuhr devotes one paragraph to building program repertoire
in his book on Fundamentals of Choral Expression.5 The element of
contrast is presented with emphasis given to the fact that striking

congrast should occur between groups of pieces rather than within them.

 

1Ibid., p. 106.

2Max T. Krone, The Chorus andflts Conductor (Chicago: Neil A.
Kjos Music Company, 19437.

3Ibid. , p. 126.
41bid.. p. 127.

5Hayes M. thr, Fundamentals of Choral Expression (Lincoln,
Nebraska: University of Nebraska Press, 194a).

9
Hewever, he neither develops this idea nor shows how it may be accomplished.
Leeder and Haynie1 present some ideas on concert presentation at
the high school level. Variety both in kinds and styles of music is
considered, with special emphasis given to the sequence of selections.
Diagrams or symbols are used to illustrate this concept:
This type starts with light music,
moving to heavier in the middle,

and ending with light music.

This starts with the heavy,

progresses to light, and ends with
heavy. (The authors recommend that

it should be used for a more mature
audience.)

This starts with light music and

ends with heavy music.

Following the practice of some
directors who like to toss the
"big numbers" off first, this

follows the heavy numbers with light.

 

1Joseph Leeder and William Haynie, Music Education in the High
Schgol (New Jersey: PrenticeuHall, Inc., 1958;.

10

This alternates light and heavy

I’,/’///i\\\\\\\\ taking care to avoid programing
‘\‘\\\\\“//////// numbers of a light humorous nature

between those of a more serious
type.

Wilson1 emphasizes the importance of quality in music as a
necessary prerequisite to successful choral programing. He states
that the music must be beautiful and the text should have genuine literary
value. In the opinion of Wilson a sound criterion for a director in
selecting choral numbers is to ask himself, "Is this piece of music worth
the time necessary for my choir to get it ready forjperformance?"2 ‘Wilson
further states that a program should not be too long, perhaps no more than
an hour or an hour and a quarter. Finally, music must be chosen for the
potential audience.

Two major principles of programing advocated by Wilson are unity
and variety. He suggests that a deliberate attempt should be made to
select numbers that have some relationship to each other. This relation-
ship may be established through the use of sacred songs, folk songs, and
contemporary songs. Another plan to foster unity is to use music which
reflects different moods. Sample programs are illustrative of this
principle. Another plan for unifying a program is to select some literary

idea or quotation around which groups of numbers may be organized.

 

1Harry Robert Wilson, A Guide For Choral Conductors (Chicago:
Silver Burdett Company, 1950).

2113101., p. 20.

11

Finally, Wilson stresses the importance of securing variety within
the principle of unity. Contrast or variety may be secured in key, mode,
mood, style, length, and text. Still another way is to intersperse between
choral groups solos, instrumental music or small vocal ensembles.

Unfortunately these authors offer neither mutual agreement nor
practical suggestions. Their criteria appear to be based upon opinion
rather than upon conclusive evidence from research. Both Wilson and Jones
stress the importance of content selection. Wilson emphasizes the
importance of text, musical worth, and audience receptivity, while Jones
emphasizes vocal range and probable appeal for the singers.

All the writers stress in one way or another such guiding principles
as variety, contrast, unity, and climax. Of the seven sources reviewed,
five emphasize contrast, but only two of them offer specific musical
means fbr obtaining it. (These are key, mode, text, mood, style, length,
use of soloists both instrumental and vocal, and small ensembles.) Feur
authors mention variety as being important. For this, one suggests the
alternation of sacred, secular, and modern music. Another suggests music
of different historical periods. A third does not clearly define the
difference between contrast and variety, including key, mode, mood, style,
length, and text as illustrations of both principles. Unity is mentioned
by four authors. One suggests stylistic divisions for unity; another
says that unity may be derived with the use of a central theme; and a
third specifically suggests the use of sacred, folk, and contemporary
music, different moods, and selections grouped around a literary idea or
quotation. It is rather interesting that, of the four authors who develop

only one principle of program organization, two emphasize the principle

12
of contrast, one the principle of variety, and another the principle of
unity. Only one source suggests the principle of climax as an irporiaht
consideration.

Three inferences might be drawn from the above material. There
appears to be some disagreement as to the number of principles of
programing which need to be considered in structuring a program. There
is a decided lack of agreement as to what constitutes the principles of
contrast, variety, and unity, as is most apparent in the illustrative
examples. Finally, except for Howerton, there is little in the way
of concrete and specific suggestions as to how these principles may be
realized. Obviously, the limited and divergent opinions guiding conductors
in their task of concert programing are further proof of a need for study
in this area.

The tOpic is worthwhile also because it concerns the benefits of
effective concert performance gained by the performer. Some of the
values and objectives advocated by the National Music Educators Conference
are those musical skills and appreciations deriving from performance.
"Effective concert programing affords a means of developing the musical

"1 If uninteresting music is

taste of the performer and his audience.
selected and combined into an illogical program, this goal is impossible.
Finally, since most teachers of music in the public schools are

actively involved in public performance of some kind, they also should

find the study helpful. The task of programing for assemblies, Christmas

 

1Handbook_For Junior And Senior High Schools, "The Music
Curriculum in Secondary Schools" (Washington, D. C. : Music Eflucators
National Conference, 1959), p. 22.

13
and spring festivals constantly faces the school music teacher. Practical
suggestions as to hOW'the teacher may enhance musical interest should be

extremely helpfu1.

Relationship_tg_Previous Studies

In direct relationship to this study are two previous research
projects, a doctoral dissertation and a master's thesis.

The dissertation by Van A. Christy1 is a study dealing with an
evaluation of choral music. It is concerned with the comparison of
several methods of rating individual choral selections with its main
objective involving the formulation and the testing of criteria for
evaluating choral selections. A secondary objective concerned the
comparison of ratings of choral music according to a number of standards.
Some of the findings and conclusions are: (1) those general criteria
having correlations high enough with overball rating to indicate that
they are valid tests of musical worth are (a) Literary Wbrth and Suitability
of the Text; (b) worth of the Music--beauty, expressiveness, and utility;
and (c) Probable Appeal to the Average Chorus Member and to the Average
Audience. (2) In the opinion of those using the criteria of worth of the
Music, the judges found that these were most significant and valuable in
helping them to make careful and analytical evaluations. And (3), there
was an almost unanimous agreement that the Criteria for Evaluating Musical

Wbrth was useful as a device for focusing judgment and obtaining more

 

1Van A. Christy, Evaluation of Choral Music (Published Doctoral
dissertation, Bureau of Publications, Teachers College, Columbia University,
New YOK, 19%).

14
satisfactory over-all judgments. In other words, an over-all judgment of
the musical worth of a choral composition is possible, but in order to
substantiate this judgment, some attention to the details of musical
structure is highly desirable.

1 attempts

The second study, a Master's thesis by Bert Williams,
to measure the values of a concert program, first, in terms of meeting
the various psychological needs of the adolescent, and second, by
selecting material which presents a wide range of musical appeal, and
third, measuring the vocal skills resultant from the experience of preparing
a public concert. This study is the result of Mr. Williams' work with his
own high-school choir in preparing twelve choral selections for a public
concert presentation.

An examination of published literature and academic research
reveals no study similar to this one. Those studies and sources that do

have a bearing on this work are cited throughout the text and in the

bibliography.

Methodology

For this dissertation nine Southern California college choral
conductors were interviewed. Since each college presents a unique
situation, the casemstudy approach is necessary. An effort was made to
refrain from involving personalities and each informant was assured that

neither his identity nor the name of the college would be revealed in

 

1Bert Charles Williams, Jr., An Evaluation of the Factors
Involved in Program Building7for the High School Chorus (Unpublished
Master's thesis, North Texas State College, Denton, Texas, 1949).

15
reporting the data. This is no serious omission since the study is
concerned with representative conditions and processes and not with
individuals or institutions.

The colleges studied are sufficiently homogeneous to allow some
comparisons and contrasts. There is, for example, value in determining
the attitude of the college or music department toward the performing
choral group, those experiences which contributed most toward the
conductor's ability to build a program, and those hinderances or limitations
facing the conductor in program building.

These nine colleges provide a wide range of choral performance
situations and consequently furnish information which is likely to be
found in most college choral situations. Of the nine colleges, three
are co—educational liberal arts colleges, three are state colleges, two
are universities, and one is a scientific technical institute for men.

In other words, these nine colleges are fairly representative of that
area which was studied.

An interview questionnaire was prepared and prestested in actual
interviews. After the results of the protesting had been evaluated,
statements and ambiguous tenns were eliminated and a final questionnaire
was drafted. This interviewzquestionnaire was the only source of
information from the choral directors. The procedure was, first, to
send an individually typed letter explaining the purpose of the study,
with a selfkaddressed post card for reply. Out of the twelve colleges
contacted, ten responded with an expression of willingness to participate
in the study. One college was eliminated because of an unsuitable concert.

Interviews were arranged by telephone calls. In the actual interview

16

(approximately an hour and a half) all of the informants were very
cooperative, since the subject matter was of vital concern to them. To
maintain a high degree of reliability and validity, a tape recorder was
used to record both the answers to the questions and any side comments.
In addition, this device served as a check for the interviewer in defining
terms, using the same definition in each situation.

Each choral conductor was requested to bring a copy of his spring
concert program for the previous season. In addition, he was to supply
the interviewer with one octavo copy of each number. These were to be
timed by length of performance and any changes made in the score were
to be indicated. The questions concerned this sample program.

In the questionnaire, each conductor was asked to evaluate the
questions strictly in terms of their importance in his own program
building. The conductors were asked to answer honestly, even if they
ran counter to "textbook" advice. Finally, they were urged to ask
questions regarding definitions, and meaning of statements, and to
qualify their answers, if necessary.

On the questionnaire each conductor was asked to assign the
questions a number of their choice according to the following scale:

(1) of no importance, (2) slightly important, (3) moderately important,
(4) very important, and (5) of greatest importance. For example, if a
conductor rigorously followed a particular procedure suggested in the
criteria for building his own program, he was to give it a rating of four
or five depending upon its importance and frequency. If he did not use

a particular criterion suggested, or used it very little, he was to rate

it as being of no importance or of slight importance. Those criteria

17
which he used in about fifty per cent of his activities involved in the
preparation of a concert program should be given a three rating. In
discussing the number of items to be used in a rating scale, J. Francis
Rummel1 states:

Deciding the number of units to use in a scale is largely an
empirical matter. The above illustrations of numerical and graphic
rating scales have used five points on the "continuum." If fewer
steps were used, the scale would obviously be a coarse one and would
have little meaning. If a large number of units were used, the
discriminations among them would become increasingly more difficult
and the scale would tend to become less reliable.

The sample of choral concert programs was selected from nine
colleges in Southern California. The conductors and colleges are: Mr.
William F. Russell, Pomona College; Mr. Olaf M. Frodsham, California
Institute of Technology; Mr. Francis R. Baxter, Los Angeles State College;'
Mr. Charles Nieswender, Long Beach State College; Mr. Erwin Ruff, University
of'Redlands; Mr. Eugene M. Riddle, Whittier College; Mr. William
Hollenbeck, Loyola University; Ml. J. Dayton Smith, San Diego State
College; Mr. S. Sheldon Disrud, Chapman College. In reporting the findings
of these conductors, exact percentages and correlations in the statistical
meaning of their opinions are not emphasized. However, indications and
generalizations are possible in many instances, and these will be cited.
Finally, because much of the information obtained may be considered to
be confidential, none of the informants involved in the study will be
identified with the programs studied. Henceforth throughout the study

the conductors and their respective colleges will be referred to only by

 

1J. Francis Rummel, An Introduction to Research Procedures in
Ehucation (New Ybrk: Harper & Brothers, Publishers, 1958), p. 230.

18
a letter of the alphabet.

It is understood that the effectiveness of measurement by rating
methods requires not only specificity and comprehensiveness of definition
of'the traits rated, but also depends upon the ability of the raters to
discriminate reliably. The pooled ratings tend to increase the accuracy
of the rating scale. The college choral conductors selected to rate the
program.building criteria are both representative of the population being
rated and expert in their respective college positions. No college choral
conductor was selected who had less than five years of experience or
less than two years at his present college position. The following is a
list of the conductors and their years of experience as choral conductors:
Conductor A, six.years experience and two years in his present position;
Conductor B, ten years experience and eight years in his present position;
Conductor C, fifteen years experience and six years in his present position;
Conductor D, twenty years experience and nine years in his present
position; Conductor E, seventeen years experience and three years in his
present position; Conductor F, eighteen years experience and sixteen years
in his present position; Conductor G, twentyathree years experience and
fourteen years in his present position; Conductor H, sixteen years
experience and fourteen years in his present position; and Conductor I,
seventeen years experience and four years in his present position.

A second phase of this study involves a detailed analysis of the
structural elements of each choral selection programed. An analytical

chart was developed from the following sources of authority: an analytical chart?

 

1H. Owen Reed, "Composition Analysis Chart" (New Yerk: Mills
Music, Inc., 1958).

19

from the advanced harmony class of Michigan State University, H. Owen

1'W’alter Piston's Counterpoint,2 George MbKay's

3

Reed's Basic Music,

Form in Music by Stewart M’acPherson,’+

The Technique of Modern Harmony,
The Shaping Forces in Music by Ernst Toch,5 and a list of adjectives
divided into eight subgroups as used by Hevner6 in denoting the mood
effects of music. In the nine concerts of the study, there were programed
one hundred and fifty-six single compositions. These compositions were
analyzed in relation to the analytical chart, whose items measure the
following elements of musical structure: style--type of chords, degree
of tonality, use of nonharmonic tones and other dissonances, frequency of
use of certain chords, root tone movement, and modulation. Other factors
are key, mode, meter, tempo, duration, total number of measures, melodic

position, mood, type of accompaniment, dynamic levels, miscellaneous»-

solos, and the like. Exact percentages of the frequency of use of

 

1H. Owen Reed, Basic Music (New York: Mills Music, Inc.,
1954).

2Walter Piston, gounterpoint (New York: w. w. Norton & Company,
Inc., 1947).

3George Frederick McKay, The Technique of Modern Harmony (Ann
Arbor, Michigan: Edwards Brothers, Inc., 1950).

“Stewart MacPherson, Form in Music (London: Joseph Williams,
Limited, 1930).

5Ernst Toch, The Shgping Forces in Music (New YCrk: Criterion
Music Corporation, 1948 .

6Kate Hevner, "Experimental Studies of the Elements of Expression
in Music,: The American Journal_of Psychology (New Ybrk: Houghton
.Mifflin Company, 1936), p. 249.

20
various types of harmonies used, keys and modes, moods, and other factors
of musical structure listed above will be used to compare and contrast
the individual selections, one with the other and groups with one another.
These relationships will be cited to determine the scheme of organization,
the amount of structural interest or monotony inherent in the programs.
Finally, relationships between the criteria of the conductor for program
building and the structure of the elements of music will be determined.

For purposes of clarification, several terms that are used
frequently in this study will be defined. The terms "program.building"
or "scheme of organization" and "structural interest" are important in
this study. The terms "program building" and "scheme of organization"
are used almost interchangeably. "Scheme of organization" refers to the
plan or arrangement of choral selections performed in concert byia choral
organization such as an a cappella choir or men‘s glee club. Of vital
concern to the term."program building" are such considerations as the
selection of individual choral numbers, the position of single numbers in
a group, group order, program length, and use of assisting soloists or
small vocal or instrumental ensembles. The term "structural interest"
pertains to the interrelation of the elements of music in terms of
differences and similarities. The phrase, "the elements of music structure"
refers to style, arrangement and use of harmony, form, counterpoint, mode,
key, and rhythm. To the extent that the different elements of music
sturcture vary and are contrasted within the individual musical composition
and between compositions, the degree of attention or excitement becomes
higher. Mbnotonous repetition, on the other hand, may be expected to

bore the listener.

21

The terms "unity," "contrast," and "variety," are used extensively
and are highly important. According to webster the word "unity" usually
connotes oneness or a combination or ordering of'parts such as to constitute
a whole. In music the principle of'unity means the adherance to a main
or dominant theme, in its broadest sense, or style, in order that the
structure may seem whole and complete. And in music one of the main
elements of unity is that of repetition. Two terms which at times cause
confusion are "contrast" and "variety." If one examines two musical
compositions side by side, in order to show their characteristic qualities,
they are "contrasted" when the different elements in each are compared to-
determine their differences. In music, then, in order to obtain contrast,
one places compositions or arranges them in such an order as to set off
or bring out their differences.

webster defines "variety" as "the diversified character of the
elements involved rather than their absolutes or essential differences."
In a concert program, variety may be obtained by programing an assortment
of'musical compositions which vary in style, mood, or medium, 1.6.,
instrumental or vocal. For example, one could say that he has programed
a group of selections in various modes. He has used a variety of nodes
in major and minor keys. On tie other hand, contrast would be obtained
by placing a specific musical composition in the Dorian mode between
two which are in the major mode.

Another important term is the use of "style" in music. Musical
"style" is the manner of expressing thoughtsin sound which may be
distinctive and peculiar to an individual composer or to groups of composers

related by time or circumstances. This tenn is used in many ways. we speak,

22

for example, of the "Bach style" in referring to the musical forms

common during the Baroque period. Because style is often related to a
specific historical period, we use such terms as the "Sixteenth century
style.” "Style" may also refer to harmonic structure, performance medium
or to ferm (e.g., cantata, motet, or madrigal). The passage from one
stylistic period to another is often a slow process. During these
transitional periods, a composer's style may take on certain characteristics

of both the period that precedes and the one that follows.

23

CHAPTER II

CRITERIA FOR PROGRAM BUILDING

It seems to the writer that not only is higher education
dedicated to the task of educating its constituents, but that the college
or university also has a real responsibility toward the community in which
it resides. This responsibility involves, among other things, the
establishment of good public relations which come as a result of sharing
its research, its facilities, its educational offsprings, and its cultural
events. For the most part, these cultural events take the form of art
exhibitions, musical performances, and public lectures and demonstrations.
It would seem, therefore, that the nature of these events would consist
of undertakings which the lay person or student could not expect to find
elsewhere in the college community. On the basis of this observation,
there appears to be little justification for cultural events.which are
based upon the pure "entertainment" or good "show" principle. Consequently,
a college choral conductor should maintain standards of excellence based
upon performance of the finest choral literature ranging from the
Renaissance period of music history down through the Contemporary era.

Performing groups vary as much as do their colleges. Larger
schools have sufficient talent and interest in the student body to form
both mixed choruses and men’s and women's glee clubs. These groups vary
in size from twenty-five students to a hundred or more. Mixed choruses,
with the usual soprano, alto, tenor, and bass grouping, are often called
a cappella choirs. Other organizations, such as glee clubs, consist

either of men's or women's voices exclusively. Consequently, situations

24
will differ widely in the types and variety of choral groups which a
conductor may use for programing purposes.

The criteria of program structuring advocated here are pertinent
to the concert containing miscellaneous short vocal compositions sung by
one or more of the choral groups described above. These short vocal
compositions last from about two to five minutes. Longer choral works,
such as the complete oratorio type, are not dealt with here. The over-all
formation of this kird of concert consists of arranging single compositions
into groupings of three or more selections, depending upon their length.
An entire concert will consist of two or more groups. The musical content
of the different groups varies as to overaall theme or emphasis. Concerts
may feature one or several types of choral organizations assisted perhaps
by soloists or small ensembles for contrast.

Many problems face a choral director in the preparation of a
public concert program. For simplicity, these problems may be divided
into external and internal. Among the external problems are the selection
of personnel, building the choral organization, rehearsal techniques,
purpose of the concert as it affects the overball situation, number of
rehearsal periods each week, physical facilities, budget, type of college,
auditorium facilities used in public performance, acoustics, concert
dress of the performers, printed program, and other eye stimuli which
might affect the performance. The finest choral literature, for example,
will suffer in public performance if the performing group exhibits bad
vocal technique such as singing with faulty diction or bad intonation.
These external considerations are basic to successful public performance

and concert programing. Any discussion of criteria for program building

25
must assume that these aspects have been carefully considered.

More important for this chapter are the internal influences.
These include: musical sophistication of the audience, sources of
enjoyment, choosing the music, scheme of organization, unity, variety
and contrast, and order.

The general area of musical interest has challenged research
workers, and effbrts have been made to synthesize existing investigations
in determining criteria for program structuring. The present chapter,
then, seeks to establish and to explain the general causes and conditions
which contribute to internal structural interest. The evidence presented
in support of this position has been chosen from (1) an extensive amount
of literature analyzed from the music structure aspect, (2) statements
of authorities Which relate music structure to music interest, and
(3) experimental evidence from the fields of sociology and psycholog
as a result of research in determining such matters as the effects of
music upon the listener.

Finally, notwithstanding the fact that conductors differ in
musical taste and that audiences vary in their levels of musical perception
and taste, the assumption is made that a choral program containing a high
degree of music interest, other things being equal, is one which is
dependent, to a large extent, on a precise or definite scheme of organizational

structure and maintains a balance of unity, contrast, and variety.

The Audience
In selecting music for a program, the choral conductor must
Consider that his audience varies greatly in ability to understand and

enjoy vocal music. Listeners differ from one another in age, education,

personality, temperament, and musical experience. In fact, Bingham1

claims that a person changes even while listening to a musical selection
and that with each repetition and loss of novelty, he is virtually a
different listener.

Some very vital questions need to be answered if the conductor is
to choose his material wisely. What are the different types of listeners
found in his audience? What are the various ways in which individuals
listen to music? What constitutes musical interest and enjoyment? And
how should these considerations affect the programing scheme of organization?

Charles S. Myers in his chapter on "Individual Differences in
Listening to Music"2 presents four types of listeners which are
sufficiently discrete to permit classification. They are: the intra-
subjective type, to whom the musical selections appeal because of the
emotion which it arouses; the associative type, for whom the main appeal
of the music lies in its suggested associations; the objective type, who
listen objectively ani analytically to the music; and, the character type,
to whom the music appeals fbr its character personified as a subject, in
such terms as "morbid," "joyful," "dainty," or "mystic.“

Lee3 concludes that there are two quite distinct types of responses

to music, namely, listening to music, and hearing music. In his opinion

 

1W. V. Bingham, "Introduction," in Max Schoen, The Effects of
Music (New York: Harcourt, Brace & Company, Inc., 1927), p. 3.

ZIbid., p. 12.

3Max Schoen, The P5 cholovi of Music (New York: The Ronald
Press Company, 19QO), p. 12%.

27
the person who listens to music pays active attention to each detail of
the composition and performance, "taking in all the relations of sequences
and combinations of sounds as regards pitch, intervals, modulation,
rhythms, and intensities, holding them in memory and coordinating them

1 It is these elements of music that

in a series of complex wholes."
constitute the meaning of the music for this class of listeners. The
listeners who have not been trained in the formal aspects of musical
structure, on the other hand, compensate by engaging in extra-musical
thoughts such as memories, associations, and emotional states which seem
to come and go during the moments of musical perception.

Schoen agrees with Lee and states that the beautiful in music
lies in "listening to music," and not in mere "hearing of music."2 His
view is that the depth of musical hearing rests mainly in the experiencing
of the "thing itself," and that the secondary derived effects consist of
associations, images, or emotions that music may arouse.

Hence, what a listener finds in the music he hears depends greatly
upon the degree of his awareness and understanding of musical form or
music structure. Those who have little or no understanding of the
component parts of music structure will find the value of music in what
it suggests to them. This, in turn, suggests a partial explanation of the
reason that many people like the more popular type of composition or
,prefer program music.

It should be noted that just as people differ in themselves,

 

1.L_<>_- 9.1.1.2..
ZLidOO p0 1314’.

they differ as to listening experiences and reactions which are not
always clearly differentiated one from the other. The most fundamental
type of listening experience is the emotional response. Ortmann further
states that, "training and education may lead away from it, but it remains
the absolutely indispensable source upon which all later developments
depend."1
It may be concluded that since there are varying types of
listeners and listening experiences, a conductor will plan more effectively
if he is aware, in part, of the different kinds of people who make up the
audience for the on-campus concert. The choral selections chosen will
vary in their structural complexities and appeal, as the audience varies.
If the make-up of the audience seems to indicate a preponderance of
individuals who are more than musical ordinarily because of experience,
education, concert conditioning, or age, the conductor will be able to
present music of greater complexity. For an audience consisting mostly
of high school students limited in musical experience, the conductor
should select music which is less complex. This position does not argue
for an abandonment of standards of choral literatureor "playing down"
to an audience--whatever that means. It merely suggests to the conductor
the importance of understanding the divergencies and fluctuations in
listeners and audiences.

Tb summarize, then, the conductor can never forget his audience,

 

1Otto Ortmann, "Types of Listeners. Genetic Considerations,"
in Max Schoen, The Effects of Music (New York: Harcourt, Brace &
Company, Inc., 1927 , p. 52.

29
which not only differs among its members but changes from one performance
to another. It seems to the writer, therefore, that a great part of
effective programing consists in the judgment the conductor displays in
arranging the balance, the sequence, and the quality of musical selections
so that they are not too complex and disorganized for his listeners to
apprehend and enjoy. This judgment is made up of the conductor's own
standards of musical taste and musicianship and his experience and under-

standing of the different listeners before whom his choral groups perform.

Sources of Musical Enjoyment

Once the conductor has determined his audience "listener's norm,"
his second major consideration will be to select music for a program whose
total effect will be that of an experience of enjoyment and musical
interest for the majority of listeners in the audience. From the stand-
point of the psychologist, what are the sources of music enjoyment? How
do these sources relate to the different types of listeners? Are there
levels or degrees of musical enjoyment? And why should the conductor
consider these sources in his criteria for program building?

From the literature examined, sources of musical enjoyment appear
to be derived from one or several different combinations of musical
stimuli. These are: (1) physical movement which is felt to be either
in the observer or in the music itself; (2) associations of past experiences
with music and its ability to evoke memories or emotions; (3) a simple
feeling of reaction according to the pleasantness or unpleasantness of the

musical stimuli; (4) the meaning of the music or "ideational"1 which

 

1Esther L. Gatewood, "An Experimental Study of the Nature of
Musical Enjoyment," in Max Schoen, The Effects_of Music (New York: Harcourt,
Brace & Company, Inc., 1927), p. 79.

30
includes an understanding, an interest in, or analysis of, the music
structure of the composition, its interpretation or technique.

It is important to remember in this discussion that concepts of
responses to music cannot always be clearly differentiated and absolutely
identified because of the factor of the influence of nonpauditory experiences
upon the auditory experiences. Human behavior responds in terms of the
total stimuli in a given environment.

Ortmann concludes that a human being may respond to music with a
type of response called sensorial pleasantness which is based primarily
on a physiological response apart from all associations.

There is a point of tonal intensity at which dissonances when
play or sounded weakly are pleasant--this is due to the resonance
re-enforcing it. If the dissonance is moderately loud, resonance
increases it to the loud extreme. There is a change from pleasantness
to unpleasantness.

In its most simple form, then, musical stimulation or sensation evokes
either a pleasant or unpleasant response in the listener.

The fact that music does evoke emotion or mood seems to be little
disputed among musicians and psychologists.2 Mursell states that "music,
in its essence, expresses and embodies emotion."3 He emphasizes the

fact that, since music is a tonal-rhythmic art, apart from the text in

vocal music, it "tells no story, paints no picture, and does not directly

 

1Ibid.. p. 43.
2Ivy C. Campbell, "Basal Ehptional Patterns Expressible in Music,"

The American JOurnal f Peicholo. , V01. 55. No. 1 (Ithaca, New York:
Cornell University, 1942), p. 1.

3James L. Mursell, Human Values in Music Education (New York:
Silver, Burdett & Company, 19 , p. 34.

31

symbolize anything beyond itself."1 There seems to be a difference of
opinion, however, as to whether the musical stimulus directly evokes
emotion and mood changes, or whether the emotions of individuals sympathetically
reverberate with the effect of the tonal stimulus. Pratt adheres to the
latter concept, in which he affirms that music itself does not embody or
contain emotion, but rather that "music sounds the way an emotion feels."2

In the tabulation of over 20,000 mood change charts in experiments
by Schoen and Gatewood,3 on which that number of persons reported the
effects produced upon their.moods by a variety of recordings of both vocal
and instrumental compositions, the authors conclude: (1) in general, a
musical composition not only produces a change in the existing affective
state of the listener but that its effect upon the large majority of
listeners is uniform to a striking degree. Further, they state that
when a musical selection is played at different times, there is experienced
a marked consistency in the response the music arouses. Due to the
factor of the words or text, Schoen and Gatewood found that there was a
much greater consistency of juogment of the effects of music on mood in
vocal music than in instrumental music.

Another interesting conclusion on the bases of experimental

 

1Ibid., p. 35.

2Carroll C. Pratt, "The Relation of Emotion to Musical Value,"
Music Teachers National Association, Vbl. 33 (Oberlin, Ohio: Music
Teachers National Association, 1939), p. 228.

3Max Schoen and Esther L. Gatewood, "The Mood Effects of Music,"
in Max Schoen, The Effects of Music (Brace & Company, Inc., 1927), p. 131.

32
psychology is offered by Schoen, "no greater amount of enjoyment was derived
from one type of mood than from another type."1 This factor was held
constant, provided that there was no dislike of the specific type of
musical composition or that there was not a poor performance. When a
mood change progressed from one of a joyful type to a serious one, there,
seemed to be slightly less enjoyment than when the change was made from
a serious mood to a joyful mood. Again these conclusions by Schoen were
predicated on whether or not the listner was affected by a critical
reaction to the music or'poor performance level. In all of the experiments
conducted by Schoen and Gatewood2 and Hevner,3 the factor of intelligence
of the listener made no observable difference in deciding the effects of
music. All the listeners interpreted the effects of music in the same way
and to the same extent.

Gatewood1+ in her experiments concludes that some marked emotional
effect accompanies marked musical enjoyment. Other factors such as the
physical or ideational may affect the total enjoyment from music, but the
emotional color bears a farily constant relation to musical pleasure.

There is also indicated evidence that the selection which is more enjoyable
arouses more different emotional effects than the music which is enjoyed

but little. The next problem for Gatewood was to determine what the

 

1Max Schoen, The Psychology of Music (New York: The Ronald
Press Company, 1940), p. 90.

2Schoen and Gatewood, pp, git.
3Kate Hevner, "Experimental Studies of the Elements of Expression
in Music," The American Journal of Psycholos‘, Vbl. 48, No. 1 (Ithaca,

New York: Cornell University, 1936), p. 247.

“Gatewood, QB, git,, pp. 87-88.

33
relation is between the general effect of enjoyment and each specific
emotional effect. Amusement ranks highest, stirring second, and dignity
lowest. These findings by Gatewood represent the extent to which musical
pleasure parallels the intensity of the emotion. For example, [hen
there is a strong feeling of sadness, there is a keen sense of enjoyment,
and when there is but little feeling of sadness there is only slight
enjoyment. Gatewood sumarizes by stating that,

(1) other things being equal, those selections which show high
emotional affect are most enjoyed, (2) those selections which show
several emotional affects are more enjoyable than those which show
one or none, other things being equal, and (3) those selections the
sum of whpse emotional affects is great, show greater musical
pleasure.

In the total complex of the musical experience of enjoyment there
are other factors besides those of mood responses. Mursell2 stresses
five elements which constitute a focus of interest and enjoyment. They
are, (1) the shifting volumes and qualities of tonal content with little
or no awareness of musical design, (2) melody, which is a common center
of interest and pleasure, (3) rhythm, which is not always a primary source
but in some music may become a chief determining factor of musical
pleasure, (4) harmny, which is of considerable importance, and (5) the
general "architectonic design" of the music. Of these five factors, he

contends that none eve* operates in complete isolation from the rest,

although with different listeners one or another may become of major

1mm, p. 90

2James L. MurseLl, The P cholo of Mn ic (New Ybrk: W. W.
Norton & Company, Inc., 1937), pp. 211-15.

34
importance in the perceptions of the listener.
Broudy contends that "the basis for all musical enjoyment depends
upon our ability to perceive and hear the small patterns of tonal material,

"1 He maintains

because out of them or with them larger patterns are woven.
that if the listener cannot enjoy simple sound combinations, he cannot
enjoy complexes of them. To stOp at this level of merely responding to
feelings of'pleasantness or unpleasantness would "sadden the hearts of
musical composer, performer, and educator."2 Broudy contends further
that the structure, the continuity and the form or design of a composition
results from the way in which these patterns create tension, are sustained,
and resolved; ask questions that are answered; achieve balances which
are upset and restored. It is the arrangement of these elements which
attracts, holds, and directs the interest of the listener. And finally
Broudy maintains, "unless the listener detects form, he is limited to the
most rudimentary level of appreciation."3
Ortmann substantiates this position by stating that "the degree
to which a subject responds to higher units is one of the most important

elements, if not the most important element in the auditory field of

musical enjoyment."1+

 

1Harry S. Broudy, "Basic Concepts in Music Education," National
Society for the Study of Education, 57th Yearbook (Chicago, Illinois:
The University of Chicago Press, 1958), p. 70.

2E3. Cit.

3Ibldo 9 p. 71.

 

1+Otto Ortmann, in Max Schoen, The Effects of Music, p. 64.

35

In all of the responses to music, it seems apparent that the
variable element is the listener himself, who changes in his reactions to
music as the music changes. tmann concludes that "reaction to music
is, psychologically, the result of a development rather than of a given
state."1 For the listener, then, if the so-called higher units are
limited to major and minor triads, for instance,the1m3re complex harmonies
as found in some contemporary music may be responded to as unpleasant.
Ortmann concludes further that "the determinant of reaction to music is
native capacity, plus experience and training."2 This implies that
training and experience will not only affect the listener's responses to
music, but also will increase his enjoyment of music. Consequently,
anything that a conductor can do to increase musical understanding will
tend to increase the listener's enjoyment. Mursell3 suggests the use of
program notes or oral comments, because they concentrate and reinforce
the mood responses to music. Hevner4 feels, also, that certain musical.
facts are essential to proper listening. In other words, proper listening,
for Hevner, would seem to entail an ability to discern musical structure
as well as to undergo "glandular disturbance," and listening on the musical
level seems to demand not only enjoyment but also discriminative enjoyment.

Once the listener knows something about the music in terms of its

 

1%" p. 75.

glpid., p. 76.

3Mursell, o . git” p. 205.

“Kate Hevner, "Studies in Music Appreciation," Journal of Research

in Music Education, V01. IV (Washington, D. C.: Music Educators National
Conference, 1956), pp. 3~25.

36
form or style characteristics, this information will condition his response
and will affect his opinion of what is heard. Myer1 supports this position
by adding that such information is important because it conditions not only
what we seek, and hence what we perceive, but also the speed of our
perceptions and responses. Thus, for instance, "if a piece were known
to be built upon a ground bass, attention fbcusing upon this aspect of
the musical structure would tend to bring the bass out, even though other
voices might tend to obscure its progress."2 On the basis of these
conclusions, it would seem that material which is extraneous to the music
itself although interesting pgr_s§, will not enhance the listener's
appreciation or enjoyment. It is extremely doubtful, for instance, that
any statement about a composer's personal life or circumstances under
which the composition was written would help the listener to understand
or enjoy the music directly.

The above studies and experimental evidence have been able to
define rather closely the direct relationships of the elements of music
and the resultant ability to evoke definite physiological and psychological
responses in the listener. These responses enhance the listener's level
of enjoyment which is interpreted by the listener in terms of his immediate
feeling, mood, associations, and understanding. In planning a concert the
conductor should select a variety of musical compositions which will contain
a high degree of musical interest for the different types of listeners

and their various levels of musical enjoyment. Dependent upon the

 

1Leonard B. Meyer, Emotion and Meaning_in Music (Chicago, Illinois:
The University of Chicago Press, 1956), p. 59.

2Ibid. , p. 78.

37
musicality of the audience, there should be proportionately a balance
between music which primarily evokes mood to that which is more complex
in structure and ferm. In the evidence examined there seems to be some
basis for the belief that the less musical person will enjoy familiar
music more than that which is strange. For this type of listener the
conductor should include music which contains some reference to a loved
one, home, children, or native country. Since these are personal or
intimate feelings and have a special meaning for many listeners, they
will evoke correspondingly emotional feelings.

Finally, the conductor will select music which contains a unique
and distinctive musical expressiveness in one or more of the elements
of music-~its melodic line, its rhythm, its harmony, its dynamics, and
its form. Music should be selected that contains a high degree of suspense,
of tension, which results in an emotional release upon resolution and a
subsequent feeling of pleasure. Selections from the various periods of
music history should be programed so that the listener may become acquainted
with the different styles of vocal composition and hence increase his
understanding of the choral medium. Finally, all of these aspects of
musical structure and expressive musical qualities, in turn, should be
"pointed up," so that they may increase the listener's musical under-

standing and hence his level of musical enjoyment.

Choosing the Music

Besides the individual differences found in listeners, there
are differences among musical selections, the good, the great, and the
mediocre. One most important task for the conductor is to exercise

discriminative judgment in the selection of individual choral selections.

38

Christy1 concludes that the most satisfactory method of rating choral
music seems to be by an overuall evaluative judgment and not by an
evaluation of the sum of its various musical elements. He contends that
it does not seem aesthetically sound to rate factors of musical worth in
isolation and to base a final judgment on the sum of the weighted parts.
It is rather interesting to note the import for the conductor of his
statement regarding public response, "the type of rating technique that
yields the most acceptable aesthetic judgment may be inferior for predicting
public response or liking."2 In his study, Christy concludes that the
most acceptable method aesthetically for rating choral music would seem
to be the over-all rating technique. His criteria for over-all rating
include literary worth and suitability of text, reasonable range and
difficulty of parts, probable appeal to the average chorus member and to
the average audience, these to be assisted by the criteria fer evaluating
the worth of choral music.3

Examining the different elements of music structure is, in the
opinion of the writer, of greater importance in the determination of
structural interest than the overball rating technique. Especially is this
true when compositions are placed side by side to form groups in a concert
program. Ascription of such qualities as melodic beauty to a composition

is ultimately a value judgment which results from individual taste. Yet

 

'van A. Christy, Evaluation of Choral Music (New York: Bureau of
Publications Teachers College, Columbia University, 1948), p. 99.

ZLQE: Eli!

3Ibid., p. 106.

39
on the other hand, there is a kind of melodic logic which does determine
and enhance musical interest. This logic or coherence is found in the
structure of the melody itself and is achieved through some form of
repetition, with variety obtained through climaxes, rhythm, and the use
of non-harmonic tones. These non-harmonic tones either coincide or do not
coincide with the meter accent. Those non-harmonic tones which appear
on strong beats like "suspensions and appoggiaturas, give the melody a
definite tint, aesthetically and psychologically sharply contrasting
with either purely harmonic melodies or with melodies using unaccentuated
by-tones."1 In melodies, different types of conflict between rhythm
and meter, between meter and motion, all provide additional means of
creating musical interest which has excitement, suspense, contrast, and
emotional intensity. Attention should be given to the position of the
melody in choral music. Selections should be chosen that feature the
melody in other voice parts than exclusively in the soprano part.

The harmonic scheme of choral compositions should be examined.
This does not imply a complete harmonic analysis, but it does emphasize
the importance of developing an awareness of the harmonic richness and
interest. This structural interest is not only found in the vertical
sonorities but in the horizontal sonorities as well. Vertical sonorities
are determined by the kinds of varieties of chordal harmonies, and
horizontal sonorities are found in the melodic or linear impulse of

the tones in each chord. Toch states that, "the principle of linear

 

1Ernst Toch, The Shapinggfbrces in Music (New York: Criterion
Music Corporation, 1948), p. 105.

writing advocates melodic independence, which involves movement of
voices. Anything that suppresses melodic independence in all voices
suppresses the linear impulse and the subsequent interest of motion."1

An awareness of key is another important consideration which gains
in its importance as individual compositions are placed side by side to
form groups. In selecting music, choice of compositions in different
modes provides additional color. These should not be limited to the
major and minor modes exclusively, but should include other scale structures
as well.

Another important aspect of structural interest is the matter of
color or timbre. Variety in timbre is very essential to musical interest.
Coloristic contrast may be obtained by selecting compositions that contain
different arrangements of voice parts, through the use of selections that
contain solo or small ensemble parts, and other compositions which use
different types of instrumental accompaniments.

The conductor, then will select choral compositions that contain
a variety of interesting music structural elements that will be inducements
in capturing audience appeal and interest. On the basis of the literature
examined, it would seem that the audience appeal of a specific composition
would be in direct proportion to the number of responses (mood, association,
musical meanings) it can stimulate in the listener. Hevner aptly
demonstrates this concept by stating:

The art that will command the largest audience is the art that
makes the largest number of appeals to the human mind and body, and

 

1Ibid., p. 10.

41
and that calls out these responses to their fullest extent and
for their longest duration . . . . . . . . . .

Form alone may serve to make an object beautiful-~line, proportion,
balance, harmony, exquisite and enchanting pattern--it may count its
admirers by the thousand. Equal thousands may be charmed by a less
exquisite form if it is also the mold for poignant feelings, or if
it carries a content rich in detail and widespread in its appeal.

The choices a conductor makes, in turn, are influenced by the
conductor's own standards of taste and ideology. Many programs represent
or reflect the ideal, the "cult," or "school of thought" of the conductor
and are not representative of his audience, which is often at a level of
taste far below that of the "ideal." This is not to imply that a
conductor should not attempt to close this spread of differences through
some sort of gradual process of audience "education." The philosophy
of many colleges does not impose the pressure of popular taste and the
conductor may feel free to program whatever he desires. Some denominational
colleges limit the conductor’s choice of religious music which does not
agree with the religious beliefs of the church-supported college. A
similar condition exists in certain communities where the population of
the community represents chiefly one particular religious sect.

On the basis of knowledge, experience, and study, the conductor
should rely on his own standard of judgment. Certain works of music do
exert genuine emotional value and emotional sincerity down through the
years. The ultimate justification of the conductor in choosing these

works is that they will eventually exert a greater and more profound

influence on human life than will the inferior type.

 

1Kate Hevner, "The Aesthetic Experience: A Psychological
Description," Psychological Review, Vol. 44, No. 3 (Princeton, New
Jersey, 1937), pp. 261-12.

42

Hevner places the following emphasis upon educating or training

audiences:

The training of audiences is as important as the training of
performers and composers if music is to flourish in our society.
Music appreciation must be taught not only widely'but well, and must
include any material, any approach which enlivens the music for the
listener. Conductors, performers, managers must learn how to
increase the value which the concert-goer sets on his listening
hours, and how to enhance this one activity above any other in the
totality of his human experience.

Not only is the conductor challenged with the task of selecting

music for the varying tastes and levels of enjoyment of his audience

but he also is dedicated toward broadening the musical insights of his
singers. One explicit aim is to acquaint his choral singers with a
broad range of great choral music during their years of membership in the
choral group. The conductor should not limit his selection to fblk music
exclusively, to early church music exclusively, nor to modern or
contemporary music. He should "seek to mediate to (his) pupils a
catholic selection of worthy music."2 Sir Richard Livingston states:

"I would also try to give the pupil in school a better idea than he
sometimes gets of what is first-rate in literature, architecture, music

arld art 0 O O O ',3

Another factor which tends to prevent conductors from extending

 

1Kate Hevner Mueller, "Studies in Music Appreciation," Journal
of Research in Music Education, vol. IV (washington, D. C.: Music
Educators National Conference, 1956), p. 3.

2James L. Mursell, Human values in Music Education (New York:
Silver, Burdett & Company, 1934), p. 60.

3Sir Richard Livingston, "The Meaning of Civilization,"

Atlantic Monthly (March..1953), p. 43.

43

a free, unlimited choice of selections is that of the limitations of the
singers themselves. 'Certain choral works may be too difficult technically
and too demanding vocally for the experience level and talent found in
some college choirs. The singers may lack experience in singing the more
difficult parts found in major choral works. There also may be a dearth
of certain voices, such as tenors or altos, and this in turn would limit
the use of certain selections whose vocal arrangements are for more
than four parts. All of these considerations are of great concern to
the conductor as he selects or eliminates each prospective composition.

Finally, many conductors will want to select music for the
season's repertoire which will be suitable for use on several occasions
and for different programs presented during the college year. Certain
selections may be used only on the tour program due to the nature of the
program or the make-up of the audiences. Some selections, due to their
length and musical complexity, can only be performed before the on-campus
concert audience. All of these considerations will affect the choice of

individual choral compositions.

Scheme of Organization

Down through the ages musical form has been the vehicle for a
composer's expression. The term "form" as used here does not refer to a
musical structure relating to a particular traditional type, such as a
motet, waltz, ronda, sonata, or fugue. "Form," as used here, refers to
the manner in which the total shape is consistent with musical sense,
containing neither too much nor too little of the art principles of unity,
variety, and contrast, exhibiting in all its parts its own unique balance

among these various principles. The content of this inner musical sense

concept has been defined in different ways.

The principle of repetition is one of the fundamental ideas
applied almost by instinct in the early stages of musical history.
Repetition in music, very much like repetition in the other arts, is
a means of obtaining the feeling of continuity, coherence, order, and
symmetry. One of the earliest music examples of this repetition concept
is that of the canon.

Here, as everywhere in musical composition, the aesthetic laws
of unity and variety, of stability and contrast are the deciding
factors. Stability without variety, mere repetition, if continued
for any length of time, is aesthetically objectionable because the
ear finds it uninteresting and dull. The opposite also holds true:
variety without constancy is unwarranted. A somewhat extended piece
of‘music which almost constantly changes its rhythms, figures
of accompaniment, harmonies and color from bar to bar has a jerky,
confused effect, and as it shows no manifest order of treatment, it
finally becomes fatiguing and repulsive.

Ernst Toch describes form as "the right distribution of tension
and relaxation, that is fbrmative in every art, in music as well as in
painting, sculpture, architecture, and poetry."2 Though the interplay
of the two forces of tension and relaxation with rhythm will always have
its bearing on form, Toch prefers to confine his definition of form as the
balance between tension and relaxation. This definition applies to all
musical composition regardless of the more formal consideration of two-
part and three-part song form. It also applies to the larger forms feund

in all epochs of musical development. Toch contends that balance between

tension and relaxation does not imply a half-and-half ration of the

 

1Hugo Leichtentritt, Musical Form (Cambridge, Nass.: Harvard
University Press, 1951), p. 233.

2Toch, gp. 933,, p. 156.

45
sections devoted to each of theseeflements, "but that in mere temporal

II1 The term relaxation,

extent the former preponderates over the latter.
as used by Toch, is analogous to the principle of unity, and tension is
related to the principle of contrast.

In building a concert program which is composed of a number of
musical art-forms called compositions, the order and arrangement of the
different compositions should present some semblance of logic and coherence,
of plan or shape, of tension and relaxation. Merely to group single
compositions into a kind of potpourri cannot, musically, be justified
without some sort of thread to make them hang together, and thus help to
shape a "concert form" which gives a more completely coherent and interesting
musical experience for all concerned. In a sense, the conductor might
consider himself a kind of "concert" composer who uses the "concert" as
his formal art form and the "content" as a means of conveying musical
meaning and enjoyment. Each section (groups of compositions) and each
part (single compositions) should be so placed that;they will be exhibited
and presented in the best light possible. All this takes planning, study,
musicianship, and an understanding of general concepts of the craft of
building a concert program.

There appear to be two methods or some combination of both
jpredominantly in use by choral conductors for building a program. The
first method involves the selection of individual choral compositions '
appropriate to the performing group or groups in terms of difficulty and
suitability. The final choice of selections is arranged, then, into some

1Ibido , p0 159‘

46

sort of order for public concert. The order, in turn, is influenced by
the kinds of compositions chosen. A second method is to set up a scheme
of organization or plan and then to find the appropriate choral compositions
suitable to this scheme and to the performing choral groups. The latter
method is preferred by the writer, since it seems to be a less "by chance"
method. In addition, with this method the conductor has far more control
over the arrangement and order which are so important to program coherence
and musical interest.

The length of a program is relative, and no hard and fast rules
can be offered. However, the more technically advanced and polished a
group is, the longer this group can sustain audience interest and attention.
A conductor will be wise, from the audience point of view, to schedule
solos or small vocal or instrumental ensembles as alternating relief
points with choral groups which are less advanced and less musically
polished. As in a symphonic concert, the longer the program the more
there is need for an intermission period, a common practice in most public

concerts.

use

While the structural plan of a concert as a whole is not simply
the sum of the relationship of its parts, the single compositions within
the individual groups are both means to an end and ends in themselves.
For effective planning, the degree of musical interest, structurally,
of a group, or, for that matter, of the entire concert, includes both
the kinds of relationships of the several different selections and the

musical meaning of the whole group. Both aspects must be considered in

47
an analysis of program structuring. "What the program does is to provide
the causal connection between the successive moods or connotations
presented in the music. Its function is to connect them."1

As was stated above, one important principle of concert programing
is the principle of unity or coherence. With some adherence to this
principle in arranging the single compositions into groups, the total
effect will give an impression of logic and continuity. The writer
undeistands that the decision of such matters as the amount and degree of
the music ingredients necessary to maintain unity in any one concert is
dependent upon the personal judgment and taste of the conductor. It is
acknowledged, also, that it is far easier to cite the extremes than it is
to measure and determine those differences found toward the center of a
continuum. However, if a conductor will seriously devote himself to a
study and careful examination of the structural designs of the individual
compositions chosen and of the entire concert in terms of musical thread
and contrast, he may find that the aggregate of compositions leans on the
side of one or the other extremes. For example, if the musical thread of
coherence is identical or too similar between the various elements of
music structure in adjacent compositions in groups or in adjacent groupings,
we might conclude, other things being equal, that there is likely to be
an over-balance of the principle of unity. A program.which exclusively
features Renaissance music, for example, from only the Netherland School
of composers, mig t conceivably be very uninterestingu-particularly for

an audience consisting predominantly of non-musical listeners who

 

1Meyer, pp. p_i_;t_., p. 272.

48

have had little or no experience with this type of choral composition.
A similar condition of monotony in unity could exist in the relationship
of certain compositions of different schools in which, despite strong
exterior differences, there are manifested too many similarities through
musical inner relationships. This sort of monotony is frequently found
in contemporary choral compositions which use an eighteenth or nineteenth
century style of harmonic writing. Concerning the effects of repetition,
Santayanna‘writes:
The tendency of monotony is double, and in two directions
deadens our pleasure. When the repeated impressions are acute,
and cannot be forgotten in their endless repetition, their monotony
becomes painful. The constant appeal to the same sense, the constant
requirement of the same reaction, tires the system, and we long for
change as for a relief. If the repeated stimulations are not very
acute, we soon become unconscious of them; like the ticking of the
clock, they become merely a factor in our bodily tone, a cause, as
the case may be, of a difqued pleasure or unrest; but they cease
to present a distinguishable object.1
Conversely, the indiscriminate grouping of single compositions
_ tends to destroy program logic and coherence. "An excess of asymmetry
endangers the coherence, tends toward a vague formlessness."2 A program
consisting of'miscellaneous styles and forms tied together merely by
virtue of order will most assuredly destroy the forward motion of the
concert "plan" towards fulfillment. It will tend to give the listener
momentary musical "pictures" which are more or less complete within

themselves but are not related to anything greater than themselves. The

princi le of unit commands the use of a logic of re etition and a lolic
o P g

 

1George Santayanna, The Sense of Beauty (New York: The Modern
Library, 1955), pp. 108-9.

2Leichtentritt, pp. ply” p. 225.

49
of relationships which assists in giving the whole concert meaning and
completeness.

The question might be asked, what can a conductor do in arranging
his program so as to insure coherence that is not so extreme as to
cause monotony? The plan Which seems to be the most direct to work with
is the plan which arranges groups according to their distinctive historical
style. In a three-or-four-group concert arrangement, an example would be
to allocate the first group to music from the Renaissance period, the
second group to the Baroque period, the third group to Classic or Romantic,
and the final group to Contemporary or Modern music. Perhaps a distinction
should be made between what is meant by Modern music and Contemporary
music. Mbdern music might be considered as music composed about the
time of Debussy and Ravel, roughly considered as the dates around 1900 to
1920. The "Contemporary idiom" is that music which is composed in the
twentieth century by the so-called serious composer, as ccmpared to the
so-called "popular" or commercial composers. Ernst Krenek has defined
twentieth-century music as:

New Music is music which because of its essential characteristics,
experiences the greatest opposition to its conversion into merchandise.

Music is new until such time that the sounds become so familiar to the
commercial composer that he begins to use such sonorities in his commercial
music. Contemporary or New Music, then, uses a type of harmonic sonority
which is highly dissonant, using such techniques as polychord, polytonality,

polyrhythm, and atonality.

 

1Ernst Krenek, Music Here and Now (New York: W. W. Norton &
Company, Inc., 1939), p. 66.

50

As can be seen, this type of grouping offers infinite possibilities
for program arrangement and program coherence. Two periods, such as the
Renaissance and Classic, might be used for an entire program. Two
adjacent periods could be programed in one group, placing the earlier of
the two in the first half. As a general rule, it is the custom to place
earlier music first, and this appears to be a sound principle. As
Meyer advocates, the function of a program is to connect. The psychological
connection appears to be more logical in terms of concert coherence which
moves forward rather than backward. This conclusion is based upon two
important considerations. The first is the consideration that the history
of music is the history of musical development, from the more simple to
the more complex. Second is the consideration for the non-musical and
the somewhat musical listener who will respond in terms of increased
pleasure and enjoyment toward the musical idiom which is more familiar
and which, of course, is dependent upon the complexity of the music used.
If compositions from three or four music eras or periods are combined into
one long group, the "casual connections" should be so graduated in their
relationships that too sharp a contrast is avoided. The logic of this
may be illustrated through an examination of a major orchestral work such.
as a symphony. A symphonic form by any composer usually contains no
radical stylistic upheaval or change and the ear tends to organize this
experience into a listening unit complete within itself, lasting twentya
five minutes or more. Likewise, a group of choral compositions forming
a group should be so organized that it presents to the listener a total
listening unit which is graduated from style to style without any abrupt

shifts found in extreme and remote styles. If a conductor, for example,

51
combines two classic works with one contemporary work, there should be
some definite affinity in the style to connect them, thus providing a
continuity which is void of radical shifts or abrupt contrasts. Slight
pauses between groupings give the ear and mind an opportunity to adjust
and prepare for new units of listening. In reference to orchestral
programs, Mueller and Hevner conclude:

To some extent, new directions in the growth of modern music,

the appreciation of the more complex harmonies and forms in wagner,
Debussy, and Strauss rob the simpler and more tuneful Mozart, Haydn,
and_even Beethoven of much of their fascination. we can still listen
with enjoyment to the older compositions, but in progressively smaller
quantities.

Many conductors divide a concert into sacred groupings and secular
groupings, placing the sacred in the first half of the program. The
chronological scheme may be used in this type of plan, though care should
be taken to avoid too sharp contrasts through the use of divergent styles.
The logic of sacred music's preceding secular music seems to rest in the
nature and dignity of worship which takes precedence over the secular or
mundane aspects of man’s life.

Another general category of vocal literature is that of the
folk-song type. The historical grouping could be combined with groupings
which feature fblk songs from different countries. Continuity or coherence
may be maintained by placing folk song repertoire in groups which have a

geographical or theme idea such as love, work or some other major cultural

similarity.

 

1John H. Mueller and Kate Hevner, Trends in Mneical Taste

(Bloomington, Indiana: Indiana University, 19415, p. 100.

52
variety and Contrast

After a number of repetitions, varying with the complexity of the
compositions and the experience level of the listener, enjoyment begins
to diminish. In order to sustain listener interest there needs to be in
addition to stability and continuity, variety and contrast. One of the
dangers of grouping compositions of contemporary composers together is
the similarity of harmonic content. In analyzing the chorales of Bach,
Handel, and Heinrich Graun, McHose found that:

The musical elements of a given period are to be found in every
composition (same style of composition) in such a proportion that
they do not vary more than ten per cent from the general norm.

This being true, the conductor in placing compositions in a group of a
particular'period should take great pains in comparing the different
elements of music structure in order to determine the degree of variety
and contrast and the subsequent degree of musical interest.

What are the music elements that help give contrast and variety
in the relationships between single compositions? Between groups?
Variety in the use of mode and key is one important aspect. Compositions
in different modes should be arranged in an order that will bring about
variety and contrast. Arranging numbers only in the major'mode according
to key relationship, either those which are nearly related or with a
type of relationship which is remote, is questionable because of the
slight possibility'for'contrast. There appears to be no study which proves

or disproves the assertion that listeners retain the identity of

1Allen I. McHose. "Musical Research in the Definition of Bach's
Contrapuntal Harmonic Style," 42 Series (Pittsburgh, Pa.: Music

Teachers National Association, 1950), p. 126.

53
different key feelings from composition to composition.

Closely allied to mode relationships is the matter of mood
relationships. Mood in vocal music is found in the text as well as in the
musical stimuli from the unique combination of music elements. If the
words can be understood, this constitutes one of the major sources of
musical enjoyment for the non-musical and somewhat musical listeners.

A variety of different moods shouldtxachosen for a group, and placed so
that there is an interesting contrast found in the order of compositions.
As was fbund previously, emotional excitation and musical pleasure are
quite inseparable. The greater the variety of emotional effects between
selections, particularly compositions which display several emotions, the
greater is the pleasure found in the music. The musical elements which
assist in defining the effective nature of music for the somewhat musical
are melody, rhythmp_(closely associated with rhythm is tempo) and harmony.
These musical elements are the easiest to apprehend, although one element
seldom functions in complete isolation from the others. Melody coupled
with.a low dynamic level and slow tempo will often produce an effect of
seriousness and rest. Music with marked rhythms, fast tempo and a

high dynamic level will arouse a feeling of excitement.

One important element which helps to sustain attention in a
symphony orchestra is found in its wide range of timbre. This timbre
contrast is found in the use of individual solo instruments themselves and
in the innumerable combinations of instruments. Fbr the most part,
choral groups are limited to four distinct voice timbres, soprano, alto,
tenor, and bass. This fact tends, in turn, to limit the coloristic

possibilities of variety and contrast. If the position of the melody is

54

always found in the soprano line, for example, there is likely to be less
musical contrast than if the melodic line were found in different sections
and combinations of sections. Again, there will tend to be less interest
in compositions which continuously use the fourbpart combination without
some variety found in using different combinations of the four voices.
Although the four voices are a limiting factor, the conductor should
consider the fact that variety can be found in compositions which contain
different combinations or which use more than four'voice parts.

Closely associated with the matter of voice color in choral
groups is the use of compositions which feature incidental solos, duets,
descants, obbligatos. and accompaniments such as piano, organ, or instrumental
ensembles. The unexpected sound of a solo voice during a choir number
has an almost electrifying effect, especially if this is not overdone.
An.aJJ.a cappella.choir program does not offer as much contrast as one
'which includes some music using the piano as the accompanying instrument.
If the piano part is independent of the voice parts, it is even more
effective. Groupings which feature soloists or ensembles and are interspersed
between choral groupings offer contrast and variety. The shift of timbre
from vocal to instrumental solos or ensembles provides great contrast.
The music selected for these particular groups should contain a general
relationship and connection with the choral groups so that a logical
coherence and continuity may be maintained.

The harmonic consideration is a very important aspect in determining
the degree of musical interest in variety and contrast. Harmonically, a
low degree of contrast and variety is likely to be found in compositions

used exclusively from one stylistic period, unless the other elements of

 

 

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55
music structure offset this condition. A high degree of structural
interest is found in the contrapuntal writing of the sixteenth century,
and it reached another peak in the Baroque period in the works of Johann
Sebastian Bach. In the music of the periods that followed, homophonic
music began to predominate. In much of the twentieth century choral music,
little in the way of contrapuntal devices is used. The devices of imitation,
augmentation, diminution, and inversion are all helpful in obtaining
variety and contrast as well as in consolidating the logical impression
of coherence. The interplay of tension and relaxation, of agreement and
disagreement, in single compositions and between compositions is partially
due to the high degree of harmonic richness and the use of contrapuntal
devices. Relaxation in music is obtained, in one way, through the use of
consonant harmonies; by all voices reaching a climax at the same time; by
coincidence of rhythmic figures and strong beats with the meter; and by
harmonies which change with the meter. By consonant harmonies, we mean
those harmonies which do not deter the movement of the attraction force
of the tonic.1 Tension in music is obtained, in one way, by the use of
dissonant harmonies; and by avoiding the coincidence of harmonic and
melodic rhythm.2 Dissonant harmonies are those harmonies which momentarily
suspend or neutralize the attracting force of the tonic.3 Groupings of

single compositions, then, may have varying degrees of contrast and

 

1Toch, pp, 913., p. 18.

2For a complete discussion of harmonic and melodic rhythm see
Walter Piston, Counterpoint (New York: W. W. Norton & Company, Inc., 1947).

3mm, 2.12- 931” p. 18.

56

variety through the arrangement of selections which have more or less

harmonic and contrapuntal tensions.

Qrder

The position of each selection in each group and of group order
will be determined, in part, by the use of the principles of unity,
variety, and contrast. However, there are other matters which tend to
influence the overball program structure in terms of order.

In the theater, as the curtain opens on a play revealing the
scenery'and the actors, something happens, usually, with sufficient
force to secure the interest-attention of the audience. The impact of
this initial attention-getting stimulus is important so that the audience
may follow'the unfolding of the drama with interest and so that the subs
sequent sense of continuity is established. Similarly, in a choral
concert, the very first selection should be chosen for its attention-
getting values. Music which is high in dynamic levels and rhythmically
vigorous will tend to capture the attention of the audience.

Length of the composition is another important consideration in
determining the order of a program. Audience attention span, as a whole,
tends to be greater at the beginning of the concert and drops considerably
as the concert progresses. That is, it drops and begins to wane if the
subsequent musical events are not continuously high, novel, new, and
different musical stimuli. For this reason, it is somewhat better to
place the longer numbers at the beginning of the concert and the shorter
selections toward the end. Length, in terms of minutes of performance,
is important to the extent that there is avoided a monotonous sequence

of two-orbthree-minute compositions interspersed with applause. By

57
virtue of the nature of some choral music, a conductor sometimes
cannot avoid this situation. A program footnote or an announcement to
the effect that there should be no applause until the group has been
concluded will help to avoid this situation, especially if the first
half of the concert is devoted to sacred music. Audiences consisting
mainly of non-musical and somewhat musical listeners need a type of
programing which changes in pace as the program progresses in order to
sustain a high degree of attention.

In their experiments on the effect on a musical program of order,

Downey and Knapp conclude that it is probably more effective to have a
pleasantness rated on an ascending scale rather than on a descending
scale. Dependent upon the audience:

A highly popular number should not be given early in the
program. With an audience musically uncultured a light "encore"
may serve to decrease the affective rating of less obvious sequent
numbers. ‘With a musically cultured audience an occasional light
selection may enhance the value of the more aesthetic selections.

In the light of this, familiarity evokes a feeling of’pleasantness
especially for the non-musical listeners. "However with too great
acquaintance familiarity lapses into triteness and pleasingness washes

out."2 In order to prevent this, the musical content must be complex and

rich in detail so that the listener may continue to discover new

 

1June E. Downey and George E. Knapp, "The Effect on a Musical
Programme of Familiarity and of Sequence of Selections," in Max Schoen,

The Effects of Mgsic (Brace & Co., Inc., 1927), pp. 230-31.
2mm... pp. 238-39.

58
subtleties and new aspects of interest which cannot be grasped from the
one hearing. Schoen and Gatewood substantiate this same position in
their experiments dealing with the degree of familiarity of the music
heard; "the degree of enjoyment in the very familiar is for the great
majority of listeners, greater than the unfamiliar or new selections

which give moderate enjoyment."1

Summag

If a conductor is to build a choral concert program successfully,
he must give serious attention to several important aspects. During the
examination and selection of single compositions, the conductor must
consider the types of liseners who make up the audience of his home
concert. If the majority of listeners are either non-musical or only
somewhat musical, he will select music which is less complex, less
dissonant, more varied in mood, and he will include some music which is
very familiar to his listeners. At the same time the conductor should
make constant efforts to communicate musical meaning of form consciousness
(the inner'musical sense) in order to increase the listener's understanding,
and in turn, enjoyment of'music. A variety of individual selections will
be chosen for their musical worth, interest of music structure, and
appropriateness to the scheme of organization set up befbrehand. Much
of this will depend upon the conductorgs own background, his knowledge,
experience, musicianship, and standards of musical judgment. In arranging

individual selections into groups and determining group relations, the

 

1Ibid., p. 1.79.

conductor will be guided by'a programabuilding logic which is derived
from a compromise or balance among the principles of unity, variety and
contrast. To balance properly these principles is a problem to be

solved anew for every concert.

59

60

CHAPTER III
INDIVIDUAL ANALYSIS OF CONDITIONS PERTINENT TO THE PROBLEM

In examining the conditions and influences which act upon each
conductor as he goes about the task of selecting and arranging music for
a public concert, only those which directly affect the problem will be
considered. Knowledge of the size and the particular types of’performance
group found in the concerts under study is necessary. Again, an awareness
of the percentage of music majors enrolled in each group would indicate
to some extent the performance level, for the student who is more
experienced in choral singing gives the nonmusic specialist leadership and
confidence. Each conductor was asked to state briefly his method for
auditioning voices in establishing the membership of his groups. He
was questioned as to the amount of rehearsal time spent each week and its
influence on both the amount of choral literature which might be prepared
in time for'public performance and the degree of difficulty for the singers.

Other questions asked each conductor dealt with his own background,
and those experiences and influences which assisted him in building a
concert program. Another question which seems highly significant has to
do with the purpose of the choral organization and the subsequent homeu
concert. It is important to kn w whether the concert is merely organized
for entertainment purposes or valued as an educational experience, for the
selection and performance of a superior type of music literature which
would tend to broaden the knowledge and understanding of choral music
through performance for the singers, as well as influence the musical taste

of the listener. Finally, the situation peculiar to each college has its

61
own factors which limit the conductor's freedom in selecting and programing
choral music. As was stated above, the amount of rehearsal time, the
quality of the singer's musicianship or vocal experience, might be major
factors of limitation. Again, certain years may find a dearth of tenors
or low basses; hence, the conductor would have to eliminate the choice of
certain choral selections which might feature these voices. It is of
interest to know if such factors as a limited budget or the lack of
adequate equipment exert any direct influence upon the conductor. In some
cases a conductor might even be influenced by the musical taste of his
singers or the audience. And in an allmmale college, a conductor would be
seriously limited to the types of choral groups which could be featured
on a concert program.

Each conductor was asked to evaluate in terms of its importance
questions dealing with three major areas: the purpose of the choral
organization, its activities, and the subsequent home concert; those
experiences which have influenced and contributed most toward the conductorss
procedures of building a choral program; and, those factors of limitation
or influences which tend to hinder the conductor from freely selecting
and programing any music he desires to use in the final concert program.

A rating scale was designed, which enabled the conductor to identify

those experiences in his own situation, which he considered to be of greater
or less importance. A number was assigned each quality; (1) of no
importance; (2) slightly important; (3) moderately important; (4) very
important; and (5) of greatest importance. The scores were totaled and

a pooled rating was determined indicating the common average or a measure

of central tendency. The complete data from which the conclusions are taken

62
may be found on the respective tables located in the appendix of this

study.

CQELEGE A
College A is located thirty-five miles from the city of los

Angeles. It is a liberal arts institution, coeducational and is privately
controlled. With a student population of approximately 400, the college
offers the B.A. and B.M. degrees.

The groups represented on the concert program under study are the
Concert Choir, Chapel Choir, and the Madrigal Singers. Each group carries
one half'unit per semester and is available to all students in the college
with the permission of the instructor. The Concert Choir consists of
seventy-five members of which 10 per cent are music majors. The Chapel
Choir has a total enrollment of twenty-four, again 10 per cent of which
major in music. The Madrigal Singers numbers seventeen and of these there
are about 20 per cent enrolled as music majors. The Choir rehearses two
thirty-five minute periods each week; the Chapel Choir rehearses two one~
hour periods weekly, and the Madrigal Singers four hours each week.

According to Conductor A, voice auditions for the Concert Choir
are not conducted on a highly selective basis. Each candidate is given a
voice test to determine whether or not he can carry a tune. The Choir
emphasizes wide student participation. Consequently, an attempt is made
to encourage the entire college student body to participate, since the
College administration recommends a musical and art experience for all
students. The Chapel Choir is selected from the best singers in the Concert

Choir. The process of selecting singers for the Madrigal group is, however,

63
highly selective since a personal invitation is issued by the conductor
only after the singers have undergone a process of elimination during
an actual rehearsal session.

The conductor'was asked to evaluate in terms of their importance,
those experiences which had contributed most to his present procedures of
program building. That experience rated of greatest importance was the
conductor's participation as a student in choral programs at the college
level. Rated as very important was his attendance at other college choral
concert programs or festivals, suggestions or opinions offered by the
music faculty, and the experience of building past programs. Those
experiences rated of moderate importance were the conductor‘s attendance
at professional choral concert programs, summer workshops for choral muSic,
and choral music obtained through various music publishing companies.

The conductor cites as very important four major'purposes of the
choral organizations and their subsequent concert. They include: the concert
as a culmination of the year's choral activities, the activity as a
contribution to the cultural life of the community, as an educational
experience for the singers, and as an educational experience fer the college
audience. The audience, according to the conductor, is primarily made
up of people from the community, college faculty, and some students. The
conductor considered of moderate importance the choral group's existence
as a medium for public relations and/or for advertising for the college.
Conductor A fbund another purpose in the sheer enjoyment of the concert.

”I feel that another purpose is that this activity is enjoyment for the
singers, themselves. Not only is it education for the singers, but it is

for their own enjoyment. This seems to me to be just as important. To have

on
the feeling of putting on a concert for their benefit, this is something.
they work towards and enjoy as they work."

The two major factors which seriously restrain the conductor in
building a choral concert are limited rehearsal time and an inadequate
budget with which to purchase new music. The oneuhour rehearsals actually
averaged forty minutes in length, and upon occasions campus activities
conflicted with the rehearsal time. The program under study, according
to the conductor, was greatly influenced by the lack of'money to buy new
music. As a consequence, some of the music was borrowed from.another
school. Another limitation of moderate importance was ineptness of the
singers. In spite of this limitation, the conductor gave his singers
music which he didnit think they could "quite cut," but they almost did.
In other words, the performance wasn‘t "musically perfect," but "it
stretched the singers so much that they grew a great deal by it.” It is
rather interesting to note that the conductor felt a slight pressure

from the singers to program music of a lighter nature.

CO B

College B is a coeducational, liberal arts college. It was formerly
affiliated with the Congregational Church, though nOW'privately controlled.
There are approximately $062 students enrolled and the B.A. degree is
offered. According to nggj 135 College Guide. "instructional facilities

"1

are notable in laboratory science and in music. There are thirty students

enrolled as music majors.

 

1Clarence E. Lovejoy, Lovejoy’s College Guide (New York: Simon and
Schuster, 1959), p. 88.

65

The choral groups represented on the concert program under study
are the College Glee Clubs, both men's and women's. The enrollment for
the women's Glee Club is thirty-five, of which 14 per cent are music majors.
The Men's Glee Club has thirty-six members, only 6 per cent with a major
in music. Each Glee Club rehearses separately twice a week and then they
join together for one long rehearsal. College credit received.for these
groups is one unit. During the regular academic year'both groups go off
campus for concert appearances. One is a spring concert tour in which
they travel throughout the state of CalifOrnia.

In order to gain membership in the Glee Clubs, both men and women
have to be members of the College Choir, which is open to all students.
An elected board of the Glee Clubs acts as a jury for auditions. For
his audition the applicant is asked to sing one verse of "America" and
to demonstrate his voice range. All who pass this first audition are
taken into the Glee Club on a temporary basis. The entire group, including
both old members and new, is rehearsed by the conductor for two weeks on
two classical aceppella selections, one slow and the other fast. Then
everyone is assigned to a quartet which sings the rehearsed selections
before the jury. Each voice is rated on a scale from one to ten. These
quartet trials come early in the semester and the ratings derived from
this second audition are used as the criteria for rejection or acceptance
into the Glee Clubs. At this stage, according to Conductor B, the element
of nervousness tends to be ruled out and both the conductor who works with
the jury and the members of the jury themselves get a fairer idea as to

what the individual singers can do independent of help from another voice.

66

Conductor B cited the following two experiences as being of the
greatest importance in building a choral program: the conductor's
participation in choral programs as a student in college, and previous
experience in building programs. A rating of very important was assigned
to attending professional choral concert progxams. This conductor reasons
that many ideas are obtained just from the “normal experience of a music
lover hearing music whether at concerts or listening to records."

A moderate rating was given to attendance at other college choral
programs, music obtained from.music publishing companies, individual
research carried on by the conductor in libraries, and suggestions or
opinions offered by students on the campus. Suggestions or opinions
offered by the music faculty or interested lay people, printed choral
programs found in various publications, and ideas obtained from programs
heard over the radio or television were of slight import.

Conductor B expressed the opinion that the major purpose of the
choral organizations and the subsequent public performances was enjoyment.
"One of the main purposes of these groups is just the matter of fun for
all the participants. This is very basic. The real reason is not to
educate the campus, but for musical fun together, just as you might say
‘let's go out for a snack together.‘" A rating of very important was
assigned to the institutiongs program of enriching the cultural life of
the college and community through the performances. Conductor B thus
plans his concerts as an educational experience for his singers. A
rating of moderate importance was assigned to the concert as another
medium of entertainment for the community and student body, as an educational

experience for the college and audience who attends the performance, and

67

as a medium of public relations and/or advertisement for the college.

Conductor B has few problems or factors of limitation which hinder
him in the taskcfifprogram.building. However, he does consider lack of
adequate instrumentalists to accompany certain choral works as being a
very important limitation in his programing. The time devoted for
research work in looking for different and unusual choral compositions
is rated of moderate importance. His singers' limited amount of musiciane
ship and vocal experience, their vocal immaturity for singing more difficult
music, a dearth of tenors, and an occasional conflict between the musical
tastes of the singers and that of the conductor were given a slightly

important rating.

COLLEGE C

College C is a privately controlled scientific institute for men
located in an urban environment. The college is devoted primarily to
research in science, engineering, and mathematics, with the B.S., M.S.,
and Ph.D. degrees offered in these fields. There are 650 undergraduates
and 600 graduate students enrolled.

In the light of the curriculum or function of the college, there
is no music department and music is offered only as an extra-curricular
activity to all students. The performance groups consist of the Band and
the Men‘s Glee Club. There are sixty men enrolled in the Glee Club of
which none are music majors and twentyunine have little or no singing
experience. Three rehearsals, one hour in length, are held each week.
The Glee Club does, however, gain sufficient ensemble maturity to participate

in a concert tour off campus each year.

68

During the audition for the Glee Club, the conductor listens to
each candidate individually. He notes the quality of the voice, and gives
some consideration to the candidate's sightosinging of an easy choral
selection, although he admits that he is not overly strict on the latter
requirement. In fact, he will accept those students who demonstrate voices
with a superior quality, even though they may not be able to sing new music
at sight.

The conductor attaches greatest importance to library research as
essential in planning his program. Printed programs feund in publications,
octavo music obtained from music publishing companies, and the experience
of building programs year after year are considered very important. Of
moderate importance are the conductorgs attendance at other college choral
concerts and professional choral concert programs, and the conductor93
own participation in choral programs as a student in college. Of sLight
importance in helping to arrange programs are the opinions offered by I
students and interested lay people, summer choral workshops, and programs
heard over the radio and television.

The purpose of the Menis Glee Club and its subsequent concert is
fivefold, each factor being "very important." The concert was an educational
experience for both the singers and for the audience, it represented a
culmination of the year“s choral activities, the group was used as a medium
for public relations and/or for advertising the college, and lastly, an
admission charge was made to help subsidize the cost of the Glee Club
tour. Slight importance is assigned to the entertainment value of the
concert, and to its function as a cultural stimulant to both the college

and the community.

69

Conductor C lists several major causes which limit his programing.
Of greatest importance is the fact that the conductor’s singers are lackig
in vocal experience and maturity as well as in musicianship. In connection
with this consideration are the lack of rehearsal time, inadequate sources
for obtaining new choral literature suggestions suitable for the technical
level of the group, and the attitude of the singers themselves. Regarding
this last point, the conductor commented, "When you don‘t have a music
department and the main goal of the student is in the area of science or
mathematics and where the only thing that really counts is what he does in
that field, music becomes very secondary. The average IQ of the student
is around 1H4. And during rehearsals the mind of the singer has a tendency
to do other things while I am rehearsing them. Their bodies are there;
they are working somewhat, but mentally they are so involved with a particular
project or a particular problem that music becomes rather secondary." The
conductor adds that even though this condition exists he feels that the
morale of the group is very high. He attaches moderate importance to the
conditions in the concert hall. The auditorium stage is very small and
is not adequately equipped. The piano is old and needs replacing. The
lack of sufficient voices such as tenors and basses to give a proper balance

between the vocal parts is held to be of slight significance.

COLLEGE D

College D is a stateecontrolled college, coeducational and situated
in an urban environment. The major fields of emphasis are in the applied
arts and sciences which are designed to prepare students for business and
industry. A major portion of the student body is enrolled in teacher

education.

70
The total enrollment numbers approximately 13,000 students. Of these about
6,000 are full~time students and 7,000 students attend night classes.
In addition to the liberal arts degrees, the 8.8. and M.S. degrees are
granted. In the music department there are approximately 200 students
enrolled as music majors.

The performance groups offered by the music department are the
Acappella Choir, the Men's Glee Club, and the Madrigal Singers. The
total enrollment of the,ACBppella Choir is ninety-two, about 25 per cent
of which are music majors. The Menfs Glee Club numbers only eighteen,
of whom oneuthird are music majors. The Madrigal Singers also total
eighteen singers of whom nine are music majors. Each group is allowed
one unit credit, and rehearses in fiftyeminute sessions three times each
‘week. The home concerts are mainly attended by faculty, students, parents,
and interested lay people. .

The three groups are open to all students, and the conductor does
not hold any auditions for either the Choir or the Men's Glee Club.
Aspirants for the Pbdirgal Singers, however, are auditioned individually
by the conductor. Vbcal quality is revealed by having the individual sing
a familiar folk song. Range is checked by having the singer sing scales.
The student is then asked to sightesing an unfamiliar song, and finally
the conductor gives an ear check, which determines the accuracy of the
voice in response to different pitches. The conductor plays melodic
passages at the piano containing arpeggios, augmented intervals, and wholeu
tone scales, which are immediately sung back to the conductor without the
assistance of the piano. Conductor D comments, "My selection of people for

membership in all three groups is on the basis of personal qualifications,

71
first; musical qualifications, second, and vocal qualifications, third, in
that order. I want real people. I want to build real people. Then I want
to have them musical. I want to have them respond to a refinement of any
art. Then I want them to be able to sing. Finally, if they can read
music, that is all the better.”

Individual research, and experience itself are considered of
greatest importance by Conductor D in building his program. He comments:
"Experience is that process which goes on year after year whereby through
trial and error a conductor learns." Factors rated as "very important"
are the conductor‘s attendance at college and professional choral concert
programs, opinions offered by the music faculty, printed programs found
in publications, and attendance at summer choral workshops. Those influences
of moderate importance, are college courses elected by the conductor designed
specifically fcr progranlbuilding, participation in college choral concerts
as a student, opinions offered by students and interested lay people, and
music obtained from publishing companies. The conductor doubts, however,
the value of securing music from some publishing companies since "much of
the stuff that is sent seems to me to be for the purpose of merely being
sold and not for the purpose of being listened to."

Two major purposes of the performing groups are that the concert
be an educational experience for the singers and for the college audience,
and that the groups provide training for those who intend to become future
choral conductors. Conductor D rates as "very important" the concert as
a culmination activity of the yeargs choral appearances, and as a public
relations medium for advertising the college. Conductor D also believes

it very important that the students derive certain human values as well as

72
aesthetic values from these experiences. Of moderate importance is the
purpose of using the groups themselves, and the subsequent performance merely
as a medium of entertainment for the student body and the community.

The two most significant influences which restrict this conductor's
freedom in building a choral concert are the lack of rehearsal time and
inadequate concert hall facilities. Although the conductor would like to
rehearse in the auditorium prior to a public concert, his program arrange~
ment is impeded in that many other groups want to use the college auditorium at
the same time.

Limitations considered as "very important" were assigned to
musicianship, vocal maturity and vocal experience of the singers, inadequate
seating facilities, and a lack of competent instrumentalists. Another very
important influence which acts upon the conductor, is the audience, who as
a whole, does not care to listen to music that has worth. The conductor
says, ”I have some people, not in the music department, but in the administration.
who criticize us for not using more popular music. And there are many times
that I would like to give a formal concert without any popular music at
all. This is a type of conflict. However. I do think of my audience when
I program music. I feel like a preacher who may have tremendous ideas in
theology but has to communicate to his congregation. I think that communication
is of considerable importance. While I have my audience I am not just going
to entertain them.” Of moderate importance in building programs is the
deficiency of voice parts to prov1de a proper balance between sections.

In the.A(hppella.Choir this disparity is found mainly in the alto and
soprano sections, while in the Men’s Glee Club, there is a scarcity of tenors

or basses.

73
was

College E is a coeducational, state-controlled college located in
a suburban environment. Its student population numbers some 8,640 students
who either enroll in a liberal arts or teacher education program leading
to the B.A. or the M.A. degrees.

The musical performance groups used on the program under study are
the A Cappella Choir and the Madrigal Singers. There are sixty singers
in the Choir, #0 per cent are music majors. Ten singers are in the Madrigal
Singers, all of whom are enrolled in the college as music majors. Since
the Choir is large, only the Madrigal Singers have been used for offmcampus
concerts. Students in each group receive one unit college credit for
their work. Both groups rehearse for three fifty~minute periods each week.
The concert audience is primarily made up of friends and relatives of the
singers, faculty, a few townspeople and some students.

In auditioning prospective members of the A Lappella Choir, the
conductor listens to them individually. Each student is asked to sing a
scale and a verse of the song "America," and is requested to relate something
about his background in music performance. Those with meager and limited
experiences in choral singing are asked to elect the College Chorus. The
conductor selects the personnel for the Madrigal Singers from the Choir.

He feels that personality is a highly important criterion for membership
in the select organization.

When asked to identify the factors which contributed toward building
concert programs, Conductor E stated that experience, itself, has been of
greatest importance.

A rating of "very important" was given to opportunities fbr research

74
in libraries and other places for program suggestions. Participation as
a student in college choral programs was designated as being of moderate
importance.

This conductor rates as of greatest importance five objectives of
the performing groups and the subsequent concerts. Not only is the
concert a culmination of the year's choral activities, but the college
and community actually look forward to the concert as being an event
worthwhile attending. Again, the group contributes towards public relations
and/or advertising the college. The conductor, in addition, feels very
strongly about the educational influences upon the singers themselves, and
that the concert itself, at least for1imeA Cappella Choir, is a strong
motivating factor. To rehearse three periods weekly without any goal would
be deadly, he added. Another purpose of the concert given a very important
rating was the fact that the concert is educational fer the college auiience.
Finally, a moderately important rating was assigned to the concert as
being another medium of entertainment for the student body and the community.
The conductor concludes, "I don‘t know the answer to the question of
whether or not it is entertaining for the adults who attend; I can only
guess."

Two major limitations of greatest import are the lack of adequate
rehearsal periods and the musical taste of the singers. The conductor
would desire far more rehearsal time, but this is impossible in the light
of the students3 schedule, and his outside interests. There are conflicts
in musical taste, as well. The conductor states, "We get music majors
‘who are clamoring for difficult contemporary music. Then the larger group,

nonmusic majors, for the most part, simply abhor difficult contemporary

75
music, which is highly dissonant. It takes a tremendous job of selling
to get them to come through. They don't like it; they actually express
this dislike, and it shows up in a number of ways. I have had to change
some numbers because of this attitude and action on the part of the
performers." A very important rating was given to the qualifications of
the singers themselves. The singers have a limited amount of musicianship,
vocal experience, and lack vocal maturity for the performance of more
difficult music. This pertains particularly to the numbers of singers who
fill out the various parts in order to obtain the proper balance between
the parts. The lack of’low basses seemed to be very important, while
lack of altos and tenors was given slight importance.

The limitations which exert comparatively slight influence upon
the conductor's programing are his sources for obtaining new choral
literature suggestions, inadequate rehearsal hall facilities, lack of an
organ to perform as an accompanying instrument for certain choral selections,

and choral risers which are worn and need replacement.

COLLEGE F

College F is a privately controlled, church affiliated university.
It was founded by the Baptist Church but is open to all students regardless
of their religious affiliation. It is located in a city environment and
it has approximately 1,334 students enrolled. The University has a Liberal
Arts College, School of'Music, and a School of Education, with programs
of work leading to the B.A., B.S., B.M., MlA., and.NL Music degrees.
There are between seventy-five and one hundred students enrolled in the

School of Music as music majors.

76

The choral group represented on the concert program under study
is the Concert Choir. The total enrollment of this group is fortyueight
of which one third are music majors. The Choir rehearses fbur fifty»
minute periods each week and its members receive one unit college credit
for their work. The Choir goes on an extended tour each year and presents
two home concerts. One of the home concerts is sung for the community and is
attended primarily by the townspeople; the other concert is an
allmcollege convocation performed before the student body and faculty.

voice auditions are held by the conductor on anindividual basis.
Each applicant is asked to sing a familiar song in order that the conductor
may determine the candidate’s vocal quality and basic feeling for'phrasing.

A range test is given as well as an ear test fer tonal memory, and if the
conductor feels the necessity, a vocal flexibility test is required.

This is done by asking the student to sing one tone and while sustaining
the pitch to vary the volume by crescendoing and descrescendoing the pitch.
Lastly, the individual is given a slight reading test. Conductor F states
that, "The group has developed to the point where there is enough leadership
in music reading so that I am very happy to have a person who may not have
an extensive background (in music) but has a quick ear."

In determining those experiences which have contributed to the
conductor's ability to build a program, there are four major influences
of'greatest importance. These are the conductor's participation as a student
in college choral programs, attendance at professional choral concert programs,
the experience derived from building programs, and attendance at all types
of concerts. Of these fbur, the conductor emphasized the last, indicating

that the basic judgment, in the broadest sense, derived from attending

77
concerts of all types was highly significant in helping him choose and
build a program. A very important rating was given the conductor’s
attendance at other college choral concert programs or festivals. Of
moderate importance were the suggestions or'opinions offered by students
or music faculty which aided the conductor, printed programs found in
publications, and music obtained from music publishing companies.

Conductor F indicated only one purpose of the performance group
and its subsequent concerts as being of greatest importance. This dealt
with the values derived from the choral experience by the singers themselves.
According to the conductor, these values or rewards are more meaningful
than those implied in the term "educational outcomes.” These values
include the general aspect of disseminating or fostering the choral art.
In addition, a rating of very important was ascribed to the choral
experience as educative for both the singers and the audience. A similar
rating was assigned to the idea of the performance group as a medium for
public relations and/or for advertising the benefits of the University.
The purpose of the concert as being another medium of entertainment for
the student body, is considered of moderate importance. ‘

In the process of building a program limitations were at a minimum
level fbr Conductor F. The conductor states that "I am limited somewhat
in using such music as the different settings of Ave Maria's. I can't
present these in a Baptist Church when we perform off campus, though I
can do almost anything but that particular piece." Of moderate importance
are inadequate concert hall facilities which hinder the conductor in
planning a variety of activities which necessitates the use of stage

equipment. The type of audience before whom the choir performs is also of

78
moderate significance. The conductor states that "I have to tailor it
(the program) to the public relations angle, somewhat. I feel more that
I am selling a product a greater protion of the time than I might like to
sometimes." The following factors of limitation were deemed of slight
import: personal preferences which conflict with the goals of the music
department or the college, insufficient time for rehearsals, inadequate
musicianship and vocal experience of the singers, and this season's

lack of sufficient altos to provide proper balance between the choral parts.

CO E G

College G is a coeducational, liberal arts college located in the
suburbs. It is privately controlled and originally was founded by the
Society of Friends (Quakers). The student enrollment is approximately
1150, and the college offers the B.A. degree for undergraduates and the
M.A., 14.31., and M. S. degrees for graduate work.

The concert program under study was presented by the A Cappella
Choir. This group numbers sixty singers of which 30 per cent are music
majors. The A Cappella Choir rehearses two oneahour periods each week.
The conductor indicated that this was very inadequate and he had proposed
a change to five one-hour periods each week for the fall semester. The
members of the Choir receive one unit credit for their work. Each year
the choir goes on tour, the expense of which is defrayed by the admission
fee to the home concert. The audience for the home concert consists of
townspeople, alumni, faculty, and friends and relatives of the performers.

The conductor auditions students in groups of three, singing at

the same time. He finds that this places the individual more at ease

79
while singing. The test indicates the quality of the voice; however, no
extensive test is made of the student's ability to read notes. The
conductor feels that this is not a serious deficiency since the parts can
be taught by rote. In fact, the conductor states that "many music majors
fail to make the A Cappella Choir not because of their lack of sight reading
abilities, but because they have such poor qualities in their singing
voices." The conductor frequently visits high schools in order to find
prospective singers with outstanding voices.

Those experiences or influences which have greatly assisted the
conductor in building a choral program are twofold. Just plain experience
seems to be one of the major influences; the other involves the conductcras
research in libraries and other sources in which he has turned up
comparatively unknown choral works. Of moderate importance was the
conductor's attendance at professional choral concert programs. A slightly
important rating was given to the conductor's attendance at other college
choral concert programs as well as summer choral workshops, and to the
‘value of music obtained from music publishing companies. The conductor
expressed the opinion that his attendance at choral workshops was not too
fruitful, since most of the choral literature presented at these sessions
seemed more suitable to the high school level rather than the college level.

The purpose of the performing group and the subsequent concert is
threefold in terms of greatest import: the activity of the group is an
educational experience for both the singers and for the college audience,
and provides a medium.of entertainment for the student body and community.

Ratings of "very important" were assigned to the concert's

culminating the year's choral activities, and to its role as a public

80
relations and/or advertising medium. Of equal importance are the ticket
sales for the home concert which underwrites the tour expenses. 0f
slight importance was the fact that the college considers the concert
group a part of the cultural life of the college and community. The conductor
states, however, that this is rather minor~ since the college would not
question the fact if one year "we didn't present a campus concert.”

Conductor G does not seem to have many serious limitations which
hinder his free selection and programing music for a concert. A very
important rating was given to the lack of adequate concert-hall facilities.
The home concert is presented in a church since the college does not
have an auditorium at present. In the light of this limitation, the
conductor cannot select music which is of a musical comedy nature or music
that may feature any change in staging. A rating of "moderately important"
was given to the lack of sufficient rehearsal time, to the vocal immaturity
of his singers for the performance of a more difficult type of music, and
to the fact that the audience, as a whole, does not care to listen to music
that has real worth. In reference to this last point, the conductor
states, "The audience appeal is certainly an important factor to consider.
I program some lighter numbers because if I programed all heavy numbers
I muld certainly lose the attention of the audience." Conductor G
qualifies this statanent, however, by adding, "Though I am not too greatly
concerned about what the audience thinks of certain numbers, particularly
those of the contemporary school of choral writing, I am almost sure the
audience wouldn't like the Pgulenc. Not hearing this number would deprive
them of building up an association. How are people going to get to like

this type of music if they are not given opportunities for repeated listening?"

81
me to a dearth of talented and experienced soloists, the conductor
cannot select certain numbers which feature soloists. This factor is

considered, however, of slight importance.

CgéEDE H

College H is an all-men's Catholic University of urban residential
environment. The University has an enroument of approximately 1,000 in
the Liberal Arts College, which offers the B.A. and M.A. degrees. In the
graduate and other divisions of the University evening and summer classes
are held for both men and women. Degrees offered are the B. S.. B. S. in
Engineering, L.L.B. in Law, and the M.A. degree in Education. Total
enrollment in these divisions is approximately 900. There is no music depart-
ment and the performance groups are offered as extracurricular activities.
These consist of the University Band and the Men's Glee Club.

The total enrollment of the Men's Glee Club is thirty-five and no
college credit is offered for membership. Due to schedule conflicts, one
three—hour rehearsal period is scheduled each week. The Glee Club toured
this past year for the first time in fourteen years. The associated
students organization of the University contributed two hundred dollars
towards the tour expenses and the balance was financed through a concert
charge. The home concert audience largely consists of parents, friends
of the University, alumni, and faculty.

The student who desires membership in the Glee Club is given an
individual voice test. He is required to sing a familiar tune, such as
America, without accompaniment. A check is made for pitch and accuracy

and a test is given for sight-singing. If, however, the voice is particularly

82
outstanding, the conductor will admit him into the group, even if he does
not sight-sing well.

The experience of greatest importance which has helped the conductor
in his process of building programs is the opportunity for individual
research in libraries and other places. Secondary influences are the
summer choral workshOps attended by the conductor, and the experience of
building past programs. A moderately important rating was given to
suggestions or opinions offered by students, and printed programs found in
publications. Suggestions or opinions offered by the faculty, and music
obtained through music publishing companies were influences of slight
value.

The most important purpose of the Glee Club is its work toward the
culmination of the year's choral activities. A rating of "very important"
was assigned to the educational experience gained by the singers. 0f
moderate importance was the University‘s expectation that this choral
activity be a part of the cultural life of the college and community, that
the concert was an educational expreience for the audience, and that the
Glee Club was used as one medium for public relations and/or for advertising
the University‘s offerings. The entertainment value of the concert is
considered of slight importance.

According to the conductor, the factors of greatest importance
limiting his work rested mainly in the fact that he did not have enough
tenors for the Men's Glee Club. Next in importance was the fact that the
singers had a limited amount of musicianship and vocal experience. This
did not permit the conductor free selection of difficult music. A

"moderately important" rating was assigned to his limited budget, inadequate

83
sources fer obtaining new choral suggestions suitable for the Men's Glee
Club, and lack of sufficient equipment. The latter limitation was due to
the fact that the present piano was old and needed replacement; consequently,
the conductor avoided the use of numbers which used the piano extensively.
0f slight importance was the fact that the singers' musical tastes

sometimes conflicted with the conductor's own taste in the choice of music.

QQLLEGE ;

College I is a coeducational state college which specializes in
the liberal arts, science and professional studies and is located in an
urban residential environment. There are approximately 9,400 students
enrolled, with the B.A., B.S., M.A., and M.S. degrees offered. The music
department is within the division of Fine Arts and there are about 150
students enrolled as music majors.

The performance group represented on the program under study is
the College Concert Choir. Total enrollment for the College Concert Choir
is sixty, of which 60 per cent major in music. The Choir rehearses five
fiftyaminute periods each week and students receive one unit credit for
their work. The concert audience consists of a few students, friends
of the music department and people of the community who are interested
in better than average choral work.‘ The faculty members who do attend
are in the music department. Most students live off campus, which accounts
for the small percentage of students who attend the home concert.

The audition consists of a voice test given by the conductor to
test the range of the applicants. Each singer is then asked to sing a

folk song or hymn all the way through without accompaniment, in order to

84
check his ability to remain on pitch. This is followed by a short sight-
singing test. The final group is comprised of the students who are‘the
best sight readers available.

Two influences of greatest importance in helping the conductor
build a program are past experience, and the music obtained through
publishing companies. Considered as "very important" was the conductoris
own experience in choral programs as a student in college. A rating of
"moderately important" was assigned to the conductor’s attendance at
other college choral concert programs and professional choral concert
programs, and attendance at summer choral workshops. Slight importance
was attributed to the influence of opinions or suggestions offered by
students and interested lay people as well as to programs found in publications.

Conductor I believed that the most important purpose of the Choir,
was that the choral experience be educational for both the singers and the
conductor himself. In the words of the conductor, "I consider myself a
music educator and while it's not completely true, I know that many of
the students in my choir are going to go out and have choirs of their
own. Because quite a number of my music majors are also future teachers,
I want to give them an experience in as much choral literature in the four
years that they are here as I can, without going to all of the trite things
that all other choirs do. In other words, I keep wanting to find new
things I have never heard." A rating of "very important" was assigned to
the concert as a culmination of the year's choral activities, and the
concert as an educational experience for the audience. 0f moderate
importance was the college's policy that this activity and the subsequent

concert be a part of the cultural life of the college and community, as well

85
as act as a medium of public relations and/or for advertising the college.
There appear to be few limitations which seem to hinder the

conductor in his process of building a choral program. A rating of

"very important" was assigned to the conductor's difficulty in finding
alto voices to balance the other sections of the choir. But this is a
factor that varies with each season. 0f slight importance were the singers'
inexperience of musicianship and vocal maturity and the lack of suitable

instrumentalists for orchestral accompaniment.

Summary

The nine colleges studied appear to be fairly homogeneous in their
basic organization. Each is a fourhyear college or university located in
an urban or suburban environment, and offering some type of baccalaureate
undergraduate degree. Two of the colleges do not offer any work leading
to graduate degrees. Student enrollment in the various colleges studied
range from a total of 400 students of the small liberal arts college to
13,000 full-time and part-time students of the state college. Seven
colleges have music departments or schools of music which offer'programs
in music for those students desiring a major in this field. Two colleges
offer'music only on an extracurricular basis, and do not offer credit
for participation in perfbrmance groups.

The music performance groups found in the colleges under study are
the usual organizations offered in most small and large colleges and
'universities. These groups consist of the following organizations:

a @pella choirs, which perform music either with or without accompaniment;
.menfs glee clubs; women's glee clubs; mixed college choirs; and smaller

ensembles such as madrigal singers. The percentage of music majors in

86
each group varies widely. These range from groups containing those with
as high as 60 per cent nmsic majors in the group. In fact one small
ensemble consisted of all music majors. Rehearsal periods vary widely
from group to group. One men's glee club rehearses one three-hour period
each week while another group rehearses five fifty-minute periods weekly.
With the exception of the two institutions which do not offer credit for
music performance activities, five colleges and one university grant one
unit college credit for-performance groups, and one college offers one
half unit credit per semester.

It is rather interesting to examine the divergent methods of
auditioning students for membership inthe choral groups. Each conductor
holds auditions which are open to all students enrolled in the college,
regardless of their major field. Excepting College B, all applicants are
auditioned exclusively by the conductor. In College B, however, a jury
of students is elected to assist the conductor in deciding upon the group's
membership. Such considerations as voice quality, range, sight»: singing
ability, accuracy of intonation, and independence of part singing are given
varying degrees of emphasis by each conductor. One conductor, however,
feels that personal qualifications are of greatest importance, whereas
musical and vocal qualifications are secondary requirements. 'In some
situations, the conductor will permit a student with an outstanding
voice quality to join the groups even though he may be deficient in other
musical skills.

0f the four major bases which determine the importance of purpose
of the choral organization and its subsequent home concert, its value as

an educational experience for the participants received a mean score of 4.4

87
in the pooled ratings, Table 1. This figure represents, approximately, a
midpoint between a rating of very important and one of greatest importance.
Thus it may be concluded that the educative purpose is of major importance
in the opinions of the conductors interviewed. A mean score of 4.2 was
recorded for the use of the choral groups as a medium of public relations
and/or for'advertising the offerings of the college, and the aim of the home
concert as a culmination of the year's choral activities. The fact that
the college was private or state controlled did not seem to make any
difference in the importance of using the groups to advertise the college.
.A total mean score of 4.0 was tabulated for the public concert as an
educational experience for the college audience which attends the home
concert. There is a decided feeling among the conductors interviewed
that the college expects the choral activities to be a part of the cultural
life of the college and community. The correlated score of the conductors
attributedto it a rating of 3.2 as its relative importance. Since the
conductors do not plan their concerts as a mere medium of entertainment
for the student body and community, the entertainment value of the concert
received a mean score of 2.4. The conductors do not plan their concerts
with this purpose foremost in their planning.

Each conductor was asked to commentupon o-he;‘ purposes or values
of the choral organization and its home concert which he deemed important.
These suggestions included; fun for the participants, admission charge to
underwrite the cost of the tour, human values and rewards other than
educational, the use of the concert as a motivating factor.

When asked to identify those experiences and influences which have

contributed most to the procedures used by the conductors in building

88

TABLE I

PURPOSE OF THE ORGANIZATION AND CONCERT

 

 

 

College
PurpQ§§_ A B C D E F G H I Total Mean
1. Culmination of year's
choral activities 4 1 4 4 5 3 4 5 4 34 3.8

 

2. College expects these
activities as part of
cultural life of college

 

 

 

 

 

 

 

 

 

and community 4 4 2 2 5 4 2 3 3 29 3.2
3. Another’medium of enter-

tainment for student body: 2 3 2 3*_3 3 3 2 1 22 2.4

Community and students: 2 3 2 3 2 2 5 2 1 22 2.4

4. Educational for singers: 4 4 4 5 5 4 5 4 5 40 4.4
5. Educational for college

audience 4 3 4 5 4 4 5 3 4 36 4.0
6. .A medium of'public re-

lations and/or for ad-

vertising purposes 3 3 4 4 5 5 4 3 3 34 3.8
7. Fun for all the partici-

pants 4 5
8. Financial benefit, sup-

port for tour 4 4
9. Training future choral

conductors 5
10. Human values, rewards and

fostering of choral art 4 g 5

 

11. Mbtivation factor for
participants 5

 

89
choral programs, experience, itself, appearcd to be of utmost value. It
received a pooled rating of 4.7 as shown on Table II. Four other factors
received ratings of considerable variance, which indicated their influence
as moderately important. Individual research in libraries, and attendance
at professional choral concerts received a mean score of 3.4. A 3.3
pooled rating was tabulated for the conductor's participation in choral
concerts as a college student, and a mean score of 3.2 was given the
conductor's attendance at other college concerts where he received ideas
for building programs. A mean score of 2.9 was registered for the relative
importance of obtaining musical scores from music publishing companies
‘which helped the conductor. The mean scores of the remaining experiences
and influences have a minimum.influence upcnthe conductor in building
programs. To conclude, then in the opinion of the conductors interviewed,
the value placed upon experience itself, appears to be the major influence
in the conductor's process of program building. However, the conductor's
individual research in libraries and other places, attendance at professional.
choral concerts, participation as a college student in choral concerts,
and attendance at other college concerts appear to be highly important
factors in assisting the conductors in building their respective concert
programs.

In the pooled rating of all nine conductors, there appears to be
no major factor or’influence which seriously hinders the conductor from
freely selecting music and programing it on a concert. As seen on Table
III, a mean score of 3.0 was registered for limitations found in the singers
themselves. The fact that the singers are somewhat limited in musicianship

and vocal maturity appears to be the chief impediment in the process of

TABLE :1

EXPERIENCES WHICH HAVE CONTRIBUTED MOST TO PROCEDURES
OF BUILDING CHORAL PROGRAMS

9O

 

 

 

 

 

 

 

 

 

 

 

 

 

 

College
Experience A B D E F G Total Mean
1. College courses 2 1 3 1 1 1 12 1.3
2. Participation as a
college student .5 5 3 3 5 1 30 3.3
3. Attendance at col-
1me concerts 4 3 4 2 4 2 29 3.2
4. Attendance at pro-
fessional choral
concerts 3 4 4 2 5 3 31 3.4
5. Opinions offered by
students: 2 3 3 2 3 1 21 2,3
music faculty: 4 2 4 2 3 1 20 2.2
interested lay people: 2 2 3 2 1 1 16 1.8
6. Printed programs
found in.periodicals,
. books 2 2 4 2 3 1 23 2.6
7. Programs heard over
radio or TV 1 2 3 1 1 1 13 1.4
8. Summer choral work-
shops 3 1 4 1 1 2 21 2. 3
9. Music publishing
companies 3 3 3 1 3 2 26 2.9
10. Individual research
in libraries and other
sources 2 3 5 4 1 5 31 3.4
11:- Emperience 4 5 5 5 5 5 42 4.7
12. Attendance at all
types of concerts 5 5

 

 

 

 

91

TABLE III
FACTORS OF‘LIMITATION

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

College
Factor A B C D E F G H I Total Mean
1. Goals in conflict 1 1 1 2 2 2 1 1 1 12 71.3
2. Net enough rehearsal
time 4 1 4 5 5 2 1 _3_ 1 26 2,9
3. Singers limited in
musicianship and
vocal experience 3 2 45, 4 4 2‘ 1 4 2 .27 “3.0
4. Singers lack vocal
maturity 2 2 5 4 4 1 3 3 2 26 2,9
5. Lack sufficient number
of tenors for proper
balance of parts 1 2_kgf 1 2 1 ‘ 5 1 16 1.8
basses: ‘ 1 2 1 4 1 ‘ 2 1 14 1.6
Elise: 1 1‘ 1 3 2 2 .l.;L_l+ 16 1.8
sopranos: 1 1 1 3 1 1 1 1 1 11 1.2
6. .Musical tastes of
singers in conflict
with conductor's 2 2 1 1 5 1 1 2 2 17 1.9
2, Limited budget 4 1 1 1. 1 1 1 _3 1 14 1,6

 

8. Sources inadequate for
obtaining new choral
literature 2 1 4 1 2 1 1. 4 1 17 1.9

9. Audience does not care
to listen to music that

 

 

 

 

 

has worth 1 1 1 4 1 2 _3.A3, 1 17 1.9
10. Concert hall facilities

limited 1 1 3 1 1 3 4 1 1 16 , 1.8
11. Rehearsal hall facilities

are limited 1 1 2 1 2 1 1 1 1 11 1.2
12. Lack of adequate equip- '

ment, piano. graan, etc. 1 4 .3_ 4 1 1 1 5 2 22 2.4
13. Limitation of types of

singers 4 4
14. Time limited for individual

research .3

 

1 Mental attitude of sin ers 3
16, Lack of adequate soloists 2

92
selecting and programing music. This factor is noted as being highly
important in those colleges which do not have a music department and
which offer music only on an extracurricular basis. Lack of sufficient
rehearsal time and the vocal immaturity of the singers received a mean
score of 2.9. Two conductors rated inadequate rehearsal time of greatest
importance even though they rehearsed their groups three periods weekly
for fifty minutes. This indicates that they would desire even more time
in which to rehearse their choral groups. 0f the three conductors who
considered lack of rehearsal time of no importance, one rehearses his
choir five fiftyeminute periods each week, another rehearses his glee
club two and a half hours weekly. The third conductor while considering
inadequate rehearsal timecufno importance, is revising upward his
rehearsal schedule of two one-hour periods weekly for the fall semester.
The inadequacy of orchestral accompaniment received a mean score of 2.4.
All other limitations are considered unimportant for most of the nine
colleges studied, except in those particular situations which are unique

to the conditions or circumstances of the college.

93
CHAPTER IV

INDIVIDUAL ANALYSIS OF CONDUCTORS' CRITERIA

One important task that confronts a conductor each year is the
matter of choosing individual selections of choral music for possible
use on a home concert program. This procedure might be termed a weeding-
out process. In order for a composition to be considered, the conductor
either must have heard the music performed by another choral group or he
must have the music in his possession. Since the conductor will want to
become thoroughly acquainted with the music, he usually plays through the
music at the piano keyboard or has someone else play the music while he
listens or sings through the various voice parts.

In this study, it is of interest to know those structural aspects
of the music which assist the conductor in making his final choice of the
individual selections. It is also pertinent to find out those structural
aspects which, though not important at the time, become increasingly
more important as the task of building a programzprogresses. Consequently,
each conductor was asked to rate a list of criteria which, in terms of
their importance, apply to his own process of selecting single compositions.
These criteria ranged from the general aspects of musical structure to
the more specific. The conductor was then asked to reconsider these same
criteria in terms of his own process of combining the single compositions
into groups. For example, the conductor was first asked to judge the
importance of dynamics in examining single compositions, after which he
considered its importance when placing compositions side by side to form

groups.

94

Each conductor was then asked if he had any particular method
which he followed in building programs. Three methods were suggested to
him. The first consisted of setting up a scheme of organization befbrehand
and then finding the appropriate choral selections suitable to this scheme
or arrangement. The second method involved the selection of individual
choral compositions appropriate to the conductor's performing groups and
situation and arranging these numbers into some sort of order for a public
concert. The third method suggested was a combination of the above
procedures.' Each conductor was, of course, asked to describe any other
method which he used in programing.

The third area considered in the process of program.building
involves the detailed scheme of organization used by each conductor for
the programs under study. The conductor was asked to arrange the music
chronologically and to describe, in his own words, the important criteria
which influenced the order of the compositions. For example, in
arranging the order of single compositions within groups and in determining
the group relationships, the conductor was asked to explain, specifically,
how the various elements of music (rhythm, melody, harmony) and the art
principles of unity,‘variety, and contrast were considered in this phase of
building a program which would contain a high degree of musical interest.
The reply of each conductor was recorded on tape and transcribed verbatim

for use in this study.

PROGRAM,A
When selecting single compositions as possible choices for use

on his program, Conductor A considered two criteria of greatest importance.

95
The music should have a suitable text and be of literary worth, and the
music must have an overball worth; it must be beautiful; it must be
expressive. A rating of "very important" was assigned to the inclusion of
a few light or'humorous selections and to the overeall probable appeal of
the music to the conductor's choral groups. In considering this last point,
the conductor states that "This would have two aspects; one is the immediate
appeal and two, the ultimate appeal. When I examine compositions, the
ultimate appeal is the element that I am.most interested in, because if
a number has immediate appeal it sometimes follows through and sometimes
wears thin. "

In examining single compositions, Conductor A rates the following
criteria as moderately important: the suitability of the music for the
purpose or aim of the concert, reasonable ranges for all parts, the
difficulty of the parts, the overeall probable appeal to the home concert
audience, coloristic contrasts, rhythm, type_of harmony, style, form, and
types of accompaniments. Regarding the harmony, Conductor A commented
that he is conscious of the over-all sound rather than the technial
devices used. He added that, "In looking for new compositions, the process
is much more difficult because it is harder to determine what has real
musical worth and what hasn't. I try to select numbers which seem to be
interestingly written. I look for new musical sounds. Something that is
a little bit different and has an appeal to me personally, but still
doesn't sound trite and doesn't seem to be hashed over. In the main, I
avoid choral compositions with humming parts.". 0f slight importance are
the selection of numbers which contain contrapuntal devices, or those

'which are either well known or familiar to the audience. Length of the

96
composition, mood dynamics, the meter, and the tempo are also criteria
of negligible significance.

For Conductor A, criteria of a general nature are of little or
no importance in combining single compositions into groups. However,
the details of musical structure become increasingly more important to
him. This fact is shown in the data on Table IV. Conductor A maintains
that the criteria of the over-all worth of the music still remains high
in importance as he places the music in groups.

Conductor A combined the first two methods of program building
described in the introduction. He set up a scheme of organization as
well as selected the music appropriate to his performing groups and
situation. He then arranged the numbers in a compromise with the
previously selected scheme of organization. The conductor states that
his method this year was influenced, mainly, by. the availability of the
music he planned to use. me to a limited budget the conductor had to
borrow music from a library near the college, and from this source he chose
the selections suitable for his groups.

The over-all scheme of the concert under study consisted of six
groups of choral compositions, the first three devoted to sacred selections,
and the latter half to secular numbers. The performing groups consisted
of the Concert Choir, the Chapel Choir, and the Madrigal Singers. The
chronological order of the music, according to the conductor, was as
follows: Group I-«sacred, Renaissance and Classic periods; Group II--msacred,
Renaissance period; Group III-e-sacred, Romantic and Contemporary periods;
Intermission; Group Ivan-secular, Romantic and Contemporary periods; Group

V-msecular, French Canadian Folk and Popular Classics; and Group VI—-Musical

97
TABLE IV

CRITERIA USED BY CONDUCTOR A FOR SELECTING SINGLE
COMPOSITIONS AND COMBINING INTO GROUPS

 

 

 

Criteria Rating of importance
Single Combinations
General:
1. Purpose or aim of concert 3 1
2. Literary worth and suitability of text 5 1 -
3. Reasonable range for all parts 3 1
4. Difficulty of the parts 3 1
5. Over-all worth of the music 5 4
6. Over-all probable appeal to the choral group 4 1
7. Over-all probable appeal to concert audience 3 1
8. Select a few numbers which are either well
known or familiar to audience 2 3
9. Select a few numbers which are of a light
or humorous nature 4 1
10. Style 3 4
Specific:
1. Music which contains contrapuntal devices 2 4
2. Coloristic contrasts 3 5
3. Length 2 3
4. Mood 2 4
5. Dynamics 2 1+
6. Key 1 3
7. Rhythm 3 2
8. Harmony 3 3
9. Meter 2 2
10. Tempo 2 4
11. Form 3 3
12. Secular 1 3
13. Sacred 1 3
14. Types of accompaniment 3 3
15. A cappella 1 2
16. Other

 

 

 

 

 

Note: The rating scale is as follows:

(1) of no importance,

(2) slightly important, (3) moderately important, (4) very important,
and (5) of greatest importance.

98
Show Tunes. The concert lasted approximately an hour and a half including
the fifteen minute intermission between the sacred and secular presentations.

Conductor A when asked to judge the influence of unity, variety
and contrast on his arrangement of choral selections affirmed that these
principles were very important.

Finally, Conductor A was asked to describe the actual process of
organizing the individual selections into groups and to describe those
factors which seemed to influence him in determining the group order.

After selecting the music which was available to him, he set up a tentative
program, dividing it into two major parts. One part was devoted to sacred
music and the other to secular. In deciding upon the music to be used

for the first group, Conductor A commented, "I wanted to try to get
representation from just about every period of musical style that I could.
And in this first group, the Palestrina, Lotti, and Brahms came in that
order. I felt that it was a good order as far as mood. The Palestrina
starts with a solo voice and is quiet, while the Lotti is in eight parts and
is fuller in its sound. The Brahms has a different pace. In the
contrapuntal section of this number, the men's voices are contrasted with
the women's voices. I looked more at the general aspects and the overuall
mood in positioning these numbers. In the second group, I chose the first
two numbers specifically for the Chapel Choir singers, and the third
number they had sung previously in chapel services. But I wanted them

to do three numbers by composers that are well known, three good numbers
that they could use in their own repertoire if they ever have to. The
utilization purpose is another underlying influence. For example, we are

doing 0 Sing Unto the Lgrd at our baccalaureate services this spring. Group

99

three was more contemporary and I felt that this would be a logical
climax to the first half of the program.

In group four we started with the Brahms because it seemed like
a good number to start with. ‘we ended with Stomp Your Foot because it
was a contrast to the other two selections and because it was one that
the choir*did at the beginning of the year. ‘With the limited amount of
rehearsal time, I wanted to include numbers we had done before. Group
five was performed by the Madrigal Singers and these numbers had been sung
elsewhere earlier in the season. I picked them for the lightness and
relief they brought between the two Concert Choir groups. In group six,
for the first selection I wanted the numbers along the line of a state-fair
theme and to do them in front of a backdrop, bringing some stands out with
balloons and so forth. This did not work out because of the lack of time.
The second number was another which we had performed previously. Chances
are if'we had never done this at the Festival, I would not have picked it
out for the home concert program. The Oklahoma numbers I had done myself
with another group and had the copies. This last group was predetermined

because it was available."

PROG B

Conductor B rated the following criteria of greatest importance
in his selection of individual choral compositions: the composition must
have literary worth and suitability of text, the music must fit the
purpose or aim of the concert program, the music must have an overuall
'worth-be beautiful and musically expressive, the music must have an over-

all probable appeal fbr the conductor's choral groups, and it should be the

100

type of music which the conductor can use for a balance of repertoire over
a four-yearcycle. Regarding this last point, the conductor added, "We
are dealing here with students who tend generally to sing in the choral
groups for four years. Therefore, I don't just pick for one year, I find
nwself operating in cycles, as it were. For instance, we would never
repeat a number closer than a four-year interval, because the same student
would be working over ground that he has already trodden. On the other
hand, there are some numbers such as the Messiah which are standard college
fare that ought to be included so that everybody would sometime get a

shot at it during his college career. One extension of this same consideration
comes when you consider the total outlay of choral music that any one
student would have plowed through in four years. For this reason, then,
the total compass of the repertoire over a four-year cycle is one of the
most important factors that I deal with in selecting music."

Factors considered as very important to Conductor B's programing
were his inclusion of numbers which are either well-known or familiar to
the audience, numbers which are of a light or humorous nature. Over-all
appeal to the home concert audience, coloristic contrasts, and selections
written by composers whose anniversaries were being celebrated were also
considered as very important to the conductor's task. Those criteria
of moderate importance were the reasonable range for all parts, difficulty
of parts, mood, dynamics, type of accompaniment, and the fact that the
music was a cappella. Those receiving a rating of '’slightly important"
included length, tempo, and numbers containing contrapuntal devices.

The conductor was then asked to re-evaluate the criteria in terms
of their importance when combining compositions to form groups. Table V

illustrates that the conductor considered the general criteria of no

101
TABLE V

CRITERIA USED BY C(NDUCTOR B FOR SELECTING SINGLE
COMPOSITIONS AND COMBINING INTO GROUPS

 

 

Criteria Rating of importance

 

Single Combinations
General:

 

 

 

 

1. Purpose or aim of concert 5 1
2. Literary worth and suitability of text 5 1
3. Reasonable range for all parts 3 1
4. Difficulty of the parts 3 1
5. Overball worth of the music 5 __;___
6., Over-all probable appeal to choral group 5 ._J___
7. Overball prObable appeal to concert audience __JL__
8. Select a few numbers which are either well
known or familiar to audience 4 1
9. Select a few numbers which are of a light
or humorous nature 4 1
10. Style 1 5
11. Otherb-Balanced repertoire over four years 5 1
12. Other-«Composers' anniversaries (memorials) 4 1
Specific:
1. Music which contains contrapuntal devices 2 1
2. Coloristic contrasts 4 5
3. Length 2 5
4. Hood 3 5
50 W05 __L
6. Key 1 g
7. Rhythm. __J___ 4
8. Harmony __J___ 4
9. Meter __1__ 4
10. Tempo 2 5
11. Fbrm 1 2
12. Secular ___:L_ 5
13. Sacred ._;L__ 5
14. Types of accompaniment 3
15. A cappella 3 4

16. Other

 

 

102
importance, while most of the specific criteria change in their degrees
of importance. It is interesting to note how the structural aspect of key,
rhythm, harmony, meter, tempo, style, form, and the secular and sacred
nature of music increase rapidly in importance as numbers are combined.

Conductor B uses a combination of both methods of building programs,
with slightly more emphasis placed upon method two, which involves the
selection of individual compositions appropriate to the performing groups
and to the situation. These are then arranged into order. The conductor
comments, "The scheme of organization rested on the fact that we did a
major work which was a part of our four-year plan. In the remainder of the
program, the trick was to get as much variety as we could out of the stuff
that the two separate clubs had in their respective repertoires. I
included a few madrigals because we try to give the joint clubs emerience
in this type of literature and they have used them for serenades around
the campus. The real scheme here is to give each club a chance to appear
separately and their repertoires are based on their own separate use when
they give concerts alo:-e without the other club. Selections were used
from these separate repertoires for the home concert. The format is
different from year to year, but the scheme is the same.“

The over-all scheme of Concert B consists of six groups. The first
group is made up of twelve choral numbers selected from Brahms' Liebeslieder
11513193, (bus 52 and Opus 65, with solos and quartets interspersed between
the large choral selections. After a fifteen-minute intermission, Group
II was sung by the Men's Glee Club, Group III featured a male quartet,
Group IV featured the Women' s Glee Club, Group V was sung by the combined

Glee Clubs, and in Group VI both Glee Clubs sang one selection separately

103
and then joined together to sing the final selection. This final group is
included each year, since it features the traditional songs of the college.
The length of the entire concert is approximately one hour and twenty
minutes including the intermission period.

In rating the art principles of unity, variety and contrast,
Conductor B considered variety and contrast as very important, while unity
was held to be of slight import.

Conductor B then described his process of building the sequence of
choral numbers as follows: "There were two fundamental principles
involved and they are different ones. And it was the interplay of these
two that resulted in this particular program arranganent. One is the
manipulation of the groups. The students were very interested in having
the concert open with everyone on stage. They wanted a big thing at first.
So that meant the combined number at the beginning. They wanted to end
in the same way. So the combined numbers were used in the final group.
The glee club student directors didn't know what they wanted to sing in
these spots, but they at least felt that this was the way to do it. fich
club has a student conductor, and these tm persons sat down with me and
the three of us worked out the program. They were very strong on this
arranganent of groups.

"The second principle or feature, is a principle that I believe
quite important in programing, namely that the choral works which require
the longest span of attention ought to be near the beginning of the program
while the audience is fresh. Those works requiring shorter span of attention
should come later. But once you have had the humorous numbers, it is very

difficult then to expect people to sit down to something that requires very

101+

serious concentration especially over any extended period of time.
Therefore, we placed the twenty-two minute number at the beginning and

let it be the first half. This had nothing to do with the details of its
musical content. This was simply on the basis of length and the fact

that it got all of the performers into the act at the beginning of the
concert. The Waltzes have a key scheme and in principle our order is the
same that Brahms uses in the original. The general expressive content was
preserved in the alternation of gay ones with sad ones, soft, lyrical ones
with loud ones.

“After the intermission, another principle was used. In general
it is easier to go from sacred to secular than it is the reverse. This
is basic psychology. It is easier to let your hair down than it is to
pull it back up. So that once you have had a lot of gay, worldly, vulgar
entertainment, so to speak, it is a little difficult to suddenly put on
your prayer cap and sing motets. In general the proper procedure is the
other way around. Therefore, the sacred chorus of Part II came first. The
Handel is acgpella and the Bach is accompanied with four hands at the
piano. It is quite brilliant in its accompaniment. In the next group,
the male quartet offers relief for the men and women's glee clubs. In
Group IV, the women began with an acappella madrigal and then sang the
Purcell duet which has an accompanhent and is more brilliant in its
general effect. Group V consists of madrigals for the combined Glee Clubs.
One of our student conductors composed a madrigal on an Elizabethan text.
The first number is slow and the second meditative while the final number
is light-hearted. The college songs which are original were included in

the final group. Here we always ask the alumni to come up on the stage and

105

to join with the groups as they sing these familiar songs. "

W

Conductor C lists nine criteria as being very important in selecting
single compositions: music which fits the purpose or aim of the concert
program, its literary worth, reasonable range for all parts, over-all
worth of the music, numbers which use contrapuntal devices, coloristic
contrasts, dynamics, types of accompaniment, and choral selections which
fit the conductor's choral group. This last ciretria applies to those
compositions which feature solo voices. Conductor C eliminates these
selections because he does not have qualified solo voices. Of moderate
importance are the following criteria: difficulty of parts, over-all
probable appeal to the conductor's group, over-all appeal to the home
concert audience, numbers which are of a light or humorous nature, length,
mood, rhythm, harmony, style, form, and the secular or sacred nature of
the music.

Table VI shows that the specific criteria change in their degree
of importance when choral selections are combined with other choral
numbers. There are, however, one or two exceptions. Conductor C considers
the use of contrapuntal music more important when he is looking at single
copies of music than when he combines them into groups. Dynamics, however,
remains constant in both instances.

Conductor C selects individual choral selections in terms of their
difficulty and suitability for the conductor's performing group. The
conductor then arranges them into some sort of order for a public concert.

Conductor C comments: ”We book the year, by the summer, after we have a

106
TABLE VI

CRITERIA USED BY CONHJCTOR C FOR SELECTING SINGLE
COMPOSITIONS AND COMBINING INTO GROUPS

 

 

 

 

 

 

 

 

=====EZ ‘r-, _:==E; £=:;_
Criteria ‘ Rating of importance
Single Combinations
General:
1. Purpose or aim of concert 4 _‘J__.
2. Literary worth and suitability of text 4 .JL.
3. Baasonable range fer all parts 4 1
4. Difficulty of the parts 3 __JL__
5. Overball'worth of the music 4 __J___
6. Over-all probable appeal to choral group 3 1
7. Over-all probable appeal to concert audience :2 1
8. Select a few numbers which are either well
known or familiar to audience 2 1
9. Select a few numbers which are of a light
or'humorous nature :2 1
10¢ Styl. 2
11. Othera-Select music to fit the group 3 1
Specific:
1. Misic which contains contrapuntal devices 4 :3
2. Coloristic contrasts 4 i
3. Length 3 4
4. med 2
5. Dynamics 3 4
6. Key 2 2
7. Rhythm :2 4
8. Harmony 2 4
9. Meter 2 4
10. Tempo :3 4
11. Form 3 E
12. Secular :2
13. Sacred 3 4
14. Types of accompaniment 4 5
15. A Cappella ____g_ _3 _

16. Other

 

107

general picture of what the fall and spring concert schedule involves.

This includes the number of sacred concerts, high-school concerts we

sing while on tour, and the number of engagements close by the campus.

I have to choose our music to fit all these occasions, meeting our rehearsal
time. After we have done all this, we come up with practically a sacred

and secular program. Then we combine these in some kind of order to

build an interesting home concert. It's simply a culmination of the

whole year's efforts."

The over-all scheme of the concert consists of ten groups lasting
approximately'two hours with/a fifteen minute intermission period. The
first group features the Men's Glee Club singing sacred music of the
Romantic period, GroupII--piano solo, GroupIII--Men's Glee Club, sacred
with early Italian and Contemporary music, Group IV--tenor solo, Group V—-
Men's Glee Club, folk songs, Intermission, Group VI--male quartet, Group
VII--wind mambl'e, Group VIII--Men's Glee Club, secular with Contemporary
and Renaissance with a show tune; Group IX—-a monologue by a Hollywood
personage; and Group X—-—Men's Glee Club, Contemporary, Renaissance, and a
school song.

Of the art principles which Conductor C used in building the
concert under study, a rating of "moderately important" is assigned to the
principle of unity, while the principles of variety and contrast are
considered very important.

In constructing the program, Conductor C selected a theme for the
concert. The theme this year was from Brahms to Broadway. .The conductor
comments, "Though we do very little Broadway music, we start the first

group with music by Brahms since this is our longest number. The music

108

provides enough difference within this first group. There is a great

contrast in the text of each song. The first number starts with a very

somber mood and finally the mood of fatalism changes in the third selection

with a big climax in the final number. In Group III, which is the next

group where the fellows appear, we tried to think in terms of religious

music and working towards the secular later on in the program. The first

number in this group serves as a good warmpup number for the second selection

which is very taxing on the singers. The contrast found in this group was

secured by the mood changes as well as the homophonic and polyphonic

styles. Up to this point in the program, we had used more straightforward

types with not too strong rhythmical pulse. So, in Group V we needed a

change of pace or movement. The two folk ideas were kept together. The

Lord Randall number had a solo voice and uses a great deal of contrast

between chorus and solo voice with mankaey changes. we ended with a

number which uses intricate rhythms and brings a climax to the first.half

of the program. If I have solo voices, I use them as well as the men's

quartet for relief purposes in groups between the glee club appearances.
"Group VIII is the first appearance of the men after the intermission.

The first number in this group is a student song and goes well for an opener.

There is sufficient contrast in volume, spirited rhythm, with an interesting

nonsensical type of text. For the Echo Song, I used a quartet as the echo

group, located in the balcony. ‘We had to stretch the point of the theme

to get something in from Broadway, so we placed the show tune next. my

men do not like to sing show music at all. They don't go for the popular

type of music. If there is any griping, it usually comes from the performance

of such literature. I am sure that it is no reflection of my tastes. In

109
the last group, the first number wascchosen because of its tremendous
rhythmic drive. Actually this number ends the program because of the

traditional practice of singing the final Glee Club number by Tchnesnokov

and the Una Eter.”

PROGRAM D

Conductor D made the following statanent concerning his examination
of single copies of choral music; "When I build a program and in looking
at individual selections, I think of a framework as we all do of certain
types of music that will give a certain segment of choral literature.

Then I will evaluate the music on its own merit. I may reject it or
accept it on the basis of whether or not it fits this particular concert
that I am planning. Some numbers I choose because they not only can be
used on this concert but they may be used for Commencement and other
occasions as well.”

The criteria of greatest importance to Conductor D in selecting
individual numbers are their literary worth and suitability of the text,
the difficulty of the parts and the over-all worth of the music. He
assigned a rating of ”very important" to the reasonable range for all parts,
harmony, arrangement, and to the number of voice parts beyond the usual
four-part arrangements. Regarding this last point, Conductor D states
that, since the number of parts tend to influence his choice of music, he
prefers arrangements which contain more than four parts. This in turn is
dependent upon the talent and nmsicianship of his choral groups. Of
moderate importance are the purpose or aim of the concert program, the

. inclusion of a few numbers of light or humorous nature, selections which

110
contain contrapuntal devices, coloristic contrasts and dynamic contrasts.
Four of the criteria on Table VII are rated as "slightly important.”

Table VII illustrates as well that the general criteria influencing choral
selection are not considered inportant. Most of the specific criteria
increase in importance with two exceptions: compositions containing
contrapuntal devices, and the harmonic structure of choral music.

For program building Conductor D uses a combination of the two
methods described, with more emphasis placed upon the second. "In group
one of this particular concert, the selections were arranged because it was
related to a combination of two things, the music itself and the performers.
In other words, I used the choir only once. On most other occasions I
have used the choir at the beginning and at the end of the concert. On
this program I used the choir only once, due to the facilities of staging.
The staging aspect influenced rather than the choice of music. The music
was then chosen within the framework of the limitations of the staging.

I programed a major work first and the shorter works followed. In addition
to this consideration, I programed the best group last; in this case, it
is the Madrigal Singers.”

The over-all scheme of the concert under study consists of five
groups. The first group features the ACappella Choir, singing both
sacred and secular music of the Classical and Contemporary periods;

Group II-mduo piano selections; Group IIIa-Men's Glee Club, secular, both
Romantic and folk songs; Group IVug-nMadrigal Singers, sacred and secular of
the Renaissance and Baroque periods; and Group Van-Madrigal Singers, sacred
and secular music of the Post-Romantic and Contemporary periods. The
concert lasts approximately one hour and twenty minutes including a ten

mirmte intermission period between groups three and four.

11

—L

TABLE VII

CRITERIA USED BY CONDUCTOR D FOR SELECTING SINGLE
COMPOSITIONS AND COMBINING INTO GROUPS

 

 

 

 

 

 

 

 

 

 

Criteria Rating of importance
Single Combinations
General:
1. Purpose or aim of concert 3 1
2.. Literary worth and suitability of text 5 1
3. Reasonable range for all parts 4 1
4. Difficulty of the parts 5 1
5. Over-call worth of the music 5 1
6. Overall probable appeal to choral group 2 1
7. Over-all probable appeal to concert audience 2 1
8. Select a few numbers which are either well
known or familiar to audience 2 1
9. Select a few numbers which are of a light
or humorous nature _3__ 1
10. Style ____1 ._.._‘+
1 1 . 0th emu-Arrangement Lg. 1
Specific:
1. msic which contains .contrapuntal devices :2 3
2. Coloristic contrasts . 3 b,
3. Length 1 4
4. Mood 1 4
5. Dynamics :2 4
6. Key 1 4
7. Rhythm 2 4
8. Harmony 4 4
9. Meter 1 :2
10. Tempo ‘_l 4
11 . Form 1 4
1 2. Secular 1 4
13. Sacred 1 4
14. Types of accompaniment 1 4
15. A cappella 1 4
16. Other-“Number of parts 4 1

 

112

Conductor D rates the art principle of unity as very important,
and the principles of variety and contrast of greatest importance in his
process of building a concert program. Regarding this point, Conductor
D commented, "There have been other programs that I have built with much
more unity than this one, such as my fall concert, which started out to
be all-Contemporary. I feel that a concert has more general appeal to
have more of a variety than too much emphasis upon the principle of unity.
Hence, I have selected the aspect of variety as the main influencing
factor for this program. Frankly, I think that staging is very important.
I think that people are sometimes more impressed with what they see rather
than what they hear. - Sometimes just the slight rearrangement of the stage
has a psychological effect on the audience and the performers. When we
did the Haydn, I used a string quartet in front of the choir. The next
number I had piano and the string quartet moved out. It's alight, but
important. In the last two groups, the Madrigal Singers sang while seated
around a table.”

In describing the process of arranging the individual selections
into groups for the program under study, Conductor D stated, "The reason
why I placed the Haydn first was because of the universal appeal of that
type of harmony. For this reason, it will be more acceptable right at
the first to an audience than an extreme contemporary work. The number is
comfortable to begin with and it was also comfortable for the singers.
And then the matter of staging helped to decide that this number should be
placed first. For example, it required the presetting of music stands and
chairs for the instrumentalists and large risers for the ninty-voiced choir.

Those were the influencing factors. I programed the sacred numbers first

113
and the secular numbers last in this first group. For contrast with the
Haydn, I chose the Lockwwod Doxology as a second number in this group.

It is very loud, very chordal, and very brilliant. The next number
Cagyons in the Sky is still chordal but it is very quiet, building up to
a tremendous climax and ending quietly, but it still contains contemporary
harmony. Its text, while secular, is a quasi-philosophical theme and it
would.fit in with the following number wondrous Love, which is a folk song
but of a white spiritual type. The spiritual that fellows has a universality
of appeal for the audience. The harmony is simple and it has the element
of folklore. It causes people to tap their feet as well as to listen with
their ears. The pace brought this first group to a climax and close.

"For contrast, I used a duo-piano number for the second group.
I think the element of contrast of going from a large group, a corporate
activity, to a single person is restful on the audience. And it also
gives us a chance to feature some of our‘better students. I like the idea
of the piano because that is even greater contrast to voices than soprano
or alto soloists.

I'Fbr the Men's Glee Club numbers, I must confess that these numbers
‘were chosen to fit the boys and not chosen for this program. These boys
are nonmusic majors. The technical level does not measure up to the other
groups. The first number was a chanty type and the second number was less
forceful and more warm. The Barn Song is a humorous song, the audience
liked it. It is light music but not cheap music. The last number was
another chanty. like a spiritual, it has universal appeal and the boys

can sing it fairly easily.

114
”I chose the first number of the Madrigal Group because the beginning
of it was homophonic and it was quite loud. It is the type of number that
gives confidence to the singers as a first number in a group. The next was
a madrigal of the same period, contrapuntal, five parts, in a bright rhythm
and tenpo. The last selection‘is full of syncopated rhythm5. The last
group is contemporary and all the numbers are a cappella. The final

number is the familiar Camptown Races translated into French for our group."

2W

Conductor E lists ten criteria which he considers of greatest
importance in examining individual choral compositions. He pays considerable
attention to music that fits the purpose or aim of the concert, reasonable
range for all parts, overaall worth of the music, numbers which are either
well known or familiar to his audience, numbers which are of a light or
humorous nature, key, harmony, melodic intervals, use of chromatics,
types of arrangements, and the difficulty of the parts. Regarding the
latter, the conductor comments, "If the melodic lines of the various
parts are singable even though the harmony is very dissonant, I do not
. judge the parts as difficult. In fact, I go through each selection and
sing each part through myself." Concerning the over-all worth of the
music, the conductor states, "This matter is a two-way aspect. If you
select everything on the basis of just musical worthiness, it will be
difficult to select a program which will appease Eia everyone in the
audience. I use music which is not real high in over-all worth to come
out with a program which is going to be appetizing for an audience."

He continued, "I check very carefully the melodic intervals.

115
Singers cannot sing awkward intervals accurately. Singers do not push a
button, and so the use of excessive chromatics causes serious intonation
problems which I try to anticipate when examining individual selections.
Another thing which I look at rather closely and which I consider highly
important is the vocal arrangement. There are types of arrangements which
are not particularly vocal, such as those numbers containing humming
parts, or which include vowel forms and vocal requirements at awkward
pitch levels. I refuse to use arrangements which try to make choirs
sound like orchestras. I don't like arrangements which use unnecessary
doubling of'parts merely to get a fuller sound, in my opinion, this just
thickens the music.”

Conductor E rates the following criteria as very important to
his selection of individual choral music: the over-all probable appeal
to the home concert audience, coloristic contrasts, rhythm, and a cappella
music. Of moderate importance are: over-all probable appeal to the 1
conductor's choral group and musical style. Eight criteria receive a
slightly important rating.

Table VIII shows that many of the specific criteria increase in
their degree of importance when numbers are combined to form groups. 0f
the general criteria, the ,overeall worth of the music assumes a degree of
mederate importance. This is in fact an important aspect and is consistent
'with his statements above. In addition,the.specific criteria of harmony
decreases in importance when the conductor combines numbers. Key, rhythm,
and m ppeua music, however, remain the same.

In building his program Conductor E sets up a scheme of organization

and then finds the appropriate choral selections suitable to this arrangement.

TABLE VIII

CRITERIA USED BY CONDUCTOR E FOR SELECTING SINGLE

COMPOSITIONS AND COMBINING INTO GROUPS

 

 

 

 

 

Criteria

Rating of importance

116

 

 

General:

SDVmV-C'WN-r

\0
e

10.
11.

Purpose or aim of concert

Literary worth and suitability of text
Reasonable range for all parts

Difficulty of the parts

Overhall worth of the music

Over-all probable appeal to choral group
Over-all probable appeal to concert audience
Select a few numbers which are either well
known or familiar to audience

select a few numbers which are of a light
or humorous nature

Style

Otherb-Arrangement

Specific:

1.
2.
3.
4.
5.

6.

7.

8.

9.
10.
11.
12.
13.
14.
15.
16.
17.

Music which contains contrapuntal devices
Coloristic contrasts
Length

Mood

Iwnamics

Key

Rhythm

Harmony

Meter

Tempo

Form

Secular

Sacred

Types of accompaniment
A Cappella
Othenn-Melodic intervals
Otheru-Use of chromatics

Single

~t

 

.I.

 

N

 

 

~Hi+l+H~
* I—-|1+tt|~m+m1+t

 

.IN'.

 

Ft

ttt t ttttt

Combinations

 

 

 

117

The scheme of organization consists of six groups. Group I is
sung by the Acappella Choir singing sacred music of the Renaissance and
Baroque periods; Group II- a soprano soloist; Group III--Madrigal Singers
singing Renaissance music; Intennission; Group Ive-the A cappellaCChoir,
Contemporary music both secular and sacred; Group Ve-Madrigal Singers singing
folk music; and Group VI--Anaqmuflla Choir singing Contemporary and College
songs. The duration of the concert is approximately one hour and twenty
minutes with a five to eight minute intermission.

Conductor E rates all the art principles of unity, variety, and
contrast as being of greatest importance to him.

The comments made by Conductor E in describing the process of
organizing his concert program are as follows: '‘The first number was very
slow and very gentle. It consists of four parts in a major key. I chose
the second number as a contrast to the first because it moves much more
rapidly and is in five parts. This number was longer than the first one.
This first group was planned to end with a big sound. Contrast is found
in the periods of the choral writing. The Purcell number'has block-type
pharmony and is quite short in length. The last number'by Handel has a
big sound which is found primarily in the accompaniment. The melody
shifts fromipart to part and the number is quite long. The third group
was given over*to the Madrigal Singers and all of the compositions are
from the same period. The first selection is very gentle and slow
moving and is somewhat contrapuntal in style. The second number is straight-
forward in its writing, tenors have the melody and is rather rapid in
movement, short in length. The third number is in the key of A minor and

contrasts are found through the echo effect between the women and men's

 

118
voices. The last number in five parts is a good concluding number because
it has a lot of body to it.

"After the intermission the ACappella Choir sang-cthe fourth
group. we really ran out of rehearsal time to effectively perform the
numbers programed in this group. I placed the secular numbers first and
ended with the sacred. we sang the Debussy in its original language.
A problem we faced here was the type of French used in this number. This
. French was from the Middle Ages and was very difficult to teach the choir;
hence we did only one of the two numbers. Contrast is found in this
number through a tambourine type of accompaniment sung by the choir as a
background to a legato solo line. The second number is very romantic in
style and I found that the group of singers enjoyed the sound of this
number. The Poulenc is a rapid moving motet, contrapuntal as well as with
contrasting changes of meter. It contains very stark and dramatic
harmonies and yet each line is quite simple to sing. In rehearsal this
last number'was not received too well by the singers; it almost was like
pulling teeth to get it started so that it would begin to sound. The
last two groups speak fer themselves. The music is of the lighter tmpe
and I obtained contrast by alternating music with different tempos. The
last number'by Herbert is rhythmically quite exciting and climax is derived

through the loud singing of the chorus and the high notes of the soloist."

,EBQQEAN_E

Conductor F considers of greatest importance ten criteria which
' he takes into account when examining individual choral selections. These

are the quality of literary worth and suitability of text, the inclusion

119
of numbers which are either well known or familiar to the audience, numbers
of the light or encore type, numbers which contain contrapuntal devices,
coloristic contrasts, rhythmic interest, harmony, style, a cappella
numbers, and the consistency in the representation of the musical idea.
Regarding this last quality Conductor F comments, "How well does the
music say what it sets out to say?" A rating of "very important" is
assigned to the criteria of the overball worth of the music, over-all
probable appeal to the choral group, mood, dynamics, meter, tempo, form,
and the secular or sacred nature of the music. 0f moderate importance
are the matters of length, key, and types of accompaniment. Four criteria
are considered slightly important by the conductor.

On re-evaluating the criteria in terms of their importance when
combining numbers into groups, Conductor F rates five of the specific
criteria similarly. Seven of the specific criteria increase in importance,
and rhythm, harmony, and form becomes less important. For the complete
survey see Table II.

While building his program, Conductor F uses a combination of the
two methods previously described. However, more weight is assigned to the
jprocess of setting up a scheme of organization and finding the appropriate
choral selections suitable to this scheme.

The concert consists of three groups, all sung by the Concert
Choierith a ten-minute intermission between the second and third group.
The length of the concert is approximately one hour and fifteen minutes
including the intermission period. The first group consists of sacred
music of the Renaissance, Romantic, and Contemporary periods. The second
group is made up of sacred music of the American hymn type as well as Negro

spirituals. The last group is of sacred Contemporary music.

1 20
TABLE IX

CRITERIA USED BY CONDUCTOR F FOR SELECTING SINGLE
COMPOSITIONS AND COMBINING INTO GROUPS

 

 

 

 

 

 

 

 

 

Criteria Rating of importance
Single Combinations
General:
1. Purpose or aim of concert 2 1
2. Literary worth and suitability of text 5 ___‘_
3. Reasonable range for all parts 2 __:|__
4. Difficulty of the parts 2 1
5. Over-all worth of the music 4 1
6. Over-all probable appeal to choral group 4 1
7. Over-all probable appeal to concert audience 2 1
8. Select a few numbers which are either well
known or familiar to audience 5 1
9. Select a few numbers which are of a light
or humorous nature 5 1
10. Style 5 5
11. Where-Representation of musical idea 5 1
Specific:
1. Music which contains contrapuntal devices 5 5
2. Coloristic contrasts 5 E
4. Meod g 5
5. Dynamics 4 5
6. Key 5 5
7. Rhythm 5
8. Harmony 5 4
9. meter 4 5
10. Tempo 4 5
110 mm E
12. Secular 4 g
13. Sacred 4 4
14. Types of accompaniment 5 E
15. A Cappella 5 1

16. Other

_

 

121

Conductor F'considers the three art principles of unity, variety
and contrast of greatest importanCe in influencing the arrangement of
numbers on his program.

Conductor F then described his method of arranging the sequence of
selections, "The most important thing is how to start a program. The first
number should be a warmpup for your singers as well as a warmpup for your
audience. My first number was chosen because it gives the audience some-
thing on the brighter side. It is very rhythmical and very metric.

It contains a little influence of the dance, which would tend to liven up
the blood. The second number demanded the most concentration on the part
of the listener. So it would come early. The mood was slower. The

next number relieved this because of its lyrical style. The Brahms was
shorter in length and brought contrast. The last number is very modern and
has a tremendous climax. In the second group the basic scheme is Negro
spirituals and nonspirituals, namely, hymn tunes. The order was determined
by the mood or by the tempo, such as slow, fast, slow. The tempo of the
spirituals was fast, slow, fast. The preponderance of spirituals is due
to the fact that I have some excellent Negro soloists. The last group
consists of numbers which are more dramatic, using two choirs and organ.

I programed the last number because I have an excellent narrator. He is

tops.”
PRO G

Conductor G considers three criteria of greatest importance to him
in selecting music for use on his concert program. While examining a

composition he considers the literary worth and suitability of the text,

122
the over-all worth of the music, and he selects only those choral numbers
which are a cappella. Those criteria which are given a "very important"
rating in the opinion of the conductor are: the purpose or aim of the
concert program and its relationship to the music, over-all probable
appeal to the conductor's choral group, music which contains contrapuntal
devices, rhythm, harmony, style, its secular or sacred nature, and the
conductor's own preference for contemporary music. The conductor comments,
"I. like thacontemporary style of music writing. If a piece of music is
contemporary, I give it a second look. Obviously, my personal taste leans
toward the contemporary idiom." Of moderate importance in his selection,
Conductor G lists: 1 over-all probable appeal to the home concert audience,
numbers which are either well known or familiar to the audience, numbers
which are of a light or humorous nature, and the length of the selection.
Coloristic contrasts, mood, dynamics, and form are all deemed of slight
importance.

Table I depicts that the specific criteria ratings tend to increase
in importance as the conductor combines numbers into groups. The length
of the number increases to a rating of greatest importance while coloristic
contrasts, contrasts in mood and dynamics, key, and tempo all increase to
a degree of moderate importance. However, rhythm and harmony decrease in
importance. The types of accompaniment is of no concern in this particular
program since the conductor selects acamella music exclusively.

The method of organizing the concert is a combination of methods
one and two, though Conductor G places more emphasis on the latter.

The over-all organization of the concert consists of four groups

lasting approximately one hour and fort-five minutes including a twelve-minute

123
TABLE X

CRITERIA USED BY CONDUCTOR G FOR SELECTING SINGLE
COMPOSITIONS AND COMBINING INTO GROUPS

 

 

Criteria Rating of importance

 

Single Combinations
General:

1. Purpose or aim of concert

2. Literary worth and suitability of text

3. Reasonable range for all parts

4. Difficulty of the parts

5. Over-all worth of the music

6. Overball probable appeal to choral group

7. OVerball prObable appeal to concert audience

8. Select a few numbers which are either well
known or familiar to audience

9. Select a few numbers which are of a light
or humorous nature

10. Style

11. Otherb-Preference for Contemporary music

 

H1: 14 H+l+Hk
*tt t ttttttt

Specific:

1. Mhsic which contains contrapuntal devices
2. Coloristic contrasts

4. Hood

5. Dynamics

6. Key
7. Wm

8. Harmony

9 0 Mater

10. Tempo

11. Form

12. Secular

13. Sacred

14. Types of accompaniment
15. A Ceppella

16. Other

 

1"l‘l‘HNi‘i‘ltl-‘tttlic
H-‘HitH-‘Mttttt

 

 

 

 

 

 

124
intermission period between Groups II and III. The groups are all sung by
the College A Cappella Choir. Group I-usacred music of the Baroque and
Contemporary periods; Group II-scared music of the Contemporary period;
Intermission; Group III-secular, Contemporary music; and Group Ive-secular
music of the Contemporary and popular classic type.

In this particular concert, Conductor G states that he did not have
a main theme; however, he thinks that unity is of greatest importance,
while variety and contrast are considered as moderately important. The
conductor comments that his main concern is ”to present outstanding
choral literature, for its own sake. If a thing is done well, it will be
entertaining."

Conductor G discussed his method of combining the numbers for
his concert as follows: "For the first number I looked for something
that would catch the attention of the audience. Something that was
‘worthwhile, with a good text which was somewhat familiar; a number containing
a dynamic style of harmony and rhythm. This is why I chose the Poulenc
and place it first in Group One. I wanted something to shock the audience
into attention. The length was a factor also. This selection being in
three separate divisions didn't make it too long as one section. Both
the harmony and dynamics were important factors. The second number was
chosen because it provided a contrast which quieted down the effect of the
first selection with its counterpoint. Tynamically, the first number was
quite loud. The third number is in contrast to the second. It has more
life. The audience actually becomes confused.

”The second group by the choir begins with another contemporary

number to awaken the audience. The harmonic dissonance captivates their

125
attention. The style of this piece is more contrapuntal than harmonic.
In fact, it is a double canon. This was the most important consideration
why I placed this number first. The second selection in this group is
very personal, subjective, and contemplative. The mood of the text is
the primary factor here. This piece makes use of both contrapuntal devices
with lots of’imitation. The final chorale is very interesting and the
effect is very soothing even though the harmonies are dissonant. The
third selection finds its interest in the text. By this time the audience
has heard quite a bit of heavy contemporary and baroque music and now they
needed something geared to their level. The final number is a little
soupy, but that's why we did it to make the audience feel good before the
intermission.

"The third group came after the intermission. The audience had
been out smoking and the first thing I have to do is to wake them up
again. The first number was chosen because it was lively, contemporary
in style, using canonic devices, all combined with a rather humorous
‘text. This tends to captivate the audience's interest right in the beginning.
The tempO' was an important factor, and the tie-in from the first part of
the program is the contrapuntal factor. The four numbers which follow in
this third group are based on quasi-known folk poems. Some are familiar,
as-Tommy Tucker, and others are not quite as well known. I didn't realize
at first where these numbers should be programed. At this point, I
suppose the audience can relax. There is lots of comedy here and audiences
always laugh and react to the selections. I knew they would, but the
jproblem.was to know where to place them. Since the first of the program

was quite heavy, this seemed the most logical place. The numbers in this

126
group were complete within themselves and contained variety, by progressing
from one number which was soft to the second which was fast and funny,
while the third one was more romantic and ending with a funny one again.

"In the final group, the first selection is a folk song which is
very sad and is quite heart pulling. The text and the harmonic treatment
was foremost in my choice of this number. The second number is happy and
is good in over-all mood contrast with the first selection. This number
gave me an opportunity to use soloists. This number contains twenty-four
one-measure solos and offers a tremendous opportunity for getting coloristic
contrasts with the different types of voices used on each solo. Musically,
the number is real corny. The next selection I put in without nmch thought,
because it is sort of cute. I suppose the main reason was due to the ..
business of whistling which brought contrast. The composition makes use
of the ballad type of song style in that it tells a story. The next
number, Begin the Beguine, was placed here for audience appeal, only. This
is a very clever arrangement. We used the piano for the first time as an
accompaniment. The last numbers in this group become quite rhythmical.

I feel that you have to make your audience feel happy, like walking out

out of the auditorium on their toes at the conclusion of the concert. I chose
these numbers not only because they are more rhythmical but because they

are more popular and familiar. These numbers create a climax. They are

loud; they have harmonic and rhythmic factors which tend to excite the

audience.”

W

Conductor H rates ten criteria as being very important to his

127
process of selecting single choral numbers which might be suitable for use
on his program. These are: literary worth and suitability of the text,
over-all worth of the music, overball probable appeal to the conductor's
home concert, numbers which are either well known or familiar to the audience,
numbers which are of a light or humorous nature, and numbers which contain
contrapuntal devices. Also of greatest importance to the conductor are the
style, form, types of accompaniment and compositions which may be sung
a cappella. A rating cf moderate importance is assigned to the suitability
of the music to the purpose of the concert, its reasonable range for all
parts, the difficulty of the parts, and the music's overuall probable
appeal for the choral groups. Other factors of moderate importance include
coloristic contrasts, length, dynamics, harmony, tempo, and arrangement's
suitability for the singers. Key is considered of slight importance.

is shown on Table XI, when combining numbers into groups the general
criteria assume no degree of importance. Of the specific criteria, however,
eight criteria increase in importance, four remain the same, and the three
factors of key, harmony, and accompaniment decrease in importance.

The method used by Conductor H to build programs is a combination
of methods one and two, with slightly more emphasis placed upon method two.
Program.H consists of eight groups, with the Men's Glee Club

singing five while soloists and a male quartet are used alternately. The
concert lasts approximately one hour and fifteen minutes, with a tenmminute
intermission between Groups III and IV. The groups included are: Group ImmMen's
Glee Club singing secular and sacred music of the Renaissance and Romantic
jperiods; Group II-usoloist; Group III-~Men's Glee Club, sacred music of

the Romantic and Contemporary periods; Intermission; Group Ive-Men's Glee

128
TABLE XI

CRITERIA USED BY CONDUCTOR H FOR SELECTING SINGLE
COMPOSITIONS AND COMBINING INTO GROUPS

 

 

 

 

 

 

 

 

 

—e======r
Criteria Rating of importance
Single Combinations
General:
1. Purpose or aim of concert 5 __J___
2. Literary worth and suitability of text 4 __J___
3. Reasonable range for all parts :5 1
4. Difficulty of the parts i5 __J___
5. Over-all worth of the music __;___
6. Over-all probable appeal to choral groups 5 1
7. Over-all probable appeal to concert audience 4 1
8. Select a few numbers which are either well
known or familiar to audience 4 1
9. Select a few numbers which are of a light
or humorous nature 4 1
10. Style 4 5
11. Other-~Arrangement :5 1
Specific:
1. Music which contains contrapuntal devices 4 1
2. Coloristic contrasts 5 4
3. Length 5 5
‘1'. MOOd 2 ’4‘
5. Dynamics 2 5
6. Key 2 1
7. Rhythm 1 4
80 Harmony 1 2
9. Meter 1 5
10. Tempo 3.. ,_j.,
11. Form 4
12. Secular 1 4
13. Sacred 1 4
14. Types of accompaniment E 3
15. A Cappella 4 4

16. Other

 

129
Club, secular, Contemporary; Group Ve-Male Quartet; Group VI--Men's Glee
Club, secular, Contemporary (spirituals); Group VII--soloist; Group VIII--
Men's Cflee Club, secular, Contemporary.

Of the art principles considered by Conductor H, unity was held
to be of moderate importance, while variety and contrast were considered
very important elements.in deciding upon his program.

The following are the comments made by Conductor H in describing
his method of organizing the music for the concert program under study:
"In this particular'concert, we had a moderator who made a few introductory
remarks and broke the ice for the first number. This first number is more
of a sort of salutation and does not fit in with the remaining two numbers.
The second number is quite colorful and quiet, which provides a contrast
between the first selection and the last one. The third number is very
dynamic and seemed a good number to end this first group. Perhaps I
looked more at the over-all general mood of each composition in arranging
them in this order. The solo was a break between the two men's groups
and helped to make a transition from the Latin into English. After the
intermission, the first number provides contrast in its marchalike tempo
to the second number, which is a dreamy type. In the spiritual group,
the contrast is found in the.lively rhythms and the use of a baritone
soloist in the second of the two numbers. The final group was devoted

to three songs about girls."

W

Conductor I rates three criteria as very important in the selection

or elimination of single choral compositions. These criteria are the literary

130
worth and suitability of the text, reasonable range for all parts, and
overuall worth of the music. Concerning the music's overaall worth
Conductor I comments, "I tend to be more on the practical side when I
build a concert program rather than on the philosophical side. I pick a
number because I like it and because it is worthy of performance."

Those criteria which were rated "moderately important" are the overeall
probable appeal of the music for the choral group, the overaall probable
appeal to the home concert audience, numbers which are of a light or
humorous nature, length, harmonic treatment, and arrangement. Those
criteria of slight importance included contrasts in mood and dynamics,
and numbers which are either well known or familiar to the audience.

Table XII shows that twelve of the specific criteria tend to
increase in importance when the conductor proceeds to combine choral
selections for his program. The criteria of length, mood, dynamics, rhythm,
harmony, tempo, style, and the secular or sacred quality of the music
increase to a rating of "very important." Meter increases from a degree
of’no importance to one of moderate importance.

Conductor I uses method two in organizing the format of his concert
program. He thus selects choral selections appropriate to the performing
group and to the situation in terms of difficulty'and suitability. He
then arranges these compositions into some sort of order for the final
program. Conductor I qualified this method by stating, "This is one of
those programs where I had gone through some thousand choral numbers and
ended up with maybe twentyefive or thirty compositions that I thought I
would like to do. Then I sat down.and tried to construct a.program from

these numbers. However, in the fall I had some preconceived ideas as to the

—-Io

13
TABLE XII

CRITERIA USED BY CONDUCTOR I FOR SELECTING SINGLE
COMPOSITIONS AND COMBINING INTO GROUPS

 

 

Criteria Rating of importance

 

 

 

 

 

 

 

 

 

Single Combinations
General:
1. Purpose or aim of concert 1 1
2. Literary worth and suitability of text 4 1
3. Reasonable range for all parts 4 1
4. Difficulty of the parts 2 1
5. Overball worth of the music 4 1
6. Over-all probable appeal to choral group 5 1
7. Overhall probable appeal to concert audience 5 1
8. Select a few numbers which are either well
known or familiar to audience 2 1
9. Select a few numbers which are of a light
or humorous nature 5 1 _
10. Style 1 4
11. Othero-Arrangement 5 __l_”
Specific:
1. Music which contains contrapuntal devices 1 1
2. Coloristic contrasts 1 2
3. Length 5 4
4. Hood 2 -5L-
5. Dynamics __§__ 4
6. Key __;___ 1
7. Rhythm __‘_.. 5
8. Harmony __5__' 4
9. Meter __j__ 5
10. Tempo __;___
11. Form __;___ 2
12. Secular __;__ 4
13. Sacred 1 4
14. Types of accompaniment 1 1
15. A Cappella 1 1

16. Other

 

 

 

132

general type of program I wanted and I found music to fit these ideas as
I went along. On this program, though, I followed method number two
exclusively. And in other programs, I tend to use the combination of the
two methods."

The overall scheme of the program consists of five groups which
are performed by the College Concert Choir. The length of the concert is
approximately one hour and forty-five minutes with a twelvewminute
intermission between Groups II and III. Group I consists of sacred music
of the Baroque and Classic periods; Group Ila-scared, Romantic period;
Intermission; Group III-usecular music of the Romantic period; Group IVw
secular music of the Contemporary period; and Group V--sacred music of
the Contemporary period. The concert program under study was presented
in the early part of December and the conductor wished to have a Christmas
theme, however. The college Alma Mater is traditionally sung at the end
of the program.

Conductor I assigned a rating of "moderate importance” to the
Principle of unity, and a rating of very important to variety and contrast.

The process of building the concert program is described by
COHductor I as follows: "Why did I place the Bach first of all the other
numbers in the entire program? It is just that the quality of this one
Piece seemed to demand that we open the concert with it. I go by instinct
a 1017- I go by the musical feel rather than trying to be highly academic
in "hat I do. The fact that Bach comes before Haydn is another reason
why I Programed the Bach first. The Haydn number is different from Bach
and it is more melodious. I used it for the contrast. In the second group,

the Grieg numbers offer contrast in and of themselves. The contrast is

133
found in the different meters and in the use of different solo voices with
such voices used as a tenor, a baritone, and a bass. Whoever edited these
numbers, placed them in an excellent order and I didn't change them.

"After the intermission I placed the Brahms in a group by itself.
It sounds differently from the other compositions and the text is a deeply
profound one. The music is so suitable to the meaning of the text. This
number was the climax to the entire program as far as I was concerned.
Little by little the program becomes lighter. In part four, these first
two numbers are just beautiful, that's all. The first is in sixneight
rhythm. It was hard for me to program these two because I didn't feel
that I wanted to put the Bacon number in between because it is so much
different. The Bacon number is kind of folkish in a way. The group ends
with Persichetti's.firmfi£fls Got a Coil because I love Commings' little
poems and this one was real cute.

"As I explained before, the concert was given just before vacation
time at Christmas and I felt that I should include some Christmas music.
I started off this last group with the Three Kings because it is powerful.
The next number is so completely different. It is very startling and
the harmonies fit the text, which is quite different from any you have ever
heard. The theme of the text centers around people who cannot realize
that it is Christmas because of their situations. .It describes a cold
night and it is slow in its tempo. The §tory of the Twelyg is very
rhythmical and very spiritualish. It ends the concert on a bubbling note

so that everybody is feeling good. The final selection is the traditional

’Alma mater song."

134

Summagy

Each of the nine conductors was asked to identify those determinants
which affected his final choice of single compositions for use in a concert
program. The criteria were placed under two major categories, those aspects
of music structure which appear to be of more general nature and those
which appear to be of a more specific nature. After each conductor had
rated the criteria in terms of their importance, he was asked to reconsider
these same criteria when combining the selected choral compositions into
groups for the final choral concert program.

The findings in this study are similar to those of Christy's in his
evaluation of choral music which concerned itself with the comparison of
several methods of evaluating individual choral selections. Any differences
between Christy's conclusions and the present study may be attributed to
the shift of emphasis upon the conditions being studied. In this study9
the conductors are influenced in their selection of music not only by
the uniqueness of their own personality or situation, but by the fact that
each conductor selected music specifically for his own group of performers
and the subsequent public concert presented before his own college audience.

In rating the criteria for the selection of individual compositions,
nine conductors assigned a pooled rating score of 4.6 to the general
criteria of over-all worth of the music. Overoall worth is influenced by
several factors. One conductor states that he leans toward the practical
side rather than on the philosophical in determining the overuall worth of
a composition. With him, it is either a matter of liking the number or it

is one worthy of performance. Another conductor comments that thelovermall

135
worth of a composition is a ”two-way" aspect. If all numbers are chosen
because they have a high degree of musical worth, this conductor concludes
that it would be difficult to select a program which would "appease"

(in the sense of satisfy) everyone in his audience. Fer another conductor,
it is easier to judge the worth of compositions which are not of the
contemporary period. He adds that the quality of personal taste, however,

is ever present in judging such compositions which he "looks for new

musical sounds that are different and that have an appeal to me, personally."
Yet, another conductor in deciding upon the over-all worth of a composition
considers the expressiveness and;clarity of the musical.idea. His main
question is "How well does the music say what it sets out to say?"

Next in importance in choosing single compositions is the matter
of the literary worth and suitability of the text. This criteria received
a mean score of 4.3. In the Opinion of the conductors the third criteria
in order of importance is the inclusion of selections which are of a light
or humorous nature. This criteria received a mean score of 3.8. The
fact that a conductor should include.su¢h selections in order to obtain
balance or variety is an important factor here. Fourth in order of
importance is the matter of the overeall probable appeal of the music
for the performers. This quality received a pooled rating of 3.h. The
conductors are of the opinion that the appeal of the music for the singers
is slightly more important than the appeal of the music for the home
concert audience, which received a mean score of 3.1.

A factor which was "moderately important" to the conductors polled
was the suitability of the musical selection to the purpose or aim of the

group and its subsequent performance. This received a mean score of 3.3.

136
The inclusion of selections which are either well known or familiar to the
audience received a mean score of 3.2, while a score of 3.2 was also
registered for the music’s reasonable range for all parts. A correlated
score of 3.0 was tabulated for the style of the music, and the difficulty
of the parts in terms of awkward intervals and rhythmic patterns for the
singers.

In the selection of single compositions using the specific criteria
of musical structure, most of the criteria appear to be of slight or of no
importance in the opinions of the conductors. with the exception of three.
When examining a single composition, the harmonic treatment appears to be
of moderate importance, indicated by its mean score of 3.4. Next in
order of importance is music which contains coloristic contrasts, which
was assigned a pooled rating of 3.2. Music which contains contrapuntal
devices received a mean score of 3.0.

When the conductors were asked to reconsider the general criteria
when combining individual choral compositions with other compositions
in order to form groups, only one assumed importance. Style received a
pooled rating of 4.6. This criterion is highly important sincethe
conductors group compositions which are similar in their chronological
relationships. This finding substantiates the conductors' opinions regarding
the principle of unity. This same criterion received a mean rating of
3.0 as a factor in selecting individual compositions.

On Table XIII, under the category of Specific criteria, the
pooled ratings of the conductors increase in importance when single numbers
are combined to form groups. Tempo and mood both receive a mean score of

4.3, while dynamics and the secular or sacred nature of music receive a

137
TABLE XIII

MEAN SCORES OF THE CRITERIA USED BY THE CONDUCTORS FOR SELECTING
SINGLE COMPOSITIONS AND COMBINING INTO GROUPS

 

 

 

Criteria Mean Scores
Single Combinations
General:
1. Overnall worth of music 4.6 6_

O O

 

 

 

 

 

 

 

 

 

 

 

 

2. Literary worth and suitability of text 4.
3. Select a few numbers which are of a light
or humorous nature 3.8 1.0
4. Over-all probable appeal to choral group 1 3.4 1.0
5. Music fits the purpose or aim of concert 3.: 1.0
6. Select a few numbers which are either well
known or familiar to audience 3.2 1.2
7. Reasonable range for all parts 3.2 _J.O
8. .Overball probable appeal to home concert
audience 3.1 1.0
9. Difficulty of the parts 3.0 1.0
100 Style 2°C .408
Specific:
1. Tempo 2.0 4.3
2. Mood 2.3 4.3
3. Coloristic contrasts 2.2 4.2
1+. Langth 2.4 5.2
50 Dy-namics 2.5 “$1
6. Secular 2.0 4.1
70 Sacred 290 E91
8. Rhythm 2.2 3.g
9. Harmony 3.4 3.
10. Meter 1.2 3.
11. Key 1.2 2.2
12. Types of accompaniment 2.4 _3gi_
13. A Cappella 2.2 n3g1_
14. Music which contains contrapuntal devices 2.0 2.2,

 

 

 

 

 

 

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138
mean score of 4.1. Rhythm received a score of 3.7, while the harmonic
structure and meter received a mean score of 3.6. The total mean scores
tend to indicate the degree of importance these specific aspects of musical
structure hold in the opinions of the conductors interviewed.

When asked to suggest other criteria which did not appear on the
questionnaire, several interesting suggestions were offered. Of the nine
conductors interviewed, only one reported that he selected music for a
balanced repertoire over a fourayear cycle. He considered this of greatest
importance in building his program, since he has a nucleus of singers who
remain in his choral organizatiols continuously for three or four years.
It may be conjectured that the other conductors plan on a yearly basis,
either because there is a high percentage of turnover in personnel each
year, or because the conductors consider the long view unimportant.
Several of the conductors stressed the fact that they not only select
music with the concert program in mind, but plan music suitable for other
concert appearances both on and off the campus. For example, some of the
music perfbrmed at the home concert is also used for Baccalaureate and
Commencement exercises as well as for community appearances. Four
conductors considered choral arrangements as highly important in arranging
their programs. One conductor avoids arrangements which attempt to make
a chorus sound like an orchestra. He avoids compositions which contain
humming parts or that unnecessarily double parts in order to obtain a
fuller sound. Another conductor looks for arrangements which include
more parts than the standard ourwpart voicings, while still another
conductor maintains that those who write choral arrangements often lose

the quality of simplicity and sincerity. He adds that this appears to be

139
particularly true in the arrangements of felk songs and spirituals, which
often include unsuitable or complex harmonic and linear writing.

The above data indicates that the nine conductors interviewed
place more importance on the general criteria or the over-all aspects of
the music when selecting individual choral compositions for possible use
on a concert program. They assign less importance to the specific criteria
or the details of musical structure ofeach composition. In turn, these
same conductors place a higher value on the details of musiCal structure
when combining numbers into groups. There is, however, one exception:
musical style is assigned a high level of importance in arranging single
selections into groups.

Those criteria utilized in selecting single compositions which
received ratings of "very important? included the overuall werth of the
music as well as its literary value and suitability of text. Those criteria
used in combining choral compositions which received ratings of "very
important" were style, tempo, mood, coloristic contrasts, length, dynamics,
and the secular or sacred quality of the music.

Two methods were suggested which the conductors might follow in
the actual process of building a concert program. The first involved
setting up a scheme of organization beforehand and then finding the
appropriate compositions suitable to this scheme or arrangement. The
second method consisted of selecting individual compositions appropriate
to the choral groups and to the college situation, and then arranging
these compositions into some sort of order for a public concert. Of the
nine conductors interviewed, six use a combination of the two methods, one

uses method one exclusively, and two conductors use method two. Those who

140
combine the two methods emphasize method two.

One conductor was influenced in his method of organizing the concert
program by a lack of adequate funds for the purchase of new music. He
resorted to borrowing music from a library and other sources. Another
conductor selects music to fit the various concerts presented off campus,
and the home concert program is made up from the numbers programed on these
concerts. A third conductor follows a similar plan, but chooses music for
two different choral organizations which appear separately in offmcampus
concerts. For the home concert, he selects representative numbers from the
two repertoires. -Lack of staging facilities influenced the program arrange»
ment of another conductor. Since the stage is very small and it is
difficult to shuffle large groups of singers on and off, the conductor
arranged a.major work to be performed first by the large choir with
instrumental accompaniment. He used the intermission period for shifting
and resetting the stage for the smaller choral organizations which followed.
Finally, one conductor stated that for the program under study he used
method two exclusively, but in other programs he uses a combination of the
two methods.

Close examination of the nine concert programs reveal a divergency
in the overball scheme of organization. Of the nine concerts, five feature
only one college choral organization, either with or without assisting
soloists and/or small ensembles; two concerts feature two different types
of large choral organizations, and two concerts present three different
types of choral groups. Of the five concerts which feature special soloists
and other performing organizations for contrast or relief purposes, one uses

a male quartet, the second a vocal soloist, the third, a duompiano selection,

141
the fOurth, two vocal soloists and a male quartet, and the fifth, two
vocal soloists, a male quartet, an instrumental ensemble, and a Hollywood
personage.

The number of individual choral compositions which are programed
for a single group range from two selections to sixteen. The total number
of groups for each concert ranges from a threeugroup concert to a ten-
group concert. Different choral organizations featured in separate groups
contrast with those which contain guest soloists or ensembles. The duration
or length in terms of total minutes range for the nine concerts from
seventy-five minutes to one lasting one hundred and twenty minutes, with
an average concert length of ninety minutes, which includes the intermission
period. These intermission periods average twelve minutes in length for
each concert.

Finally, each conductor was asked to describe in detail and in his
own words the important musical considerations which helped to determine
the order of the choral compositions. The conductor was asked to be
specific in terms of how he went about obtaining the elements of'program
unity, variety and contrast through his considerations of the various
elements of music structure. He was asked in what way these considerations
helped maintain a high degree of musical interest for his audience.

Upon examining the comments of the conductors interviewed, it seems apparent
that there is a lack of detailed reference to the actual process of what

is involved in combining choral compositions. This may result from.two
major influences; the conductor's lapse of memory and the fact that the
conductor for the most part may be influenced by the overwall or general

aspect more than he is by the actual details of musical structure. The time

142
element is undoubtedly an important factor here since several months had
elapsed between the time the conductor actually fbrmed his concert program
and the time of the interview. Thus, at the time of the interview, the
interviewer requested that individual copies of the choral compositions
pregramed on the concerts under study be placed before the conductor as
he commented upon and described the details of his procedures. Three
conductors admitted that they programed the order of their concerts
primarily in terms of the "musical feel" or’overball aspects.

An analysis of the various comments made by the conductors reveals
that they refer to general considerations more than to specific references
regarding musical structure. In addition, the conductors emphasized the
principles of variety and contrast as factors in combining the different
elements of musical structure. The arrangement of single compositions in
groups appears to be primarily determined by the quality of mood more so
than by any other consideration. This was mentioned some twenty-nine
different times during the verbal descriptions given by the conductors
interviewed. Tempo was mentioned some twentyatwo times, style and harmony
were mentioned some thirteen times, and general reference to contrast was
made twelve times. Regarding this last point, the conductors tended to
merely remark that a particular number made a good contrast to the number
‘which preceded or fellowed the one in question. The rhythm and length
of the compositions were mentioned eleven times, and the factor of dynamics
some nine times. The factors of contrasts in texts and the various coloristic
contrasts obtained through the use of solo voices, piano accompaniment,
or the shifting of the melody from.part to part were mentioned eight times.

The fact that the text or the music itself was familiar to the audience was

143
mentioned six times, while other considerations were mentioned from one
to three times during the course of the interviews.

In the nine concert programs which totaled 156 single choral
compositions, the number of specific references to musical structure
important in building a concert program represents a small segment of the
possible or actual considerations that determine the group order. Since
much of'the skill in the art of music and program.building is subconscious,
the lack of detailed description by each conductor may result partially
from four influences or factors. Firstly the veiled memory of the
conductor in trying to recall the details of his own process of program
building. Again, conductors tend to emphasize the over-all impressions
of the musical effect of each choral composition as they plan for a concert
rich in variety and contrast. Third, the actual process tends to be
influenced largely by limitations in staging, lack of adequate soloists,
limited budget, the utilitarian purpose of using the same compositions on
several different programs, and such other external factors. Finally,
the interview might have been too long for the attention span of the
conductor being interviewed.

The interviews lasted approximately an hour and a half. During
this time, it is conceivable that the conductor might have become tired
enough to want to hurry over this final part. Judging from the facial
responses, and the high degree of verbal interest expressed by each conductor,
this factor does not appear to be important. However,the human factor
of mental fatigue cannot be entirely ruled out and undoubtedly is a partial

cause for the kinds of responses obtained.

144

CHAPTER V

INDIVIDUAL ANALYSIS OF PROGRAM STRUCTURE
IN TERMS OF STRUCTURAL INTEREST

A major consideration of this study is the determination of the
degree of music structural interest contained in the nine programs under
study. This chapter presents the results of the data examined, which is
analyzed in terms of the structural relationships. The degree and
number of these relationships will, in turn, reveal the differences and
similarities of the various elements of music, and the general level of_
musical interest resultant from the standpoint of the music structure.

An explanation is made of the method or approach in defining the
criteria for structural interest. The structural elements of each composition
are examined and compared with those in each of the other compositions
programed in the nine concerts. An attempt is made to determine the
extent that the various musical elements are varied and contrasted one
with the other. This method of analization will not attempt to weigh the
degree of importance of the harmonic content as against the rhythmic
complexities or melodic attractiveness of the music. This approach would
be highly subjective and difficult to measure as is evidenced by the
diversity of listeners revealed in Chapter II of this study.

The method used in this study consists of comparing the number of
different elements contained in each composition with those adjacent
compositions in order to obtain the numerical amount of variety and
contrast found in the details of musical structure. An overaall concert
norm of musical structure is established. Then, each musical element is

examined in order to determine the low or high amount of structural

145
complexities. Each number in turn, is compared with this over-all concert
norm in order to find where it falls on the scale of structural complexities.
This scale consists of the following categories: low, moderate, moderately
high, and highly complex. For example, if single compositions in any
particular group seem to fall low on the scale of complexness of structural
elements, it may be concluded, for that group, the structural interest
level is low. However, if this particular group is located between two
groups which are high or moderately high on the continuum, it may be
concluded that the overaall total music structural interest level of the
concert is moderately high. The logic of this approach is found in the
reasoning that any single composition containing a high amount and
assortment of'music structural components will sustain musical interest,
from the structural point of view, longer than those single compositions
which contain a minimum.amount of structural elements or are low in complexity.
However, balance and relief in structural interest is found in the alternating
use of musical complexities. It is acknowledged that the degree of
variety and contrast is more apparent when comparing several choral compositions
in any single group than, for example, when comparing only two.

The analysis data are arranged on the respective tables and graphs
for each concert studied. Information contained are such items as the type
of performance organization, the length of the individual compositions in
terms of minutes of actual performance time, and the total number of'measures
of each composition. Others include the chronological order, which is
derived from the century in which the composer lived and composed, style
of the composition either polyphonic or homophonic or both, key, mode,
meter, types of accompaniment, use of'miScellaneous devices such as solos

or duets, and tempo. Tempo markings are recorded directly from the music

146

with any additional changes made by the different conductors.

The matter of'mood in music is another important consideration
in this analysis of musical structure. Realizing the highly subjective
aspect of musical mood, the writer'has borrowed the list of adjectives
used by Kate Hevner1 in her experimental studies dealing with the elements
of expression in music. Through the use of this adjective group method,
Hevner indicates a surprising uniformity and consistency in the apprehension
of musical meaning. The adjectives are placed together in groups which
are descriptive of the same general mood. It is understood that no one
word can have absolute meaning which can be agreed upon by all persons.
The following chart does not indicate any particular mood progression but
allows for quick and accurate interpretation of the more general mood
effects of a single choral composition. Numbers for reporting the over»
all mood of the music are used with the overuall quality of the music and

text as guides in obtainingithe_general-mood grouping. W-

 

1 2 3 h
spiritual pathetic dreamy lyrical
lofty doleful yielding leisurely
awe-inspiring sad tender satisfying
dignified mournful sentimental serene
sacred tragic longing tranquil
solemn melancholy yearning quiet
sober depressing pleading soothing
serious gloomy plaintive calm
reverent heavy entreating

dark
bleak
1

Kate Hevner, "Experimental Studies of the Elements of Expression
in Music," The American Journal of Psychology, v01. 48, No. 1 (Ithaca,
New York: Cornell University, 1936), p. 2H9

147

5 6 7 8
humorous merry exhilarated vigorous
playful joyous soaring robust
whimsical gay triumphant emphatic
fanciful happy dramatic martial
quaint cheerful passionate ponderous
spritely jocund sensational majestic
delicate bright agitated exhalted
light excited
graceful impetuous

restless

The rhythm aspect was charted for each concert in order to establish
a concert norm in terms of a low, moderate, moderately high, or high degree
of rhythmic complexity. Each composition, then, was rated in terms of the
over-all rhythmic norm as to the degree of complexity it contained for
the particular concert under study. For example, a composition low in
rhythmic complexity was one which contains a minimum variety of rhythmic
patterns, rhythmic patterns in all voices that primarily coincide with one
another and with the bar line, a single meter for the entire composition,
and a low degree of harmonic rhythm. A composition containing a high
degree of rhythmic complexity has a variety of rhythmic patterns which
seldom coincide with the patterns in one or'more voices and with the bar
line, has several changes of meter and tempo, and contains a high degree
of harmonic rhythm.

Another important consideration in the musical analysis is the
harmonic treatment.. Each composition was examined in order to determine
‘the kinds or types of harmonies as well as the amounts used. These were
'tabulated and percentages were obtained. The rootumovements were ascertained
by counting the number of movements from the root tone of the chord to the
Inext by intervals of fifths or fourths, seconds or sevenths, and thirds or

sixihs. This information reveals not only the stylistic quality of the music

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148
but it indicates, in addition, the quality of rest or unrest as the harmony
moves towards the tonic center. Repetition of root-movements were not
considered in the calculation of percentages. Percentages were determined
in order to find the varying amounts of settledness which is represented
by the number of fifth or fourth root-movements. Movements of thirds or
sixths, and root-movements of seconds or sevenths indicate the amounts of
forward movement, color interest, and variety. Closely connected with the
matter of harmonic considerations is that of modulation. Mbdulations
were analyzed in terms of their relationship to the tonic or original key.
Those keys closely related to the original key are identified as being keys
removed by one accidental. Keys more remote are those which are removed by
two accidentals, and those most removed and quite foreign to the original
key are placed in the category of more than two. In compositions which are
found to be highly chromatic, usually there are few if any well defined
modulations.

All tones not part of the vertical harmonic sonority are considered
as non-harmonic tones, such as passing tones, suspensions, neighboring tones,
and others. These were tabulated and the ratio between the total number
of non-harmonic tones and the total number of chords was derived. This
figure indicates the nonuharmonic tone complexity.

,The dynamic levels of each composition were then charted. Dynamics
include only those printed on the music or written in byzthe-conductor.

The amounts of crescendos and decrescendos are not included on the respective
graphs. The contrast and variety that may be derived from this data is
the fact of whether or not a composition's dynamics in a group of compositions
are at a low or high level, or fall predominantly in the middle of the

dynamic range.

149

It is of interest to know if the melody remains primarily in one
voice during an entire composition or if it is assigned to other voices.
The number of measures in which a specific voice retains the melody was
tabulated and the percentages recorded. If a selection was primarily
polyphonic or both polyphonic and homophonic, no attempt was made to define
the position of the melody. Consequently, 100 per cent is recorded for
music containing this style of writing.

Finally, the coloristic contrasts or variety of voice combinations
used in each composition was tabulated. In this category, in order to
handle a large assortment of data, different voice groupings which were
identical numerically were classified under the same heading. For example,
a five voice grouping which consisted of a first and second soprano,
alto, tenor, and bass voices are included with another five voice group
containing a different combination of voice types. This graph reveals
both the variety of voice color used as well as the contrast and variety

found in the use of different combinations of voice textures.
Determining_the Concert Norm

Upon examining the data for the nine concerts, an over-all concert
norm was set up by charting the overuall highest percentage from the
fbllowing categories: type chords, root-movements, modulations, dynamic
levels, melodic position, and voice textures. This overuall concert norm,
then, served as a measuring device to measure the levels of complexities
and the subsequent degree of variety and contrast found in the music structure
of each concert.

In determining the over-all concert norm of type chords, for example,

tie highest percentage of use of the six different chord-types was located

150

and placed on a complexity scale. These are as follows: triads 100%,
seventh chords 77%, ninth chords 37%, eleventh chords 29%, thirteenth
chords 10%, and fifteenth chords 4%. Each of these percentages was broken
down roughly into quarterly divisions so that a numerical weight could

be assigned the different categories. Later this information is assigned
qualities in order to identify the amount of harmonic complexity. The
numerical assignment is 2.5 for low, 3.5 for moderate, 4.5 moderately

high, and 5.5 fer high.

 

 

Type Chord Complexity Scale

L93 Moderate Moderately High gig_
Triads 100-76% 75-51% 50-26% 25.0%
7ths 049.25% 19. 26-38.5% 38.6-57.7576 57.76-77%
9ths 04.25% 9 . 26—18. 5% 18.6—27.757o 27. 76-37%
11ths 04.25% 7.2644.% 14.6-21.75% 2.176-29%
13ths 0-2. 5% 2. 64.0% 5.1-7.596 7.6-1076
15ths 0-1% 1. 14.0% 2.1-3.0% 3.14%

It will be noted from the above scale that the percentages for the triads
have been placed on a descending order while all the other chord types are
on an ascending order under the categories indicated. The reason for this
is found in the nature of harmonic complexity itself. Less harmonic
complexity is usually found in compositions having a high percentage of
triadic structure. More complex harmonies are found in music which contains
a high amount of 7ths, 9ths, 11ths, 13ths, and 15ths. To compensate for
these differences it was necessary, in order to arrive at a valid
calculation, to add more numerical weight on that part of the scale where

there was a high amount of harmonic complexity. This was done by assigning

151
a weight number of 5.5, for example, to a composition which contains 20%
triads. To this figure, then, is added the numerical weight numbers
found above the categories for sevenths, ninths, and eleventh chords. These
weight numbers were totaled and divided by the number of different type
chords found in all nine concerts. This final score, then, indicates the
degree of harmonic complexity contained in a single composition in respect
to the over-all harmonic norm of the nine concerts.

The method for converting the percentages of root-movements into
quality scale levels was to select the highest percentage found for root-
movements of intervals of thirds and sixths, seconds,and sevenths and
arranging the quarterly divisions into a quality scale. This scale is as
follows: 0-21.25% low, 21.26-42.5% moderate, 42.6-63.75% moderately high,
and 63.76-85% high. The qualities on the complexity scale were assigned
a number as follows: .0 to 1.0, low; 1.1 to 2.0, moderate; 2.1 to 3.0,
moderately high; and 3.1 to 4.0, high. The quality scale ratings for the
ratio of non-harmonic tones to total number of chords is calculated by
multiplying the ratio number by four since the oversall concert ratio is
1.05 This norm was used because the non-harmonic tone ratio for one
composition was sligtly over 1.0 and another slightly under 1.0.

The total number of modulations found in any one composition were
forty-three. From this figure four divisions were formed as fellows:
0-10.75 low, 10.76-21.5 moderate, 21.51-32.25 moderately high, and
32.26-43 high.

The overball dynamic norm was established on the basis of three
categories of dynamic levels, namely, those measures which are predominantly
on the lowalevel side of the dynamic range, i.e., mezzo-piano to triple piano;

'those located predominately on the high level side, i.e., mezzo-forte to

152
triple forte; and, those which are somewhat equally divided between the low
and high dynamic levels. Since the impact of dynamic differences is largely
made by those compositions adjacent to one another, a norm was setmup on the
basis of a comparison between two selections.

The overuall concert norm for variety and contrast of melodic
position was determined by placing the percentages of measures containing
the melody in the soprano line in a descending order. Divisions between
the quality categories was determined roughly by dividing this scale into
somewhat equal divisions of fourths. This scale is as follows: 100% to
80% soprano voice with a few measures of melody given over to one other
voice, low: 79% to 55% soprano voice with two different voice parts taking
the melody, moderate; 53% to 42% for soprano and three other voice parts
sharing the melodic responsibility, moderately high; and still lower
percentages of soprano line sharing the melody with four to nine other
voice parts, high. Compositions in a polyphonic or a combination of
polyphonic and homophonic style were assigned a quality rating of high.

The concert norm in terms of voice combinations or voice textures
was determined by arranging the groupings of voices in an ascending scale
ranging from those with one voice grouping to those compositions containing
as high as thirteen different voice groupings. The arrangement was not
only influenced by the number of different groupings in each category,
but by the highest percentages of measures devoted to any one type of
voice combination. For example, a low level of variety and contrast was
assigned a composition which contained three different voice combinations
because of the high percentage of measures devoted to a single grouping;
in this four voices mixed with 94% measures assigned to the soprano voice.

The overball concert norm is as follows: low, with 0-1 different voice

153
groupings with 91% to 100% measures assigned to one group of two to eight
voices; moderate, 1-2 different voice groupings with 89% to 52% measures
assigned to one group of two to eight voices: moderately high, 3-5 different
voice groupings with 87% to 28% measures assigned to one group containing
from.fbur'to eight voices; and high, 5—13 different voice groupings with

70% to 20% measures assigned to one group of four to eight voices.

CONCERT A

A compilation of the data from Concert A.may be fbund on Table XIV;
only those aspects pertinent to ascertaining the degree of structural
similarities or differences is discussed.

Group I features the Concert Choir singing three compositions ranging
from the sixteenth to the twentieth centuries. There is little variety
in the length of each composition, which averages some three minutes in
length. The first two keys are A flat major and C minor, closely related
keys. The third composition in G major is more remotely related. Tempos
are similar, primarily slow with meter signatures which are identical
for the first two selections. The mood scheme for the three numbers is
similar, although the first and third compositions use additional mood
colors. The music is sung a cappella. One additional factor is the
introduction of a nineameasure tenor solo in the first selection.

For quick reference, the calculated levels of structural complexity,

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430m 980th :00
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noflomfimm
mNH mNH MNH mm; mNH mNH mNH mm~ mmH mmH mNH MNH MNH mmfi and
o o . _ 0 _ _ M w m w o
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159

Categogy Selections

l .2. 2
Modulations .3 .7 1.1
Rhythm 3.0 3.0 3.0
Type Chords .8 1.0 1.5
Root-Movements 2.6 1.9 3.0
Ratio of Non-
hmmmfichws .m» L2 L5
Dynamic Levels Equal High High
Melodic Position 2.7 4.0 4.0
V0ice Textures 3.5 3.8 3.7

It should be noted that of the eight categories examined, four appear to

be important in contributing to a high degree of structural interest; these
are: rhythmic complexities, root-movements, melodic position, and variety
in voice textures.

Group II features the Chapel Choir performing three compositions
from the sixteenth century. There appears to be little variety in the
length of each of the three selections. The average length of each is
approximately 1:30 minutes. The style of this group is both polyphonic
and homophonic. A comparatively low level of key interest is found in
two keys which are identical and one which is remote. The meter signatures
are the same for the three selections. A similar mood is f0und for the
three compositions, the first and second offering contrast with an
additional mood. The numbers are sung without accompaniment.

The calculated levels of structural complexity, variety and contrast

taken from Figure 2 are listed below:

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159

Category Selections

1. ;2_ 2
Modulations .2 .9 .4
Rhythm 2.0 2.0 3.0
Type Chords .8 .8 .8
Root-movements 2.2 1.9 2.1
Ratio of Non-harmonic
Tones .4 1.2 1.5
Dynamic Levels Enual High Equal
Melodic Position 4.0 4.0 4.0
voice Textures .2 .3 1.4

It may be concluded on the basis of the evidence presented that
the categories high in complexity and structural interest are rhythm and
melodic position. This conclusion is, however, influenced somewhat by the
lack of interest f0und in a low level of key variety, similar key signatures,
and a moderate level of mood contrasts.

In Group III the Choir returns to sing three selections from the
nineteenth and twentieth centuries. The length of each of the three
compositions averages approximately three minutes.. Two are in the
homophonic style and the third is a combination of both the homophonic
and polyphonic style. Although the key relationship of the first two
. selections is remote, the third selection's key contains a close relation-
ship to the second. The tempo markings are similar, as are the meter
signatures. Mood contrasts are at a minimum level. The first two
compositions are sung without accompaniment and the piano is used on the

third selection.

160

Below are the calculated levels of structural complexity taken from

Figure 3.
Categogz Selection

1- .2. .1
Modulations .7 .2 .3
Rhythm, 2,0 - 2.0 3.0
Type Chords 1.7 1.2 1.2
Root-movements 2.9 3.0 3.1
Ratio of Non-harmonic
Tones .04 .04 .8
Dynamic Levels Low High Low
Melodic Positions 1.4 .8 1.0
V0ice Textures 3.2 3.1 1.5

The three structural aspects that appear to add interest in this
group are the rhythmic complexities, the root-movements, and the contrast
achieved by the use of different voice textures.

Group IV follows the intermission and features the Concert Choir
singing a nineteenth century composition and three twentieth century
compositions. There is greater variety in the length of the compositions
and key scheme. Two slow selections are followed by two fast selections.

The mood color is somewhat the same for the first three selections.
Additional interest is obtained through the introduction of a tenor solo
in the third selection, while the final number uses a bass solo and four-hand

piano accompaniment.

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162

The calculated levels of structural complexity taken from Figure

4 are listed below.

Categogy “ Selection

1. ‘ 2 2 i
Modulations .1 .2 .1 .9
Rhythm 2.0 3.0 3.0 2.0
Type Chords 2.0 3.5 3.7 2.1
Root-movements 3.4 3.3 3.0 4.0
Ratio of NOn-harmonic
Tones 1.4 .8 2.3 .04
Dynamic Levels Low Low’ Enual High
Melodic Position .1 .1 .1 3.4
V0ice Textures 2.4 .3 .3 3.1

In this group the harmonic complexities and the subsequent structural
interest have risen considerably. Rhythm is still high, as are the root-
tone movements. Additional interest is added by the introduction of
soloists and the fourbhand piano accompaniment.

Group V, performed by the Madrigal Singers, introduces three
twentieth century compositions. The selections are somewhat similar in
length, but diverse in key and meter. The over-all mood of the three
compositions takes on a more lively and joyful note. The piano is used as
the accompanying instrument, and additional color and interest is found
in the different solo voices used. These voices consist of a soprano,
alto, and bass, with the addition of a women's trio.

The calculated levels of structural complexity, variety and

contrast taken from Figure 5 are listed below:

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165

Category Selections

.1. 2 2
Modulations .4 .5 .3
Rhythm 3.0 1.0 2.0
Type Chords 2.0 1.5 2.3
Root-movements 2.0 2.1 2.6
Ratio of NOn-harmonic
Tones .0 .5 .0
Dynamic Levels Enual High High
Melodic Position 1.9 2.4 2.6
voice Textures 2.3 2.1 3.3

The factors of root-movements, melodic position, and variety in
voice textures appear to be the major contributors to structural interest.

Group VI, sung by the Concert Choir, features three twentieth
century compositions. variety is achieved in length of the compositions,
which run five minutes, three minutes, and one and a half minutes respectively.
Keys are closely related. Tempos are rapid with little variety of meter.
The mood changes from that of a dreamy quality to one of merriment and
excitement. The piano is used as the accompanying instrument, and additional
color is found in the use of a soprano obbligato, a women's trio, maracas,
and a group of voices who shout "hold 'em, Joe.”

Below are the calculated levels of structural complexity taken

from Figure 6.

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Category Selections

.1. 3. 1
Modulations 1.1 .0 .3
Rhythms 2.0 2.0 2.0
Type Chords 2.3 1.5 2.8
Root-movements 3.0 ' 2.2 2.9
Ratio of an-harmonic
Tones .04 .O .8
Dynamic Levels Equal High High
Melodic Position 3.3 3.5 3.3
VOice Textures 1.2 1.6 1.9

From the data examined for this group, root-movements, melodic

position, combinations of voice textures, and type chords are important

factors in attaining musical interest from the structural aspect.

A summary for Concert A based upon the evidence presented indicates

the fbllowing:

1.

2.

Structural factors which maintain a more or less consistent high
level of variety and contrast are the rhythmic complexities, root-
movements, positions of the melody, and to a lesser degree, voice
texture combinations.

Hannonic complexities progress from a repetitious amount of
triadic harmony in the first half of the concert to a level of

3.7 or high in Group IV. The harmonic structural level and the
subsequent interest level increases as the concert progresses.

The single groupings of compositions are arranged in chronological

sequence. Group I begins with a sixteenth century composition,

5.

7.

168
followed by seventeenth, eighteenth, and nineteenth century
compositions; three selections from the sixteenth century comprise
Group II, and two nineteenth century and one twentieth century
compositions make up Group III. The second half of this concert
contains little variety in its chronological order, having one
nineteenth century and eight twentieth century compositions. On
the basis of these observations, it may be concluded that there is
a high degree of chronological unity.

From the concert data, mode does not contain a high degree of

contrast or variety. Of the nineteen compositions programed,

fourteen are in the major mode and five in the minor.

An overaall level of dynamic contrasts appear to be at a moderate
level. This conclusion is partly influenced by the fact that the
aural impact of dynamic levels between selections in groups containing
only two or three compositions is not as great as that gained from
groups containing a higher number of selections.

A higher degree of color is added in the second half of the

concert by the introduction of different solo voices, women‘s

trios, and piano accompaniment.

C NCERT B

Concert B features both a men's and women's glee club which combine

to sing together for three of the six groups programed for this concert.
Group III features a male quartet. A compilation of the data from this

concert may be found on Table XV.

Group I, representing the first half of the concert, features the

169

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173
combined Men's and women's Glee Clubs. The music consists of sixteen
selections chosen from Brahms' Liebeslieder'waltzes, Opus 52 and Opus 65.
These selections are arranged with one solo, one duet, and two quartet
numbers interspersed between twelve selections chosen from the Waltzes.

For purposes of this study, the solo and small ensemble selections are
not analyzed. The numbers were sung in German. The length of the choral
numbers vary, ranging from one of fifty-three seconds to another which
lasted 3:10 minutes. All the selections are in the homophonic style with
the exception of one which is a combination of homophonic and polyphonic.
The key scheme offers some variety; however, there are individual compositions
placed side by side which have similar’keys. The meter tends to induce
monotony, since the entire group is in waltz time. The tempos vary from
slow to fast, although 51 w tempos predominate. Mbods range from the
slow, dreamy, and tender type to those of exhilaration or agitation.

The dreamy mood is found to predominate in ten of the twelve compositions
sung by the glee clubs. The accompaniment is provided by four hands at
the piano:

The calculated levels of structural complexity taken from Table
XV and Figures 7, 8, and 9 are listed on page 177.

It should be stated that the calculations for computing the dynamic
levels was determined by obtaining the level for those compositions in
groupings separated by solos and quartets. These levels were totaled and
the overball dynamic level for Group I was computed.

From the evidence presented the similarity of meter and predominance
of one mood color would tend to contribute an additional influence towards
a IOW'level of variety and contrast. However, this would be counter-

balanced, somewhat, by the use of the solo and ensembles as alternating

IIILTJI. IIIII

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178

relief points during the performance of the sixteen compositions.

After the intermission, Group II is sung by the Men's Glee Club.
It contains one sixteenth century composition, two eighteenth century,
and one nineteenth century compositions. The first two selections are
both similar in length, as are the third and fourth. Three are in the
homophonic style and one is both homophonic and polyphonic. Key relation-
ships are remote; however, the second and third numbers present a low level
of contrast, since they are in the same key. _All the selections are in
the major:mode. There appears to be a moderately high level of contrast
in both tempo and mood. Three selections are sung with accompaniment, and
one has a piano accompaniment. Three of the compositions are sung in
Latin and one in English.

The calculated levels of structural complexity, variety and contrast

taken from Figure 10 are listed below.

Category Selections

.1. .2. 2 EL
Modulations .4 1.4 . .0 .9
Rhythm 3.0 3.0 1.0 2.0
Type Chords .4 1.0 .8 .8
Root-movements 2.5 2.5 1.8 2.h
Ratio of Non-harmonic
Tones .3 .8 1.1 .2
Dynamic Levels Low High High High
Melodic Position .1 1.2 .6 1.0

Voice Textures .2 1. 5 .2 . 2

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180

The factors of root-movements and rhythmic complexities present
the highest amount of structural interest as shown by a 2.3 level. The
level of harmonic interest is low with levels ranging from .4 to 1.0
resulting from the use of an exceedingly high amount of triadic harmonies
and a small amount of seventh chords. However, the variety found in both
mood contrasts and tempo would influence this conclusion.

Group III features a male quartet singing selected numbers.

In Group IV the Women's Glee Club appears alone, singing two
compositions from the sixteenth and seventeenth centuries. There is a
high amount of variety and contrast between the two selections in both key
and meter. A low level of contrast is found; the mood is highly similar
and the tempos are both fast. The first selection is sung without
accompaniment and the second number uses a piano accompaniment.

Below are the calculated levels of stmctural complexity taken

from Figure 11 .

 

Category Selections

1. .2.
Modulations 1.0 2. lb
Rhythm 4.0 4.0
Type Chords .1+ 1.0
Root-movements 1 . 6 2 . 3
Ratio of Non-harmonic
Tones 1.4 1.7
Dynamic Levels High High
Melodic Position 4.0 1+,o

Voic e Textures . 7 1 . 3

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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182

The factors of rhythmic complexities and melodic positions are
particularly high in structural interest as are the high levels of interest
found in key and meter.

Group V, sung by the combined glee clubs, presents three madrigals,
two from the sixteenth and one from the twentieth century; One is in the
homophonic style and two are both homophonic and polyphonic. Key interest
is at a moderate level, since the first and last compositions are similar,
with the major mode used for the three selections. Meter signatures are
similar, with two fast tempos adjacent to one another. All compositions
are sung without accompaniment and there is a moderate level of variety
in mood, with the second and third compositions sharing mood colors.

The calculated levels of structural complexity taken from Figure 12

are listed below.

Categogy Selections

.1. 2. 2
Modulations .1 .O 1.9
Rhythm 3.0 4.0 3.0
Type Chords .8 1.2 .4
Root-movements 2.0 3.5 1.4
Ratio of NOn-harmonic
Tones 2.1 .7 .08
Dynamic Levels Enual High Low
Melodic .Position 4. o 4. o .1
Voice Textures . 2 2. 3 . 2

In this group the factors of rhythmic complexities, root-movements,
and different positions of the melody contribute a high degree of structural

interest.

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184

In the final group, the selections are college songs of the
twentieth century, sung alternately by each“glee club, with the final
selection sung by the combined group. The three compositions presented
are similar in length and in the homophonic style. The first two
compositions are remote in the scheme, whereas the second and third are
thereby related. There is a high degree of variety found in the use of
meter, but a low degree of contrast in tempo. The mood colors of the
second and third selections are similar. Two numbers are sung a cappella
and one is accompanied by the piano.

The calculated levels of structural complexity, variety and contrast

taken from Figure 13 are listed below.

Category Selections

1. .2. . 2
Modulations . 0 . 2 ’ . 3
Rhythm 2. 0 2. O 2.0
Type Chords .8 2.1 2. 3
Root-movements . O 3. 5 2. 3
Ratio of Non-harmonic
Tones 1+. O .04 . 2
Dynamic Levels High Low High
Melodic Position 2.1 . 2 .1
Voice Textures .9 1.0 1.1

A summary for Concert B based upon the evidence found in the data
examined indicates the following:
1. The structural factor of rhythmic complexities receives a

comparatively high degree of importance in three groups of the

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186
‘ sixpgroup concert, while root—movements and variety of’melodic
position are high in two groups.

2. The levels of harmonic complexities are somewhat high in the first
half of Group I, and lower in Groups II, IV, and V, ranging between
.4 and 1.2, with Group Vijresenting somewhat higher levels of
harmonic complexity.

3. The overhall low level of dynamic contrast found in Group I
is due to the excessive amounts of low levels of dynamics
feund in nine of the twelve choral selections programed.

4. Chronological unity is evident with the exception of Group V which
presents two sixteenth century selections interspersed by a
twentieth century selection. All other groups either maintain an
identical chronological order or ascend from the early to the
more recent. I

5. A low level of variety of mode is apparent in the data examined.
Of the twenty-four compositions programed, twenty are in the major
mode and four in the minor.

6. Of the seven different general mood colors, twelve of a total
of thirty-six are similar. This reveals a slight tendency

toward mood monotony.
(SONG C

Concert C is a ten-group concert featuring the College Men's Glee
Club. Five groups are sung by the glee club with Group II featuring a
pianist. Group IV a tenor soloist, Group VI a male quartet, Group VII

:1 woodwind ensemble, and Group IX a Hbllywood personage who presents a

187

monologue. The compilation of the data from this concert may be found
‘on Table XVI.

In Group I the Glee Club sings four selections by Brahms which
are in a homophonic style. The keys are alternately in the minor and major
mode and are highly remote in their relationships. Meters are somewhat
varied, though the tempos are slow. The piano is used for the accompaniments,
with additional color obtained through the introduction of a tenor obbligato.
The length of the numbers vary from 3 to 5:30 minutes.

The calculated levels of structural complexity are taken from

Figure 14.
Category Selections

'1. 2. 2 i
Nbdulations .4 1.0 ..3 1.5
Rhythm 2.0 2.0 . 2.0 3.0
Type Chords 1.7 1.9 1.7 1.5
Root-movements 2.7 3.4 3.2 3.2
Ratio of Non-harmonic
Tones .8 .1 .7 .9
Dynamic Levels LOW’ Low Low Low
Melodic Pbsition 3.8 2.8 3.6 3.4
Vbice Textures 2.6 1.5 2.3 3.1

Group III. sung by the Glee Club, features one seventeenth
century composition and three twentieth century compositions, three of
which are in the homophonic style and One in both polyphonic and homophonic
male. The keys are related closely in the first three compositons, but

fixafinal number differs in key with the others. The modes offer a high

 

 

188

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191'
degree of contrast with a Dorian, a minor, and two major keys. There is
little Variety of meter and tempo. Mbod color is somewhat similar for the
four compositions programed. The first three selections are sung a cappella
and the piano is used with the fourth.

The calculated levels of structural complexity taken from.Figure
15 are listed below.

Category §elections

l .2. 3. it
Modulations .6 V .0 .6 .0
Rhythm. 2.0 1.0 2.0 3.0
Type Chords .4 2.1 1.2 1.5
Root-movements 2.1 3.5 2.8 1.?
Ratio of Nonpharmonic
Tones 1.5 .0 .9 1.6
Dynamic Levels Iow' Low High Equal
Melodic Position ”.0 .1 .9 .5 1
Vbice Texture 1.6 .1 1.4 .5

Group V finds the Glee Club singing four compositions from.the
twentieth century with a pattern of style combinations similar to Group III.
The length of the first two selections is similar as is the length of the
third and fourth compositions. Key relationships are'remote. with an
alternating use of the major and minor modes. Esters are varied and the
tempo indications are somewhat similar for the final three compositions.

The mood variety is highly contrasted, and the overball color interest is
enhanced by the introduction of a tenor and a baritone duet, and a solo

baritone in the third and fourth numbers. The piano is used with the first

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193
half of the group, while the remaining numbers are sung without accompani-

ment.
Below are the calculated levels of structural complexity taken

from Figure 16.

Categogz Selections
l. .2 2., &

Lbdnlations .2 .1 .5‘ .1
Rhythm 3.0 2.0 1.0 4.0
Type Chords 3.4 1.2 1.7 1.7
Root-movements 3. 5 2.6 _ 2.4 2.8
Ratio of Non-harmonic -

Tones .4 . 7 . .0 .5
Dynaniic Levels... High Low High Low
Melodic Position 1+.0 ‘ 2.9 3.2 3.9
Voice Textures 3.3 , 1.7 1.1+ 2.9

In Group VII! the Glee Club sings one sixteenth century selection
and two twentieth century selections in the homophonic style. The keys
are closely related, with additional interest added through the use of
the minor, Hixolydian, and major modes. The meters and tanpo indications
are identical. Mood contrasts shift from exaltation and joy to a
concluding number of a dream’ quality. One selection is sung a cappella,
and two are accompanied by the piano.

The calculated level of structural complexity taken from Figure

17 are listed below.

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Category Selection
1 E 2

Modulations .1 .8 .4
Rhythm 2.0 2.0 1.0
Type Chords 1.2 .4 ' 1.9
Root-movements 2.4 .7 4.0
Ratio of Non-harmonic

Tones .9 .0 .0
Dynamic Levels Equal High Low
Melodic Position 3.5 .1 3.3
voice Textures 1.3 .6 1.1

Group X features the Glee Club singing two compositions from the
nineteenth and twentieth centuries,-b0th in homophonic style. The keys are
remote in relationship and the modes are contrasted. Meters are similar;
however, tempos offer a high degree of contrast. The moods range from a
gay and happy quality to a more serious tone. The first selection is
accompanied by the piano with four hands, and the second number is sung
a cappella.

The calculated levels of structural complexity taken from Figure

18 are listed below.

Category Selections

l a
Modulations .9 .2
Rhythms ' 2.0 1.0
Type Chords 2.1 1.2
Root-movements 4.0 3.0
Ratio of Non-harmonic
Tones .3 .4
Dynamic Levels High Low
Melodic Position 3.9 .1

voice Textures 2.6 1.3

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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198

.A summary £62.Concert C based upon the evidence presented indicates

the following:

1.

2.

4.

5.

Structural factors which contribute highly to the interest level
are root-movements, which are high in all groups, melodic positions.
high in threefand both rhythm and voice textures..1lhich are high
in two. '
Harmonic treatment, though not high in complexities, sufficiently
varies from selection to selection, creating alternate amounts of
structural interest.

Since all the compositions in each group are devoted to one
century. the chronological unity in Groups I and V is high.

Unity in Group III. however, is not as logical. since the first
composition dating from the seventeenth century is followed

by three from the twentieth century. The chronological pattern
established for Groups VIII and I appear to be highly illogical.
Group VIII'begins with a twentieth century number, followed by

one of the sixteenth century. and concludes again with a twentieth
century selection. Group X begins with a twentieth century
selection and concludes with a nineteenth century selection.
Interest in mode is somewhat equally divided between the major'mode
(eight), and.the minor (seven). Two early church modes are used,
the Dorian and Mixolydian.

Ebod color appears to be highly diversified, though mood groupings
for the solemn or spiritual quality appear in over fifty per

cent of thenumbers programed. However, the concert contains
additional amounts of'color interest through the use of tenor,

baritone, and bass solo voices.

199
6. Tempo is of low interest. Markings of moderate or slow are recorded
for thirteen of the 17 compositions programed. It must be
admitted, however, that tempos change somewhat during the course

of some compositions, thus affecting this conclusion.

CONQERT D

Concert D is a five-group concert featuring three choral organizations
and a duo-piano team. The three groups consist of the A Cappella Choir,
Men's Glee Club, and the Madrigal Singers. The duo-pianists are guest
soloists who appear in Group II of this concert. The compilation of the
data from Concert D may be found on Table XVII.

Group I features the Choir singing seven compositions from the
eighteenth and twentieth centuries in homophonic style. ,. Th'e length of
the individual selections ranges from 1:113 to 8:15 minutes. The keys are
somewhat remote from one another with the exception of the third, fourth,
and fifth selections which are close in their key relationship. There is
amoderate level of variety found 'i in the modes, consisting of four major,
two minor, and one Dorian. Tempos are low in variety with five on the slow
side and two on the fast. Meters on the other hand, are highly varied.
Mood colors show moderately high contrasts with one predominating mood
clear through four of the compositions. Added structural variety'is
created through the use of a string quartet: in accompanying the first
three selections, the duo piano for the fourth composition, mo for the
sixth, and with the fifth and seventh compositions sung a cappella. In
addition, the first three compositions use a solo quartet, a soprano and
alto duet, a soprano and tenor duet, an alto and tenor duet. and solos for ,

soprano, alto, and bass voices.

 

 

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The calculated levels of structural complexity taken from Figures

19 and 20 are listed below.

 

Ca e o _ Selections
1. :2 3. £1. 5. §. Z

bbdnlations .6 .9 1.1 1.5 .0 .2 .0
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lhtio of Non-harmonic

Tones ‘ .6 .7 .8 .08 .011- 1.8 .7
Dynamic Levels Low Low Enual High Low High Low
Melodic Position .1 .6 1.7 1.8 .1 1.9 1.2
Voice Textures 1.7 2.9 3.0 14.0 ..2 2.5 .4

Group III features the Men's Glee Club singing four numbers which

‘ include selections from the sixteenth to the twentieth centuries in the
homophonic style. The compositions are short in length, ranging from

1:23 to 2:39 minutes in duration. The four keys are closely related with
repetition in two adjacent selections. This creates a low level of interest
in the tonal center. There is a. low level of structural interest in the
mode, which consists of two major and two minors. The tempos are fast.
with adjacent meters which are similar. The mood of the music is highly
diversified. Three numbers are sung without accompanim%t and one is
accompanied by the piano. Additional color is achieved by the introduction
of a solo quintet in the third composition, and a solo baritone voice; in

the last number.
The calculated levels of structural complexity, variety and contrast

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taken from Figure 21 are listed below.

Category Selections

1. 3. 3. .‘t
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mm 1.0 1.0 2.0 1.0
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Tones 2.7 1.0 .6 .0
Dynamic Lexrels High High High High
Melodic Position .1 .5 2.3 .8
Voice Textures .1 1.5 3.1 1.3

At the conclusion of the intermission, Group IV presents the
Madrigal Singers in five compositions from the sixteenth century. Two of
the five are homophonic in style, one is polyphonic, and two are both
homophonic and polyphonic. The individual length of the five numbers
ranges from 11:30 to 3:00 minutes. The key relationships are highly
remote, with three in the major mode, one'minor. andkpne Dorian. Three
are of a fast tempo and two slow: The arrangénent of these tempos, however,
are not varied, the fast tempos being placed side by side. There is
little variety in meter and some'contrast noted in the various moods of

the five selections. All the music is sung a cappella.
Below are the calculated levels of structural complexity taken

from Figure 22.

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Root-movements 1.9 2. 3 2. 5 2.2 2.4

Ratio of Non-harmonic

Tones 1.2 2.7 1.9 .7 1.3

Dynamic Levels High High High Low High

Melodic Position 4.0 4.0 4.0 T .1 .1

Voice Textures 1.0 1.8 1.0 .1 .1

Three structural factors appear to be most important in contributing
to the over-all interest level of the music; rhythmic complexities, root-
movements in terms of unsettlednessmd‘fo‘rward movement, and the varying
positions of the melody.

The Madrigal Singers return to sing four nineteenth and twentieth
century compositions in Group IV. These are all in the homophonic style,
from 1:10 to 2:35 minutes in length. The relationship of the first two
keys is close, while the third is remote. The last key, however, is
identical with the key of the second selection. There is a high level of
variety found in the use of modes, two in the major, one minor, and
one MiJoolydian. The tempos are on the moderate to slow side, with the
triple meter predominating. The moods are varied and the selections are
sung without accompaniment.

The calculated levels of structural complexity taken from

Figure 23 are listed below.

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Cont ragt 1 Selections

.1. .2. 1 a».
Modulations . 1+ . .6 .1 .1
Rhythm 2. o 3.0 4.0 3.0
Type Chords 2.0 2.1 1.7 3.0
Root Movements 2.8 3.6 2.1 4.0
ratio of Non-harmonic
Tones . 8 . 8 2. 8 . 8
Dynamics Low Low Low High
Melodic Position . 5 2. 4 . 1 _ 2. 7
Voice Textures - .9 3.0 . 7 , 3. 6

The factors of rhythmic complexities and root-movement contribute

highly toward an over-all structural interest level.

A summary for Concert D based upon the evidence presented

indicates the following:

1.

2.

The structural elements maintaining a consistent high level,

are those of rhythm and root-movements. The dynamic interest is
very high in Group I, but falls to .7 in Group II where all the
compositions are of a similar level. The use of melodic positions
seems to indicate an interesting pattern in Groups I anv V. while
the levels as Group IV are high for the first three selections

and drop to .1 in the last two compositions.

Harmonic complexities rise to a high peak' in the fourth composition
of Group I, remain at a somewhat monotonous level for Groups III
and IV and rise in interest level for Group V. The high percentage

of triadic structure in both Groups III and IV accounts for the

3.

5.

7.

211
low level of harmonic complexities.
The over-all chronological plan appears to be logical and
unified. The first group progresses from the music of the eighteenth
century into twentieth century music. Group II features music
from the sixteenth, seventeenth, nineteenth, and twentieth
centuries, while Group IV features all sixteenth century music.
The final group consists of music from the twentieth century, with
one composition mid-nineteenth and twentieth century.
Individual length of the compositions is more varied in Group I
than in any of the other groups.
0f the twenty modes, eleven are major, six minor, two Dorian, and
one Mixolydian.
The interest in tempo is equally divided between slow and fast
speeds. However, at particular places in the concert there is
a tendency towards monotonous repetition of one kind.
The use of added contrast found in instrumental accompaniments,
solos, and ensembles appears to be confined to the first three

selections of Group I and the final two selections of Group III.

sums

Concert E consists of two performing groups with a soprano

soloist featured in Group II. The choral organizations for this program

are the A Cappella Choir and the Madrigal Singers. A compilation of the

data for this concert may be found on Table XVIII.

The music sung in Group I by the Choir consists of two sixteenth

century compositions, one seventeenth, and one eighteenth century selection.

212

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One is in the homophonic style, one polyphonic, and two a combination of

both styles. The keys are not closely related, excepting selections three

and four. There is a low level of variety of modes, with one minor and

three major modes utilized within the group. The meters are all identical,

with the exception of the second which is unmeasured. Three selections

are of a slow tempo while one is quite rapid. The moods are similar,

although some secondary moods are found. The music is sung a cappella

with the exception of the .final selection which is accompanied by the piano.
The calculated levels of structural complexity are taken from

Figure 21+ and listed below.

Category §election§

1 a 2 .‘t
I‘bdulation . 3 . 8 . . 5 . 7
Rhythm 2.0 3.0 1.0 3.0
Type Chords .8 .8 .8 .8
Phat-movements 2. 7 2. O 1 . 9 2.0
Ratio of Non-harmonic
Tones 1 . 1 2. 2 .0 2. 3
Dynamic Levels Elual High Low ' High
Melodic Position tho 4.0 .1 8.0
Voice Textures .6 3.1 .7 2.9

Group III features the Madrigal Singers performing three sixteenth
century selections and one seventeenth century composition. Two are
homephonic, one polyphonic, and one is a combination of both styles.

The length of the numbers are short, ranging from 55 seconds for one,

58 seconds for another, and up to 2:08 minutes for the third. The keys are

630830an was evacuation gems.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

3.2 3.2 $2 $2 $2 $2 $8 3.2 32 smfinosoflmm
. o 1 o
S I S
cm cm
W. S cm
as 8. .
om cm
3 3
E o»
om cm
as oo
33 3.»... 2: 23m 23. 23.. .i. 288 a. fiwwdowmuo .8
mcoflmewnEoU >n @035ch cufio> we as. Gofifimom 03302 no acafimdog as
Goflocfiom
$2 $2 32 38 s3: 32 32 3.2 3.2 3.: $2 $8 3.2 $2 3.2.
o o o ._ o
3 a. 3 . = S
cm m. on om
o... m. on on
as s. 8. . 3.
cm m. om om
3 s. 3 . 3
E a. E .. . S
cm. m. ow x as
oo . m . oo oo

 

 

 

 

 

 

 

 

 

 

 

 

no a E. a 8.8 .i. 888.383 3: £8 £8 s .83 .82 2:: £8 2: 83.3 s.
mm man an acne» 0308.3: unvcm umcnm umfim

macs/01H UMEMEQ we 85 Icon mo 033m mucvfiearozuuoom .x. 35030 09:”. as.

H Lao-53 pd gdgj‘J’.‘ hll31I-II'88IIIII ll.u

216
closelyrelated, all removed from one another by one accidental. However,
there is a high level of variety found in the use of mode. Two meters
are identical and two differ. The pattern or order of tempo is slow,
although three selections are fast. The mood colors are all somewhat
similar. with only two contrasting moods found in the group.

The calculated levels of structural complexity taken from

Figure 25 are listed below.

Category Elections

1. 23. 3. EL
Modulations . 3 . 0 . O . 6
Rhythm 2. O 2. 0 1 . 0 3. 0
Type Chords .4 .4 .4 . 8
Root-movenents 2. 2 . O 1 . 7 2. 3
Ratio "of Non-harmonic
Tones . 9 2. 2 . 5 1 . 4
Dynamic Levels mual High High Equal
Melodic Position 4. O .1 .1 1+.0
Voice Textires 1.8 .1 .1 1.7

After the intermission, the Choir returns to sing three nineteenth
and twentieth century compositions for Group IV. Two are in the homophonic
style and one is a combination of both homophonic and polyphonic. The
length of the music is from 2:15 to 3:14 minutes. The keys are remote
in their relationships and modes consist of one minor and two majors. The
meters are not varied to any extent, consisting of two 3/14- and one lb/h.
The tempos are similarly uniform, with two of moderate speed and one which

is fast. Mood contrasts are moderate, and the music is sung without

vmmfi TmNH vmmfi VMNH wmma gamma ¢MN~ VmNHGomuuoHom

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

3 S
cm om
W on em
2
3 3
cm cm
3 3
E S
cm , cm
as ow
a: 2: 23. 23 s wmwmmmflmfiwmmmfiwn 8a.: ammo a.
mdoflmawneou >9. moufiuxofi 030.? no axe com—“mom 03032 Ho @9333: cm.
. qofloofiom
3.: 3.2 £2 $2 32 o 32 o. 32 $1: 3.2 o «34 3.2 $2 32 £2 ES,
2 a. 2 H
om N. am om
on m. on on
3. e. 2. v
om m . om. om
S s. 3 s
on a. E p
cm m. cm m
cm 0. oo * g; o
E HE and a. 3.85.8.3 3 as; 23 33 .s .52 £32 2:: mafia/L 2.3 .
mm m me m an coco“ 0305.3: unvcm ovum umfim at. aw . k.
admired” Ugdan H0 w... IGOG HO 03d.“ mudmgv>02|uoom .x.

mvnoao ugh ck.

a nHDOMU .m... EEUOflnHIImHmMA<Z< déDHUDdhm .mm ”“33an

218
accompaniment. Additional color is found in the introduction of an alto
solo in one selection and a soprano and tenor duet in another.

Below are the calculated levels of structural complexity taken

from Figures 26 and 27.

Categogz Selections

l 2. l
Modulations . 2 . 2 . 6
mm 3.0 3.0 3.0
Type Chords 2.0 1.4 2.2
Root-movement s 3. 4 2. O 3. 5
Ratio of Non-harmonic
Tones 2.4 .5 .9
Dynamic Levels Low High High
Melodic Position 1. 5 3.2 4.0
Voice Textures 3.4 3.8 3.7

Group V features the return of the Madrigal Singers, singing one
nineteenth century and two twentieth century compositions, all in
homophonic style. The length of the individual numbers ranges from 2:30
to 3:49 minutes. There tends to be a low level of interest in key and mode,
since two keys are similar and all the selections in the group are in the
major mode. There is little variety of meter and tempo. The mood
contrasts are high and the music is. sung a cappella. The final selection
introduces a soprano and tenor solo.

The calculated levels of stmctural interest taken from Figure 28

are listed below

mNH MNH MNH MNH mNH MNH mmacofiooaom

 

 

 

 

 

 

 

 

 

 

 

 

 

 

_ _. 4.
OH
. om
mu cm
2
ow
om
00
ON.
ow
cm.
080 @080 cm 0.9 0 0m 0 0m 0 0m
ownomafiomanwom «Ems swamp 0rd OMWHQ Honou 03m as
aoflwmonm 06302 mo monfimmoz mo o5 £0303me
mmfi mNH mug mud mmfi 0 mm“ o. MNH mNH mNH MNH MNH MNH MNH mNH mNH
OH H. N oH
om N . N om
on m . m on
ow v . “v w
om m . m m
oo o . o o
2. N. . N. N.
om w . w w
so No . N. m

 

as c E. a can .N. 386.0333. 2: £3 2E. .N. mfiflmfifl 2:: £8 2: mess .N.
mm m5 mm muse... 0305.3: nmfiN. novnm umfim

mH®>01H UMEMEQ NO on. IGOG HO Own—NM mudoaoxrozluoom ck. nflHOAU onmhh. «R.

>H nHDOyHO .m zéoomnmllgwsfi1h<z< 1H§DHUDMHHW .ON mxjth.

220

mNH mNH MNH mmfi MNH MNH mNH MNH MNH MNH MNH MNN MNHGOE00H0m
o

ON
ON
om
ow
cm
00
oN.
ow
co

 

can; 85m E>m 85¢ 25H 2>N 2>m 23v 2>m 25.0 2>N. 2.9m 2>m axe
. mcoflmafiaou can mouduxoh o0wo> mo axe +u0dUHw

QMDZHHZOO >H nHDOGO .m EéoommuanmWA/wZé. JEDHUDMHm ”Mm HMO—Ufa

mud MNH mNH mmfi mNH MNH MNH mm; MNH mm... mmficofluoaom

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

—l . o . o
_ _ _ 4| 2 A _ . s
. ON ON
m om on
2
ow ow
om . om
oo 00
ON. oN.
ow ow
om ow
E>m 35M Em 2>m 33¢ 2>m axe 30m 30m 053% cm.
AOGB onanOmume Hosea .Om
mGOBmCBEOU >0. monduxoh 003.? m0 axe coflfimonm 030302 «0 monummoz as
G0300H0m
MNH mNH mNH MNH MNH mmfi mNH mNH MNH mm; MNH MNH MNH mNH MNH
o o. o _ . . T - o
H H. A: N:
N N . om om
m m . on on
w. w . ow ow
m m . om cm
0 o . o0 . 00
N. P3 oN. oN.
w m . ow om
m. a. co co

 
 

 

 

 

 

 

 

 

 

3 HE A can .N. 3.8% .95: 8 as; 23 3:. .N. 2:2 2:2 2s: 23 SE 32s a.
mm m man an mono» 0Eo§u~£ Iowan umvnm umfim .
mH0>01H 0§m§n~ mo axe Icon mo 03de mucogm>o§yluoqm ck mvnofiU 2:8 cm.

> nHDOMU .H EéuommnnflmVAJNZdfl A§DHUDMHm .wm HMDOHIM

222

Qtegom Selections

l 2. l
Modulations . 8 . 1 . 2
Rhythm 2. O _ 2.0 3. 0
Type Chords 1.5 1.5 1.5
Root-movements 3. 3 2. 7 2. 8
Ratio of Non-harmonic
Tones . 8 .4 1. 5
Dynamics Low High High
Melodic Position . 7 2. 3 1. 6
Voice Textures 1.4 2.0 2.4

In Group VI the Choir sings three twentieth century compositibns,
homophonic in style, with considerable variety in the length of each
composition. The key relations are remote and a low level of mode
variety is found. This same level of low interest is found in similar
meters. The tempos are from moderate to fast, and the mood colors are
high in contrast. The first two selections are sung without accompaniment
and the final one accompanied by the piano. This final number also features
a soprano soloist.

The structural levels taken from Figures 29 and 30 are computed

and arranged in the table below.

m: m:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

me MNH .MNH mmgdmNH mNH. .mmH mmd mm.“ mmw mwfiaooflooflom

. _ _ _ . _ _ q 2
. om
3 om
& ow
om
. 3
m op
M ow
l o.

2... am. mfimfi. .mfiwwmm. fig mm, mm... .3. s... 0:. om... e.

10m 20m m 80m m 30m m
aoflwmom 03302 mo monummoz em. aoflooaom
mNH mNH MNH MNH MNH MNH mNH mm; mNH mwg mNH MNH mNH MNH mNH

o
S
cm
om
ow
om
co
ow
ow
om

  
   
 

m mg m

39.54 again no as

mm

mm

 

j

ooohxomst'mmao

 

 

£36.35? .913 on.
mono”. omaofinms

Anon mo 93.9%

«55
luvnm [ovum umfim
munoao>o$~nuoom ck.

 

£3 23.

O
OH
om

om

0v
om
co
on
ow
cm.

as

mfimfi 332 m5: m5

 

2: ENE”.

avaoao ongh ox.
H> nHDOMHU .H EEUOMAHIImeVJ<Z< .HéDHUDMHm .mN WMDUHM

Q

Ca
ON
on
0%
om
co
or

om
ow

.N.

221+

MNH MNH mNH MNH MNH MNH MNH mNH MNH MNH»GoBuoHom

. _uo
.‘ __+_ 2

ON
on
ow
om
co
on
ow
om.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

> o
SSH EN .Em. 25H 2>N 2.9m 2>v 2>m Earn»: N. 5

mdoflmfinEoU >3 mondaxofi 033w Ho as

. . . M mmDDHnH
QHDZHHZOD H> nHDOMO .m EEUOdnHaumHmrqiouzdw A§DBODMBm o

225

Category §elections

1. Z. 1
Lbdulations 1 .6 .0 .4
Rhythm 2.0 3.0 3.0
Type Chords 2.1 h.0 2.0
Root-movements 2.0 3.5 2.0
Ratio of Non-harmonic
Tones .5 .Oh .5
Dynamics High Enual High
Melodic Position 2.5 3.7 3.7
Voice Textures 2.2 3.6 1.9

A.summary for Concert E based upon the evidence presented indicates

the following:

1.

3.

4.

Individual structural factors which appear to be high inilevels of
complexity are: rhythm, root-movements, melodic position in
three groups, voice textures in two groups, and type chords

used in one group.

A tendency towards monotony occurs in the dynamic levels indicated
in the data for Groups IV and V. where the order is similar for
both groups.

Harmonic structures are consistently at a low level for Groups

I, III, and V which encourages monotony of harmonic interest.
Their structural complexity levels are .8 for the first group,

.# fer three numbers and one .8 for the second group, and similar
levels of 1.5 for Group V.

Vbice texture combinations. while at a low level for Group II,
reach a peak of structural interest in Group IV, with an overball

level of 3.6.

226
5. Overuall mode variety is not high. Of the seventeen compositions,
twelve are major, four minor, and one in the Dorian mode. The
order encourages monotony since seVeral combinations are similar.
6. Moods are varied and contrasted, although there is some monotony
due to the repetition found in Group III.
7. Chronological unity is logical, the earlier music preceding the
more recent. O
8. Little in the way of additional color is introduced throughout

the seventeen compositions programed.

CONQEQ: E

Concert F is presented by the college Concert Choir. There are no
assisting soloists or ensembles. A compilation of the data from this
concert may be found on Table XIX.

Group I consists of five selections sung without accompaniment,
representing sixteenth, nineteenth, and twentieth century music. Three
of the compositions are in the homophonic, and two are a combination of
polyphonic and homophonic. The varying lengths of compositions range from
1:30 to #309 minutes9 presenting an interesting order which is highly
‘varied. The keys are closely related, all removed by one accidental, with
the exception of the last selection, which is removed by two acCidentals
.from the adjacent key. The modes consist of four major and one minor.
‘Three of the selections contain meter signatures of 4/#, one has 7/4, and
'the other 5/h. The tempo indications are all fast, with the exception of
‘the second selection. Four of the compositions contain similar mood

colors, with two offering additional mood contrasts.

227

soom so osmosoaaom .onsoeoosom mastmsnsm.

 

 

 

 

 

 

 

 

oossoooz sew towmz a [Ioasosmosom .o esom map Nflnmll mmsem those stoosoo .m
osmWMmmx s\m oozes n ssom .0 zoom may mans mmeaaamm ososo opoosoo .a HHH
I. 1!. .QOflmmHsaoch
o? "gamma; :3 toes: o I smiles mlosom d £8 3 swim an .396 p.888! .0
smash e\s scam: .im ossosoosom .0 spam as osum mmssamm those stoosoo .m
aflosmtwm m s\s soon: m ossosoosom .0 zoom so main mmsaamm ssoso stoosoo .s
oscoq ooom e\o s\m .mmmm a osmosoosom .o ssom mm msum meam those stooeoo .m HH
aaoootoooz s\m posse m ossosooSom .o ssom o maim maam those stoosoo .N
soam s\s osmsz so .1, oasosoost .0 spam as osum mmssaamm ssoso stooeoo ._
oaosmooovl s\m: tows: o osmosoosom .0 snow sow so": mmesesmm amuse stoosoo .m:
mm pmmm md
mm. "Hfiv s\s homes a soom .o .ooa ms omui mean those stoosoo .e
oososmo s\s tomes o ossosoosom .o moms a smum mussaamm passe stoosoo .m H
soon mote s\s toss: m ossosoosom .0 show as ms.m mmsaam ssoso stoosoo .m
o m mmwmm s\s songs a soom o ssoa om ss.s masm ssoso ssoosoo a
It. AMmcao . 1:,mopscfiz moapooaom
Headmoa .mmoz ma moapmnflcmwno a
oases hope: one: how *oampm noconso proe zpmcog mmmwowob mocmsnomuom among

 

AlHltlrrf 1Illl..r
lll||lr |l|lnll

 

mHmHudzd Admsaommem m Edmoomm .NHN mqmda

228

‘ssaoooso 4

 

 

 

 

 

 

 

 

 

 

 

x m o o .N HHH
x m 4 m ofiososalswm some a J .F
moammfispmpmH
in, x mm o o swam sosoa smmommmO 4 oaa .o
M o o m «Haommso 4 NH_ .n
x F o N .oaom mmmwammm maam mo 4 o F a
mo oco an mam . HH
x F o 0 Home ocwmdmm maam ammum F m
x a o m saaoooso 4 o.. .m
x o 4 o :, saaoooso 4 4.? .F
x m. N a .Hmooomo 4 @4N .m
x N a a oaaooomo 4 a .4
x a N a sasoooso 4 w.a .m H
x o o m maaoddmo d P .m
N o a m saaooooo 4 o._ .F
mwwn swan opwmopoe 30H 03p 03p Hmpcopfloom
mampmpooos comp ones omo .opo .mposn moapomamm
«an vo>oeom whom on .moaom ..o.d pmoeacwmsooo< a
"moapwxoagsoo oasnpzmm mmoapmasnoz mo nomssz .msoomaaaoomflz mo make woo: macho
mosmapnoo .NHN mnm<9

229
The calculated levels of structural complexity are taken from

Figures 31 and 32.

Categog Selections

l 2. 2 it 2
Modulations .9 It .' 3 1.0 1. o .6
Rhythm 3.0 3.0 2.0 2.0 4.0
Type Chords .8 2.6 2.0 2.0 2.6
Root-movements 1 . 9 3. 2 2. 7 2. 9 3. 0
Ratio of Non-harmonic
Tones 1.2 .8 .0 .0 .04
Dynamic Levels High Low 8 Low Low High
Melodic Position 4.0 3.1 .9 14.0 3.6
Voice Textures .9 3.6 1.9 .8 4.0

The trhee factors which seem to be highest in complexity are
rhythm, root-movements, and position of the melody.

Group II, presented by the Choir, features six selections from
the twentieth century in homophonic style sung without accompaniment. The
variety of composition lengths is not as high in this group, ranging
from 2:18 to 3:43 minutes. There is, however, a high level of diversity
of both key and mode. Meter signatures are somewhat less varied. with a
predominance of 4/4. Tempos are all on the slow side. with the exception
of the last composition. The range of mood variety is not high, since all
the compositions share the same basic mood color, with three selections
using similar contrasting moods. The numbers are sung a cappella, with the
organ being used for the introduction of one number. Additional interest
is obtained through the use of soprano, baritone, and tenor solos and a

women' s trio.

ven...

v

 

 

gamma mvmma 34me 3‘me mmeH mvmma MvMNH vaNH mvmma memma Gomuuoaom

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

. . . 4
_ . _ _ _. w.
om
m; on
ow
om
00
on
ow
ow
039.3050: mam ammo. 0000 030 001w .289 .300 H0000 ofim oemum ex.
38838 soon .23 tom a: Hm <m -o.
doguom 030302 mo 00.30002 ob
00300H0m
mvmma meNH mmmma mvaH mwmma o .mmeH o . mvaH mwmmfi mvmmfi o mvmma mvaH mTMNH mwmma mwmma mvmmH
A: H . A: H
om m . om N
on m . on m
ow w . 3. v
om m . om m
cc 0 . oo .0
on N. . or N.
ow m . om m
cm. 0 . cm. a
mum m m5 m mam om. «puma? data. 00 2.35. .45 33v .x. ufima 052 05$ 23m :2. 003.3 so
3 man an mono“ 0305.3: imam 00.3 .086
wavered” UMEMEQ HO o\o Lfiofi HO 0.36M ludmgv>oz IHOOM g mUHOaHU 0&9 eNo

H maomo mm Emmoommn-flqu<z< A§DHUDMHm

.Hm HMDUHM

231

 

 

 

— 6.14

 

 

 

 

 

 

 

 

_._.

 

 

 

 

 

.__

 

 

 

 

 

E>H

QHDZHHZOU H ADOMU .h Eéuommauflmwuna‘zdw AEDBUDMHm

85 85m 83 EL 35 in E; ES 2; 23 ES 23 23. 25

0003053500 >9 00.3338 00fi0> m0 ox.

.Nm HMDDHM

noflomfimm
mwmmfi mvmma mavmma mavmma mvmwfl mwmmfi mvmwa mwmmfl mvmwa mfimma mVMNH mvaH mvmma mwmma mwmma

o

OH
ON
on
ohv

om
00
or
ow
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oxc

2232'
Below are the calculated levels of structural complexity taken

from.Figures 33 and 3h.

Category Selections

l E 7 3. 5t 2 Q
Modulations 1.0 .3 .1 .3 .5 .3
Rhythm 2.0 2. o 2.0 3.0 1.0 2.0
Type Chords 1.1 1.2 1.7 1.5 1.7 .8
Root-movements 2.4 3.3 3.9 1.9 2.8 2.9
Ratio of Non-harmonic
Tones .4 .02 .0 .5 .02 .02
Dynamics Iow’ High Low’ Equal Low High
Melodic Position 3.4 1.8 2.1 2.2 2.0 1.1
voice Textures 2.1 .2 2.0 3.6 3.4 1.5

After the intenmission, the Concert Choir'presents two twentieth
century compositions as its third group. One is in the homophonic style
and the other in a combination of homophonic and polyphonic, with composition
lengths'0f 5:17 and 7:16 minutes. The key relationships are remote with
one selection in the minor mode and the other in the major. meter differs
in each composition while the tempos are somewhat similar. Both numbers,
however, contain similar mood colors. The first selection is accompanied
by the organ, while the second is sung a cappella. Additional interest
is created by the use of a semimchorus in the first selection. 3

The calculated levels of structural complexities taken from

Figure 35 are listed below.

ommeH omvmmfi. omemfi omvmmfi omfimNH Gowuogom

 

 

 

 

 

 

0
OH
om
% om
2
0%
0m
on
ow
ow
ow
mu m HE Q mam o\e
3 men an
3964 392250 m0 as
G0300H0m
omwmmfi ommeH omvmmfi omwmmfi omwmma pmvmmfi omwmmfi omuvmmfi ommeH om¢MNH
II I o o o o
_ _H. 2 2
N . om om
m . 0m 0m
w . ow. on“.
m . om cm
0 . op o0
N. . on or
w . ow om
a . ow 00
3:030 .0: .3 00 0&3. 0A3 05* ex: nfima msumfi 3.3: 0&5 ant. 3.3.3 om.
09.80 0305.33 umodm :0on nmfim
nGoG m0 03mm uudogo>02uuoom as

.220 sea. .N.
d mbomo .rm Eéoommumfiwqimé AEDHUDmHm

.mm HMDUHM

234

omwmmfi pmvmmfi cmmeH omvmma pmmeH omvmma omwmmfi omwmmfi omuvmmd omvmma G0300H0m
Z a , 4

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

__ . _ M.
on
on
ow
L om
00
on
ow
co
Chem Esra E>v 25 m EH Em 2>¢ 2>m 2>o 2>w ox:
maoflmfinfluou if 00.25038 00w0> m0 on.
. £0300H0m
931.an omwmmfi omwmma omvmmfi omaumma omwmmfi- omwmma omwmma pmwmma omvmwa omvmmfi pavemmn o
_ _ . _ , 3
ON
cm
3
om
00
on
ow
oo
domuo 300 0H00 300 G035 Gouda: Geog £033: 033 Momma 03d camRQOm oNo
0009 090330, 050.500 m< Hm <m mB<m

coflflmom 08302 m0 00.30002 an.
QMDZHHZOU HH nHDOMHMU ....._. 233324 4

\‘3ll'

 

 

 

 

 

 

 

 

 

 

 

 

 

.0Hdoam050cH H050 0HQOAQ>H0Q £00m?"

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

:0H000H0m
NHNHNHNHNHNHNHNHN NHNH NHNHNHNHNHNHNH
_ . - _ it . 4 , — . 1 .o A . o
_ _ S A _ _ 3
ON ON
on om
ow ow
A om om
co i co
2. ow
om ow
co om
85H 5>N E>m .._3>H 2>N 2>m H>H>¢ H>H>m Eb H255 H)H>m axe * dmmuo .035 0003 H000u 03.0 0d0u. axe
mHH. -00
0G030G3§00 >0. 00.3.5088 00H0> m0 om. noHuHmonm 0HHO0HOH>H H0 00.35002 om.
00H000H0m
N H N H N H N H N H N H N H N H N H N H N H N H
11 — q ‘ : C 44°. 0 I I _ — . O
_ _T _ H. a _ é
om . N. om om
on m. on om
ow e. 3. 2.
Tm m. cm om
00 o. oo on
E. b. or or
ow m. cm ow
co 0. co 00
H: H HE A man $0035.84“ 8 3:. 0&0 050 as. ufimH 0:an 0&2 EH; 03:. 03.4.5 «a
an no: mm 0000» 0305.10: :0de Infinm [04.5

0H0>01H Owamgnn no em.

icon m0 030%

a nHDOMHO rm Eéoommu-flqu<z< A§DHUD~HHm

00G080>0H2nuoom on.

00.840 09:. cm.

.mm HMHDUHM

236

Categgg §elections

.1. Q
Modulations 1 . h . 2
Rhythm 3.0 3.0
Type Chords 2.6 1.8
Root-movements 3. 2 1+. 0
Ratio of Non-harmonic
Tones .02 .6
Dynamics Low Low
Melodic Position 4.0 3.2
Voice Textures 3.8 3.8

A summary for Concert F based upon the evidence presented indicates

the following:

1.

3.

Individual structural factors which appear to be high in levels
of complexity, contrast, and variety are: root-movements, melodic
positions, rhythm complexities, and to a lesser degree voice
textures and harmony.

Use of non-uhamonic tones as a structural interest factor

appears to be very low, which is revealed in the computed levels
of .5, .2. and .3.

Over-all dynamic levels appear to be high in their order, though
this conclusion is somewhat influenced by the .1 level found in
Group III.

Chronological unity appears to be somewhat illogical for Group I
which contains a sixteenth century selection followed by a
thentieth century selection, and two nineteenth century compositions

followed by a twentieth century composition. Groups II and III

7.

9.

237
present a high degree of chronological unity.
Ten compositions contain the homophonic style, and three are
combinations of both homophonic and polyphonic. From.this data
it may be hypothesized that this factor is influencial in producing
a low level of non-harmonic tones.
For the most part, key relationships present a high degree of
interest, though this conclusion is somewhat influenced by the
closeness of those relationships found in Group I. Of the twelve
modes used, eight are major, four minor, and one Phrygian.
meters tend to exhibit a low level of structural interest,
with the 4/# meter being used in eight compositions, 2/4 in
one, 3/h in one. and three with variable meters.
Tempos present a moderate level of variety; as evidenced by the
data.
Little additional color interest is used in this concert. Group
II uses three soloists and a trio while Group III includes a

semiuchorus with organ accompaniment.

mamas

Concert G is presented by the college A Cappella Choir without the

assistance of soloists or ensembles. The format of the concert consists

of four groupings, with an intermission between the second and third

groups. The compilation of the data from Concert G may be found on

Table XX.

In Group I the Choir presents one sixteenth, one eighteenth, and

three twentieth century compositions. The music consists of the homophonic

and polyphonic styles, and a combination of both styles. The length of

238

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240
the individual selections ranges from 1:30 to 2:35 minutes. The
relationship of the keys is remote, consisting of four'major and one minor
mode. The level of meter variety is low, with one u/u and four 3/4
meter signatures. Tempos are on the fast side. One mood color is
similar to all compositions. with a secondary mood color found in four of
the compositions. The music is sung without accompaniment.

The calculated levels of structural complexity taken from.Figure

36 are listed below:

 

Categogy Selections

l .2. 2 5t 2
Modulations .0 .2 .1 .7 1.0
Rhythm. 2.0 2.0 2.0 3.0 4.0
Type Chords 1.6 1.6 2.0 .4 '1.1
Root-movements 3.4 2.7 2.7 1.5 2.3
Ratio of Non-harmonic
Tones .7 .7 1.2 1.1 1.6
Dynamic Levels High High High Equal High
Melodic Position 4.0 1.7 h.0 h.0 4.0
voice Textures 3.5 1.7 3.2 2.5 2.8

Group II finds the Choir singing four twentieth century compositions,
with two in the homophonic style and two a combination of both homophonic
and polyphonic. The lengths of the individual numbers range from 1:30
to 4:30 minutes. The first two keys are identical, mmer A major, and
the last two are closely related keys. Three of the selections are in 3/4
meter and one in 4/4. Tempos are on the fast side. The group contains

primarily one predominating mood color. The music is again sung a cappella.

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Below are the calculated levels of structural complexity taken

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Qgtegogz Selections

1 2. 2 i
Modulations .6 .1 .0 .#
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Type Chords 2.2 2.1 2.5 1.9
Root-movements 3.5 3.4 4.0 3.1
Ratio of anpharmonic
Tones .8 .5 .8 1.1
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melodic Position 4.0 3.0 h.0 1.4
Vbice Textures 3.7 .8 2.4 1.8

After the intermission, Group III features the choir singing five
twentieth century compositions, all of which are homophonic in style
excepting one which is a combination of both homophonic and polyphonic.
The length of each composition ranges from 1:00 to 2:45 minutes. The key
scheme contains remote relationships with one exception. The modes are
all similar. There is some degree of variety found in the meter signatures
of lav/1+, 2/4, 3/14', and 6/8. Tempos are moderate to fast. The humorous
or whimsical mood color is identical for all five compositions. The
first selection is sung a cappella, while the remaining numbers are
accompanied by the piano.

The calculated levels of structural complexities taken from

Figure 38 are listed below.

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245

Categog Selections
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Type Chords 2.3 1.7 1.7 2.1 1.2
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Voice Textures 2.2 1.4 1.7 1.5 2.1+

Group IV consists of five twentieth century compositions in the
homophonic style sung by the Choir. The length of the selections range
from 2300 to 15:15 minutes. The key relationships are remote, with but one
minor and four major modes. _Meters consist of 3/4, LL/llv, and fit, with
tempos varying considerably. The mood colors are also high in variety.
Three selections are sung without accompaniment, while two are accompanied
by the piano, one with founhands. Additional color interest is supplied
by the introduction of nineteen one-ameasure solos sung by nineteen
different voices, and a tenor and bass solo voices.

The calculated levels of structural complexity taken from

Figures 39 and 140 are listed below.

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Categogy Selections

1. .2 3. i. .2
Modulations .0 .3 .0 .0 .9
Rhythm 2.0 1.0 2.0 2.0 2.0
Type Chords 1.5 1.2 1.0 3.0 2.1
Root-movements 3.7 2.5 2.8 3.3 4.0
Ratio of Nonpharmonio
Tones .02 1.0 .7 .6 .00
Dynamic Levels IOW' High High LOW' High
Melodic Position .6 2.6 3.0 3.6 3.6
voice Textures 2.1 2.h 3.1 3.9 3.1

The summary for Concert G based upon the evidence presented

indicates the following:

1.

2.

3.

The structural factors consistently maintaining a high level of
complexity are the root-movements. melodic position, and voice
textures.

The low level of modulations does not necessarily indicate a

. high degree of monotony, since much of the music consists of

chromaticism and does not use key modulation.

There appears to be a moderately high level of variety in type
chords used from group to group. The low in Group I is .4
ranging t0.a high of 2.09 Group II from 1.3 to a high of 2.5.
Group III from.1.2 to 2.3. and Group IV from 1.2 to 3.0.
Dynamic contrasts are higher in the second half of the concert.
These consist of a 2.2 and 3.1 as against a 1.8 and 1.3 in the

first half.

249

5. The over-all chronological unity is high in logic, with the
exception of the first group. The first three compositions in
this group represent the twentieth century, while the fourth number
is a sixteenth century selection and the fifth an eighteenth
century composition.

6. Key relationships exhibit a high degree of interest, with remote
relationships for the first group, closely related keys for the
second, and remote relationships feund in the other groups.
However; mode is at a low level of variety. since fifteen major

modes and four minor modes are utilized.
C NCERT H

Concert H is an eightugroup concert featuring the college Hengs
Glee Club with the assistance of a male quartet and bass and baritone
soloists. A compilation of the data for Concert H may be found on Table
XXI.

In Group I the Glee Club sings three compositions from the sixteenth
and nineteenth centuries, with two in the homophonic style and one in.a
combination of homophonic and polyphonic. The length of the selections
ranges from 2:00 to 2:18 minutes. The keys are closely related with two
major modes and a Dorian appearing within the group. meter signatures are
h/# and 2/2. Tempos consist of one fast and two slow numbers. There are
only two mood colors divided between the three compositions. The music
is sung a cappella.

The calculated levels of structural complexity are taken from

Figure 41.

 

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Categggz

Modulations
Rhythm

Type Chord
Root-movements

Ratio of Nonnharmonic
Tones ,

Dynamic Levels
Melodic Position

voice Textures

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1.0
1.7
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Group III features the Glee Club singing one nineteenth century

and one twentieth century composition, both in the homophonic style. The

length of the music is 2:12 and 4:27 minutes respectively.

remote in their relationships, and all are in the minor mode. Slow tempos

are used with a 2/2 and u/u meter scheme.

second selection containing a secondary mood color.

sung a cappella.

Below are the calculated levels of structural complexity

taken from Figure #2.

Mbod contrasts are similar, the

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Category

Mbdulations
Rhythm

Type Chords
Root-movements

Ratio of Non-harmonic
Tones

Dynamic Levels
Melodic Position

voice Textures

Group IV contains two

homophonic style performed by the Glee Club.
selections is 2240 and 2:42 minutes.

relationships, with one major and one minor mode.

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The length of the two
The keys are remote in their

Contrast is feund in

the use of 6/8 and 2/2 meterso including a march tempo and a slow tempo.

Moods are highly contrasted, and both selections are accompanied by the

piano.

The calculated levels of.structural complexities taken from Figure

43 are listed below.

Category

Modulations

Rhythm

Type Chords

Root-movements

Ratio of Nonmharmonic Tones
Dynamic Levels

Melodic Position

Vbice Textures

Selections

In;

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257
Group VI finds the Glee Club singing two twentieth century compositions
of homophonic style with the composition length being of 2:19 and 7:02
minutes duration. The keys are remote in relationship, with one major and
one minor mode used. Both tempos are fast with 2/4 and 2/2 meters,

respectively; Rbod is varied and one selection is sung a cappella, while

 

 

the other is accompanied by the piano. ?h
The following reveals the calculated levels of structural t

complexities taken from Figure 44. L

Category Selections ’ L—

1. .2.

Mbdulations .4 .0

Rhythm 1.0 2.0

Type Chords 1.2 2.03

Root-movements 1.8 2.9

Ratio of Noneharmonic Tones 2.4 1.9

Dynamics High High

Melodic Position 3.5 3.7

Voice Textures 1.4 1.1,

In Group VIII the Glee Club sings three twentieth century compositions
of homophonic style. The length of the numbers range from 134a to 2:42
minutes. The key scheme consists of three major modes; two are similar.
and one is remote in its relationship. Tempos are moderate in speed, with
meters of 2/2 and 3/2 being used. Moods are similar in color, and the
piano is used as the accompanying instrument.

The calculated levels of structural complexity taken from Figure

45 are listed below.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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260

Categogy Selections

1 .2. 2
Nbdulations .2 .2 1.1
Rhythm. 2.0 2.0 2.0
Type Chords 2.6 1.0 2.1
Root-movements 3.9 2.3 3-5
Ratio of Non-harmonic Tones .0 2.0 .0
Dynamics Low High High
Melodic Position 3.5 2.9 3.1
Vbice Textures .0 .3 .4

The summary for Concert H based upon the evidence presented results

in the following conclusions.

1.

3.

5.

The structural factors consistently maintaining a high level of
complexity are rootamovements and melodic position.

The low levels of dynamic contrasts fbund in Groups III. IV; and

VI is another factor contributing towards a low structural interest
level. The reason for this is that compositions with similar
dynamic levels are placed adjacent to one another.

Harmonic complexities range from a 1.2 to 2.0. This limitation

in harmonic range might conceivably be an additional factor toward
a low level of structural interest.

Compositions with a total of only six voice grouping combinations
explain the low level of structural interest feund in this category,
which ranges from an over-all group level of'.4 to 1.7.

The chronological unity is highly illogical for the first group,

yet logical for Group III. The first selection in Group I represents

the nineteenth century. the second the sixteenth century, and the

261

third is a twentieth century composition.

6. There is a moderate level of structural complexities in mode. In
a total of twelve, seven major. four minor, and one Dorian are
utilized,

7. Mood variety and contrast is somewhat limited through the
repetition of two moods which are repeated several times throughout
the concert. Aside from the use of the piano no other color

interest is introduced.

CONCERT I

Concert I is presented by the Concert Choir without the assistance
of guest soloists or ensembles.- The program consists of five parts, with
an intermission between Groups II and III. The compilation of the data
from Concert I may be fbund on Table XXII.

Group I features the Choir singing two eighteenth century compositions.
one of which is polyphonic and the other a combination of both polyphonic
and homophonic.r The total time of the selections is 13:10 minutes. Key
relationships are remote and the modes are major. Variety is found in
meter relationships, and there is contrast of tanpo. The moods are
somewhat similar9'with the first selection sharing an additional color
contrast in combination. The piano is used as the accompanying instrument.

The calculated levels of structural complexity taken from

Figure #6 are listed below.

262

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263

 

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265

Categogz Selections

1. 2.
Modulations 3.6 1.7
Rhythm. 3.0 #.0
Type Chord 1.1 1.#
Root-movements 1.8 2.7
Ratio of Non-harmonic Tones 4.0 2.1
Dynamic Levels Eoual High
Melodic Position 4.0 4.0
voice Texture ‘ 3.2 2.8

Group II consists of a long work in fbur'parts by a nineteenth
century composer. The style is homophonic, and the timing ranges from
3:35 minutes to 7:15 minutes for each part. The length of the entire work
is 19:41 minutes. The key scheme is partly remote and partly close in its
relationships, and uses alternating modes between the minor and major.
There is a high level of variety found in the different meters and tempos.
The sacred mood is used with secondary mood colors. The music is sung
a cappella, and additional color is obtained through the introduction of
a baritone soloist throughout the four'compositions.

The calculated levels of structural complexity taken from

Figure 47 are listed below.

266

 

 

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¢mNH uHVmNH HumNH meH HumNH GoHuoonm

 

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267

220239.11 W
.1. 2: 3. i

Modulations .5 1. 4 .3 1. 5
Rhythm A 2.0 2.0 3.0 2.0
Type Chords 1.7 2.0 1.7 1.7
Root-movements 3. 5 2. 7 2.9 2. 5
Ratio of Non-harmonic Tones .04 1.0 1.2 .7
Dynamics Low High Low Low
Melodic Position 2. 5 2. 2 1.1 1.2
Voice Textures 2.2 3.0 1.5 2.6

The Concert Choir presents a nineteenth century composition in Group
III. It is both homophonic and polyphonic in style, and lasts 10:43
minutes. The work has a .change of key, tempo, and meter in the middle
section and does offer some internal contrast. The music is accompanied
by the piano.

Below are the calculated levels of structural complexity found in

Group III and taken from Figure 48.

Qtegog Selection
.1.
Modulat ion 5 4. O
Rhythm 3.0
Type Chords _ - 1.5
Roo t-movements 3. 0
Ratio of Non-harmonic Tones .04
Dynamic Levels ‘Equal
Melodic Position 4,0

Voice Textures 3 . 3

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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am e. am am
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HHH nHDOMHU .H EgoommuamamW1H<Z< A§DHODMBm .wv HdDUHrH.

269

Group IV presents four twentieth century compositions, three of
which are homophonic and the fourth a combination of the homophonic and
polyphonic style. The length of the individual compsoitions runs from
1:35 to 3:40 minutes. The key relationships are remote, with a close
relationship found between the third and fourth compositions, with two major
modes, a minor, and a ijolydian mode. A high level of variety is found
in the meters and tempo markings. The moods are moderately high in
contrast, with some repetition of similar mood color. Two selections
are sung without accompaniment and two with piano accompaniment.

Below are the calculated levels of structural complexity taken

from Figure 49.

911323531 W
.1. 3 3. Li.
Modulations .0 . 3 .0 .0
. Rhythm 2.0 2.0 4.0 3.0
Type Chords 2.6 1.5 3.0 1.6
Root-movements 4. 0 3 .1 3. 6 2. 7
Ratio of Non-harmonic Tones 3.7 .8 .9 .8
'Dynamic Levels Low Low low High
Melodic Position 1. 5 4.0 3.9 1.6
Voice Textures 3.5 3.5 3.7 1.3

Group V features the Choir singing four twentieth century compositions,
homophonic in style, and ranging in length from 48 seconds to a 4: 53
minute composition. The key relationships are remote, with the exception
of the last two keys which are closely related. One minor and three

major modes are used. Meter order is not varied to any great extent, since

vaH meNH HumNH hH..mNH HumNH vMNH vMNH HVmNH hHVmNH HumNH vaH vaH coHuooHom

i; _ _ ___. .

 

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270

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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271
two selections of similar'meter are placed adjacent to one another. The
tempos are on the slow side and there is a moderately high level of
mood contrast. The musicji§;sung without accompaniment. Additional
interest is achieved by the introduction of a narrator in the third
selection.

The calculated levels of structural complexity are taken from

Figures 50 and 51.

Categogz Selections

.1. 2 2 i
modulations .6 .0 ‘..4 .0
Rhythm 3.0 1.0 3.0 1.0
Type Chords 1.4 _ 3.3 2.0 1.5
Root-movements . 3.3 3.1 2.3 2.?
Ratio of Non-harmonic Tones .0 .0 .5 .04
Dynamic Levels Low Low High High
Melodic Position 2.0 . .1 3.0 .1

voice Textures 3.8 1.2 4.0 .2

A summary for Concert I based upon the evidence presented indicates
'the following:

1. The structural factors maintaining a consistently high level of
complexity are voice textures and root-movements in five groups,
rhythmic complexities in four, melodic position in three, modulatiOns
and harmony in two, and ratio of nonuharmonic tones to chords'in
one.

2. One major influence towards a low dynamic level of structural

interest as shown by the fact that there are five examples of

272

VmNH vaH vaH meH meH VmNH meH vaH vaH vaH VmNH meH VmNH.¢mNH

 

 

 

, - , 1 , . 1 ..o
_.__:.__ __ :. __ _: _

9N“
Om
Ow.
om-
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maoHumanEOU >Q mousuxofi 00H0> .Ho ix.
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_- . . . _. .4 1 a _d. O
___

 

ON
Om
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OO
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OO

 

 

 

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H)H>N E>m E>N §>m 83v ..3>m .Em Elm .Ho/HermchfirHV H>H>m 2>O..,2>fi-2>wz em

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

mcoHumcHnEOU >0, mondfisfi 00H0> H0 ix.

 

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OH
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OO

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coHuHmonH
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oh 4— a. on on
om N. om oN
on m. on on
em e. ow ow
om m. cm cm
as o. oo as
op 5. ca op
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3.

274
compositions containing similar dynamic levels placed side by
side.

Harmonic complexities exhibit high levels of interest in the order
of their complexities. For example, the harmonic complexities

of Group IV indicate alternating levels of high and low. The
harmony patterns feund in Group V indicate varying levels
proceeding from IOW'levels to those higher. A quick reference to V
the individual tables will reveal similar evidence of interesting

patterns of voice textures, melodic position, and root-movements

 

I“. ”O..-
4

with variety obtained through the shifts between low and high
levels of structural complexities.

The over-all chronologicalcnderjpresent in each group indicates
a high degree of unity.

The relationships found in the key scheme are highly diversified.
Mood contrasts are moderately high in variety; with eight
devoted to one predominating mood color. Additional color is
found in the introduction of a baritone soloist, and in the

narration found in Group V.

275

The next step was to examine the data in order to determine the
amounts of variety and contrast found in the music of the nine programs.
This was done by determining the relationships between the different
musical elements in terms of the amounts of differences or similarities.
These relationships, in turn, revealed the amount of structural variety
and contrast or monotony found in the music of each concert.

In order to determine these relationships. fourteen structural
elements of music were examined. These are: key and mode, meter, tempo,

mood, type of accompaniment, miscellaneous use of solos and/or ensembles,

:1" --« mmfi‘ml— “1
, j'.

modulations, rhythm complexities, type chords, root-movements, ratio of
non-harmonic tones to chords, melodic position, and voice textures.

The criteria of judgment for the various structural elements were
first determined. Those elements which were found to be highly similar
or identical, were rated as being low in the amount of variety and contrast,
or monotonous. For a high degree of contrast and variety in key and mode,
the amount was determined by the remoteness of the key relationships and
whether the mode remained the same or shifted from a major, for example,
to a minor or early mode. A high degree of variety was determined for
the meters which progressed from a duple type to a triple compound type.
A high contrast for tempo was determined by the amount of the shifts found
in progressing from a low speed to a high speed, or from a high to a low.
speed. mod relationships were revealed by the changes of adjective
groupings of one through four as contrasted with those found in groups
five through eight. High amounts of contrast for type of accompaniments
were determined by the alternating shifts found between music which was
sung a cappella and that which used piano accompaniments or instrumental

ensembles. Compositions which consistently used the piano were not

276
considered high in contrast and variety once the instrument had been
introduced. With the initial introduction of miscellaneous solos and
ensembles, the interest level of variety and contrast was considered
high. Upon repetition of solos and ensembles in adjacent selections, the
element of variety and contrast was not held to be high.

Amounts of contrast in dynamic levels were determined by comparing
those compositions containing a high percentage of high dynamic levels
with those containing a high percentage of low-level dynamics. A high
amount of contrast, then, was determined by the high and low or low and
high relationships in dynamic levels.

For the structural elements in which the amounts of structural
complexity levels have been obtained, those levels which contain differences
of .8 or greater are regarded as being high in variety and contrast. Those
structural complexity levels which contain differences of .0 or .1 are
considered as being low or monotonous.

The criteria just described are used on all the remaining categories
of musical structure with one exception, and this one is rhythm. In
determining the overmall concert norm for rhythm complexities, the
method of setting up the norm was described. However, the method for
weighting the differences between the various levels of rhythm complexities
was somewhat altered from the weight numbers used in the other data.

Whole numbers of one through four were used to indicate the distinction
between the different levels of rhythmic complexities. This method was
used, since it was found that it is most difficult to determine the fine
differences between coniplexness in rhythm. Consequently, those complexity
levels for rhythm which are repeated are considered low in contrast. Those

levels which shift widely, for example, from a "four" level to a ”two"

 

277

or from a "one" level to a "three" are considered high in contrast and
variety.

Since these concerts were choral concerts, repetition found in
singing without accompaniment from composition to composition or in the
repeated use of the piano as an accompanying instrument were not considered
as being factors which contribute to a monotonous level of musical interest. f‘
However, due to the medium itself, namely choral singing, there is little '

doubt that this influence is a limitation for attaining a high level of

 

structural interest.

l"."'.

A music structure interest-level chart is constructed from the
data fbr each of the nine concerts. These charts will indicate the low
or high amount of contrast and variety found in the various music

structural elements.

CQNCERT A IN ST

High Relationships

Root-Movements: 1.9 to 3.0
an-harmonic Tones: .04 to 1.2

Group
I

Melodic Position: 2.? to 4.0

II A Minor to B Major
Tempo: Adagio to Allegro
Non-harmonic Tones: .4 to 1.2

voice Textures: .3 to 1.4

Key:

III F Major to B Minor
1 to 1 & 8
Accompaniment: A Cappella to
Piano
Dynamics: Low to High

High to Low

voice Textures: 3.1 to 1.5

Key:
Mood:

A Major to D Minor
D Minor to D mjor
Tempo: Slow to Square Dance1= 112
Mood: 3 & 4 to 6
Accompaniment: A cappella to
Pianomfour hands
Misc.: Nothing to Tenor solo
Type Chords: 2.0 to 3.5
3.1 to 2.1
Root-movements: 3.0 to 4.0
anpharmonic Tones: .8 to 2.3
2.3 to .04
.1 to 3.4
2.4 to .3
.3 to 3.1

Key:

Melodic Position:
voice Textures:

V Misc.: Nothing to Soprano &
Bass Solos

Rhythm: 3 to 1

Type Chords: 1.5 to 2.3

Vbice Textures: 2.1 to 3.3

Mood:
Misc.:

3 to 7 & 8

Nothing to Maracas &
Speaking part

Maracas & Speaking part
to Soprano Obbligato and
women’s Trio

Misc.:

278

Low fielationships

Meter: 4/4 to 4/4
Rhythm: 3 to 3
& 3 to 3
Dynamics: High to High
Melodic Pesition: 4.0 to 4.0

Meter: 4/4 to 4/4 & 4/4 to 4/4
Rhythm: 2 to 2
Type Chords: .8 to .8

.8 to .8
Melodic Position: 4.0 to 4.0
Vbice Textures: .2 to .3

 

Modulations: 02 to 03 .2...
Rhythm: 2 to 2
Type Chords: 1.2 to 1.2
Root Movements: 2.9 to 3.0
3.0 to 3.1
Men-harmonic Tones: .04 to .04
Voice Textures: 3.2 to 3.1

Meter: 4/4 to 4/4
Modulations: .1 to .2
.2 to .1
Rhythm: 3 to 3
Root-movements: 3.4 to 3.3
Low to Low

Dynamic Levels:
Melodic Position: .1 to .1
.1 to .1

.3 to .3

voice Textures:

Tempo: Moderato to Moderate
Mood: 5 & 6 to 5 & 6
Modulations: .4 to .5
Root-movements: 2.0 to 2.1
Dynamicsx- High to High

2 to 2
2 to 2
High to High
.04 to .0

Rhythm:
Dynamics:

Noneharmonic Tones:

, 279
CONCERT A CHART Continued

Mp High Relationships Low Relationshgp' 5

VI mdulations: 1.1 to .0

Type Chords: 2.3 to 1.5

1. 5 to 2.8

Root-movements: 3.0 to 2.2

Of the 182 structural relationships for this concert, there are
forty-two or 23 per cent which are high in structural variety and contrast,
thirty-six or 20 per cent at a low or monotonous level, and 104 or 57
per cent releationships which contain varying amounts of moderate levels

of musical interest.

CONCERT INT T C
Group High Relationships Low Relationships
I Tempo: Fast to Slow Key: A Minor to A Minor
Modulations: .2 to 1.2 Meter: 3/4 to 3/4
' 1.2 to .2 3/4 to 3/4
Rhythm: 3 to 1 3/4 to 3/4
Root-movements: 2.4 to 3.2 3/u to 3/4
2.7 to 1.7 3/4 to 3/4
1.7 to 3.1 3/4 to 3/4
301 130101 RhYthIfl: 1 t01
1.1 to 3.0 3 to 3
Dynamics: High to Low Type Chords: 2.0 to 2.1
Low to High 2.1 to 2.0
Melodic Positions. .3 to 1.8 2.0 to 2.1
1.1 to .1 1.5 to 1.5
02130 2.8 1o5t0105
2.8 to 2.0 Non-harmonic Tones: .0 to .0
2.0 to .1 .0 to .0
.3 to 4.0 .0 to .1
Voice Textures: .5 to 2.6 .1 to .0
2.0 to .4 mnamics: Low to Low
.4 to 1.2 Low to Low
1.2 to 2.5 Lowto Low
2.7 to .1 low to Low
.5 to 3.0 Low to Low
Mood: 6 to 3 Mood: 3 to 3

3t03

280

CONCERT B C T Continued

Group High gplatignships Low Relationships
II Tempo: Con Spirito to Key: E Major to E Major
mastoso ' Rhythm: 3 to 3
Maestoso to Vigorously Type Chords: .8 to .8
Modulations: .4 to 1.4 Root-movements: 2.5 to 2.5
1.4 to .0 Dynamics: High to High
.0 to .9 High to High
Accompaniment: A cappella to Mood: 5 & 6 to 5 & 6
Piano, four hands
Rhythm: 3 to 1

Dynamics: Low to High
Melodic Position: .1 to 1.2
Voice Textures: .2 to 1.5

1.5 to .2
IV Tempo: Allegretto to = 144 Rhythm: 4 to 4
Accompaniment: A cappella to Dynamics: High to High
Piano Melodic Position: 4.0 to 4.0
Lbdulations: 1.0 to 2.4
V lbdulations: .0 to 1.9 Meter: 4/4 to 4/4
Type Chords: 1.2 to .4 4/4 to 4/4
Root-movements: 2.0 to 3. 5 Modulations: .1 to .0
3.5 to 1.4 Melodic Position: 4.0 to 4.0

an—harmonic Tones: 2.1 to .7
Dynamics: High to Low
Melodic Position: 4.0 to .1
Voice Textures: .2 to 2.3

2.3 to .2
VI Lbod: 7 8c 8 to 3 Modulations: .2 to .3
Accompaniment: A cappella to Rhythm: 2 to 2
Piano 2 to 2
Type Chords: .8 to 2.1 Voice Texhrres: .9 to 1.0
Root-movements: .0 to 3.5 1.0 to 1.1
3.5 to 2.3

Non—harmonic Tones: 4.0 to .04
mnamics: High to Low
Low to High
Melodic Position: 2.1 to .2
Of the 210 possible structural relationships for this concert, there
are fifty-eight or 28 per cent which are high in structural variety and
contrast, forty-four or 21 per cent at a low or monotonous level, and 108

or 51 per cent which contain relationships with varying amounts of moderate

levels of musical interest.

III

281

CONCERT C INIEREfiT LEYEL CHART

i h lati nshi

Key: D Major to G Minor
C Minor to G Major

Misc.: Nething to Tenor solo
Modulations: .3 to 1. 5
Melodic Position: 3.8 to 2.8
2.8 to 3.6
voice Textures: 2.6 to 1.5
1.5 to 2.3
2.3 to 3.1

Key: A Minor to A Major
G Dorian to C Major
4/4 to Free-unmetered
Unmetered to 2/4
Accompaniment: A Cappella to
Piano
2.1 to 3.5
208 to 107
Noneharmonic Tones:

Dynamics: Low to High
Melodic Position: 4.0 to .1
.1 to .9

1.6 to .1
O1 to104

1.4 to .5
.4 to 2.1

2.1 to 1.2

Meter:

Rootnmovements:

Vbice Textures:

Type Chords:

Key: B Minor to E Major
E Major to E Minor
Lively
5 & 6 to 3 & 4

Tempo:
Mood:
Accompaniment:
Misc.:
Duet

Nothing to Baritone Solo

Rhythm: 1 to 4
Rootemovements:

Dynamics:

3.5 to 2.6
High to Low

Low to High

High to Low
Melodic Position: 4.0 to 2.9
Voice Textures: 3.3 to 1.7
1.4 to 2.9

Type: Chords: 3.4 to 1.2

1.5 to .0
.0 to .9

Modulations:
= 132 to Slow

Piano to A cappella
Nothing to Tenor & Baritone

Lo ati nshi s

Andante to Andante
2 to 2
2 to 2

Root-movements:

Dynamics:

Tempo:
Rhythm:

3.2 to 3.2
Low to Low
Low to Low
Low to Low

Dynamics: Low to Low

Type Chords:

282
CONCERT C C ntinued

Mp High Relationships Low Relationships
VIII Key: F Minor to A Mixolydian Meter: 4/4 to 4/4
A Mixolydian to C Major 4/4 to 4/4
lbod:8t05&6 Rhythm: 2t02
5 & 6 to 3 Non-harmonic Tones: .O to .0
Accompaniment: Piano to
A Cappella
Root-Movements: 2.4 to .7
.7 to 4.0

Non-harmonic Tones: .9 to .0
Dynamics: High to Low
Melodic Position: 3. 5 to .1
.1 to 3.3
Type Chords: 1.2 to .4
.4 to 1.9

X Tempo: g = 112 to Adagio Non-harmonic Tones: .3 to .4

Mood: to 1

Misc. : Nothing to Bass Solo

Type Chords: 2.1 to 1.2

Dynamic Levels: High to Low

Melodic Position: 3.9 to .1 "
_ Of the 168 possible ‘sbtructural relationships for this concert,
there are sixty-eight or 40 per cent which are high in structural variety
and contrast, fifteen or 8 per cent at a low or monotonous level, and
eighty-five or 52 per cent which contain relationships with varying

amounts of moderate levels of musical interest.

C NCERT

gm High Relationships Ifl flationghips
I Key: C Minor to E Major Tempo: Grave to Grave
D Dorian to A" Major Non-harmonic Tones: .6 to .7
Teapo: largo to 0' = 120 .7 to .8
Andantino to Jubilantly Dynamics: Low to Low
Mood: 1 & 2 to 1 a 8 Melodic Position: 1.? to 1.8
1 & 8 to 3 Types Chords: 1.5 to 1.5
1 & 4 to 7
Accompanim9nt: String Quartet to
Dlo Piano
D10 Piano to

A Capp ella

Group

III

283

C CERT D CHART ntinued

High Relationships

Solo Soprano & Alto
to Duet ST, SA, AT,
& Solo Bass
Modulations: 1.5 to .0

Rhythm: 1 to 3
Type Chords:

Misc.:

Root-movements

UJ-‘N

High to Low
Melodic Position: .6 to 1.7
1.8 to 01
.1 to 1.9
1.7 to 2.9
4.0 to .2
.2 to 2.5
2.5 to .4

Vbice Textures:

Mbod: 5 & 8 to 2 & 3
2 & 3 to 5 & 6
Accompaniment: A Cappella to
Piano
Nothing to Quintet
Quintet to Solo Baritone
Rbot-movements: 2.6 to 1.5
1.5 to 2.9
Non-harmonic Tones: 2.7 to 1.0
.Melodic Position: .5 to 2.3
203 110 08
.1 to 1.5
1.5 to 3.1
3.1 to 1.3

Misc.:

Voice Textures:

Mbod: 6 to 2 & 5
Rhythm: 4 to 2
Non-aharmonic Tones: 1.2
2.7
1.9
High to Low
Low to High
Melodic Position: 4.0 to .1
voice Textures: 1.0 to 1.8
1.8 to 1.0

AN
00

8‘88
ecuaxa

Dynamics:

Log Relation ships

Key: C Minor to C Minor
Meter: 3/4 to 3/4
Rhythm: 1 to 1
Dynamics: High to High
High to High
High to High
Type Chords: 1.1 to 1.0

Allegro to Allegro
Length: 1:43 to 1:42
Meter: 4/4 to 4/4
Medulations: .0 to .1
Rhythm: 2 to 2
2 to 2
High to High
High to High
Melodic Position: 4.0 to 4.0
4.0 to 4.0
01 to e1
01 to 01

Tempo:

Dynamics:

voice Textures:

h
V‘

CONCERT D CHART Continued

High Relationships

Key: F Major to FT‘Mixolydian
Mood: 3 & 4 to 6
Type Chords: 1.7 to 3.0
Root-movements: 2.8 to 3.6
3.6 to 2.1
2.1 to 4.0
Non-harmonic Tones: .8 to 2.8
2.8 to .8
LOW'to High
.5 to 2.4
2.4 to .1
.1 to 2.7
.9 to 3.0
3.0 to 07
.7 to 3.6

Dynamic Levels:
Melodic Position:

Vbice Textures:

Low Relationships

Type Chords: .8 to .8

.8 to .8

.8 to .8

.8 to .8
Meter: 3/4 to 3/4
Modulations: .1 to .1
Non-harmonic Tones: .8 to .8
Dynamic Levels: Low to Low

Low to Low

Type Chords: 2.0 to 2.1

Of the 224 possible structural relationships for this concert,

there are sixty-seven or 29 per cent high in structural variety and contrast,

122 or 55 Per cent of moderate levels of musical interest, and thirty-five

or*16 per cent which are at a low or monotonous level.

Group

CONCERT E INTEREST

High Relationships

4.2 to Unmeasured
Slow to :1: 128

1 & 3 to 1 & 7

A Cappella to
Piano
3 to 1

1 to 3
Non-harmonic Tones:

Meter:
Tempo:
Mbod:

Accompaniment:

Rhythm:

1.1 to 2.2

2.2 to .O
.O to 2.3

High to Low

Low to High

Melodic Position: 4.0 to .1

01 to “'90

Dynamics:

VEL CHART

Low Relationships

Meter: 4.4 to 4/4
Root-movements: 2.0 to 1.9
1.9 to 2.0
Type Chords: .8 to .8
.8 to .8
.8 to 8

Melodic Position: 4.0 to 4.0

III

IV

.Rbotemovements:

'Melodic.Position:

285

CONCERT E CHART Continued

 

High Relationships

.6 to 3.1
301 to 07
07 to 2.9

Vbice Textures:

Rhythm: 1 to 3
Root-movements: 2.2 to .0

.0 t01o7
Non-harmonic Tones: .9 to 2.2
2.2 to .5

.5 to 1.4
4.0 to .1

.1 to 4.0
1.8 to .1

.1 to 1.7

Melodic Positions:

Vbice Textures:

Key: FN’Minor to F Major
Misci: Nothing to Alto Solo
Alto Solo to ST Duet
Type Chords: 1.4 to 2.2
Root-movements: 3.4 to 2.0
2.0 to 3.5
Non-harmonic Tones: 2.4 to .5
Dynamics: Low to High
Melodic Position: 1.5 to 3.2
3.2 to 4.0

2 to 6

Nothing to Soprano &
Tenor Solo
Non-harmonic Tones: .4 to 1.5
Dynamics: Low to High
Melodic Position: .7 to 2.3

Rbod:
Misc.:

Key: Db Major to D Minor
Tempo: With fervor to Moderato
Mood: 1 & 8 to 2
2 to 6 & 7
Accompaniment: A Cappella to
Piano
Nothing to Soprano Solo
106 to 00
2.1 to 4.0
4.0 to 2.0
2.0 to 3.5
o 2.0
to 3.7
6
9

Misc.:
Modulations:
Type Chords:

d

O

O\h)h0\n
c+c+tnc+

o 3.
o

3
Voice Textures: 2.
- 30 1o

Low'Relationships

4/4 to 4/4

5 & 6 to 5 & 6 a-

5 & 6 to 5 A 6 5

Tempo: Allegro to Allegro

Modulations: .0 to .0 ‘

Rhythm: 2.to 2

Type Chords: .4 to .4
.4 to .4

High to High .

.1 to .1 l
01 to .1 L-

Meter:
Mood:

 

Dynamics:
Melodic Position:
Vbice Textures:_

Tempo: Moderate to Moderate
Modulations: .2 to .2
Rhythm: 3 to 3 '

3 to 3
Dynamics: High to High

Keyz" F Major to F Major
Modulations: .1 to .2

Rhythm: 2 to 2
Root-movements:
Dynamics:
Type Chords:

2.7 to 2.8
High to High
1.5 to 1.5
1.5 to 1.5

4/4 to 4/4
4/4 to 4/4
Rhythm: 3 to 3
Melodic Position:

Meter:

3.7 to 3.7

 

286

In Concert E of the 168 possible structural relationships, there

are fiftyasix or 34 per cent high in structural variety and contrast,

seventybeight or‘46 per cent of moderate levels, and thirty-four or 20

per cent which are at a lOW'Or monotonous level.

62911.2

II

CONCERT F INTEREST LEVEL CHART

Highgfielationships

Tempo: Animato to Tres Lent
Mood: 1 to 1 & 8
Rhythm: 2 to 4
Hype Chords: .8 to 2.6
Root-movements: 1.9 to 3.2
Non-harmonic Tones: .8 to .0
Dynamics: High to Low
LOW'tO High
Melodic Position: 4.0 to 3.1
301 to 09
.9 to 4.0
voice Textures: .9 to
3.6 to
1.9 to .
.8 to
Key: Db Major to E Minor
E Minor to F Phrygian
F Phrygian to E Minor
E Mnor to B” Major
Tempo: Largo to J = 136
Mood: 1 &‘4 to 1 & 6
1 & 6 to 1 & 2
Accompaniment: A Cappella to
Organ
Misc.: Nothing to Soprano &
Baritone Solos
Nothing to Tenor Solo
Rhythm: 3 to 1
Type Chords: 1.7 to .8
bot-movements: 2.4 to

3.3
3.9 to 1.9
2 8

1.9 to .
Dynamics: Low to High
High to Low
Lou'to High
Melodic Position: 3.4 to 1.8
2.0 to 1.1
voice Textures: 2.1 to .2
.2 to 2.0
2.0 to 3.6

304 t0105

Low Relationships

Meter: 4/4 to 4/4
Medulations: 1.0 to 1.0
Rhythm: 3 to 3
Type Chords: 2.0 to 2.0
Root-movements: 2.9 to 3.0
Non-harmonic Tones} .0 to .0
.0 to .04

Dynamics: Low to Low

Low to Low

Meter: 4/4 to 4/4

4/4 to 4/4
Rhythm: 2 to 2
Root-movements: 2.8 to 2.9
Nonpharmonic Tones: .02 to .0

.02 to .02

Melodic Position: 2.1 to 2.2
Type Chords: 1.1 to 1.2

287

CONCERT F C ntinued

High Relatipnships

Key: D Minor to A Major

Accompaniment: Organ to A
Cappella

Misc.: Nothing to Semi-

Chorus

Rbdulations: 1.4 to .5

Type Chords: 2.6 to 1.8

Root-movements: 3.2 to 4.0

Mblodic Position: 4.0 to 3.2

Low Relationships

Mood: 1 & 7 to 1 & 7
Rhythm: 3 to 3

Dynamics: Inn'to Low
Voice Textures: 3.8 to 3.8

In Concert F of the 140 possible structural relationships, there

are forty-six or 33 per cent high in structural variety and contrast,

seventybthree or 52 per cent of moderate levels, and twenty-one or 15 per

cent which are at a lOW'Or monotonous level.

Group
I

C NCERT G INTE ST

High Relationships

Mood: 1&8to1&4
1 & 4 to 1 & 8
1 to 1 & 6
Type Chords: 2.0 to .4
Root-movements: 1.5 to 2.3
Melodic Position: 4.0 to 1.7
1.7 to 4.0
voice Textures: 3.5 to 1.7
. 1 7 to 3.2

Key: A Major to A Minor
Mood: 1 & 3 to 1 & 7
Rbotmmovements: 4.0 to 3.1
Dynamics: High to Low
Mblodic Pesition: 4.0 to 3.0
3.0 to 4.0
4.0 to 1.4
voice Textures: 3.7 to .8
08 to 201+

Accompaniment: A Cappella to
Piano

C

pr Relationships

Meter: 3/4 to 3/4
3/4 to 3/4
Modulations: .2 to .1
Rhythm: 2 to 2
2 to 2
Type Chords: 1.6 to 1.6
Rbot-movements: 2.7 to 2.7
Dynamics: High to High
High to High'
Melodic Position: 4.0 to 4.0
4.0 to 4.0

Key: A Major to A Major
Mood: 1 & 6 to 1 & 6
Meter: 3/4 to 3/4

3/1: to 3/4
Modulations: .1 to .0
Rhythm: 2 to 2

3 to 3

Type Chords: 2.2 to 2.1

Lynamics: High to High
High to High

Meter: 4/4 to 4/4

III

CON ERT G C

High Relationships

Type Chords: 2.1 to 1.2
Non-harmonic Tones: 1.0 to .0
.0 to 1.8
1.8 to .0
.0 to 1.1
Dynamic Levels: High to Low
Malodic Position: 4.0 to .4
0“ 113103
1.3 to .1
01 t0103
Vbice Textures: 2.2 to 1.4
1o5 to 201+

Tempo: Slow to J = 128
' Moderato to Square Dance

Tempo
Mood: 2 to 5 8c 6
5 to 3
3 to 6
Accompaniment: A cappella to
Piano .
Misc.: Nothing to nineteen one

measure solos
Nothing to Bass solo
Types Chords: 1.4 to 3.0
3.0 to 2.1
Root-movements: 3.7 to 2. 5
Non-harmonic Tones: .02 to 1.0
mnamics: low to High
High to Low
Low to High
Melodic Position: .6 to 2.6

288

C ntinued

Low Relationphips

Tempo: Allegro to Allegro
Mood: 5 to 5
5 t0 5
5 to 5
5 to 5
Modulations: .2 to .2
.2 to .2
Rhythm: 2 to 2
2 to 2
2 to 2
2 to 2
TyperChords: 1.7 to 1.7
Root-movements: 3.1 to 3.1
3.1 to 3.0
Meter: 4/4 to 4/4
Pbdulations: .O to .0
mm: 2 to 2
2 to 2
Non-harmonic Tones: .7 to .6
Dynamics: High to High

Melodic Positions- 3.6 to 316

In Concert G of the 210 possible structural relationships. there

are fortywseven or 22 per cent high in structural variety and contrast.

121 or 58 per cent of moderate levels. and fortyatwo or 20 per cent which

are at a low or monotonous level.

289
CONCERT H INTEREST pm CHART

Group High Relationships pr Relationships
I Tempo: Allegro to Lento Meter: 4/4 to 4/4
Mood: 8 to 1 Mbod: 1 to 1
Type Chord: 1.7 to .8 Rbot-movements: 2.4 to 2.5
Non-harmonic Tones: .0 to 1.0 v
1.0 to .04
Dynamic Levels: High to Low
‘Low'to High
Melodic Position: 1.4 to 4.0
4.0 to 2.1
VCice Textures: .2 to 1.7
1.7 to .8
III Mood: 1 to 1 & 7 Type Chords: 1.2 to 1.2
Melodic Position: .7 to 3.8 Root-movements: 3.0 to 3.1
voice Textures: 1.1 to 2.4
IV Meter: 6/8 to 2/2 Rhythm: 1 to 1
Tempo: A la marcia to Slow Dynamics: High to High
Mbod: 8 to 3

Noncharmonic Tones: 1.1 to .04
Voice Textures: 1.6 to .6

VI Key: D Major to C Minor Dynamics: High to High
Mood: 5 to 1 & 7}. .
Accompaniment: A cappella to
Piano
Type. Chords: 1.2 to 2.0
Root-movements: 1.8 to 2.9

VIII Modulations: .2 to 1.1 Meter: 2/2 to 2/2
Type Chords: 2.6 to 1.0 Ebod: 3 to 3
1.0 to 2.1 3 to 3
Rootamovements: 3.9 to 2.3 3 to 3
2.3 to 3.5 Modulations: .2 to .2
Nanharmonic Tones: .0 to 2.0 Rhythm: 2 to 2
2.0 to .0 2 to 2
Dynamics: low to High Dynamics: High to High
Voice Textures: .4 to .3
.3 to .4

In Concert H of the 98 possible structural relationships. there
tare thirty-two or 33 per cent high in structural variety and contrast.
forty-eight or 49 per cent of moderate levels. and eighteen or 18 per cent

which are at a low or monotonous level.

290

CONCERT I INTERET LEVEL CHART

group High Relationships
I 1 Tempo: Con moto moderato to
- Adagio

Mood: 1 & 6 to 1

Mbdulations: 3.6 to 1.7
Rootumovements: 1.8 to 2.7
Nonpharmonic Tones: 4.0 to 2.1

II Key: G Minor to B Major
Meter: 6/8 to 2/4

4/4 to 6/8
Tempo: Allegretto animato to
Lento
Mood: 1 & 3 to 1 & 6
Modulations: .5 to 1.4
1.4 to .3
03 130105

Root-movements: 3.5 to 2.7
Nonuharmonic Tones: .04 to 1.0
Dynamic Levels: Low to High
High to Low
Melodic Position: 2.2 to 1.1
‘ voice Textures: 2.2 to 3.0
3.0 to 1.5
1.5 to 2.6

III :2 IV Key: A Minor to D‘O Major
Meter: 6/8 to 4/4
Tempo: Cantabile to A de»

liberate strut
Accompaniment: A cappella to
Piano

Modulations: 4.0 to .0
Rhythm: 4 to 2

Type Chords: 1.5 to 2.6
2.6 to 1.5
1.5 to 3.0
3.0 to 1.6
Rooth6vements: 3.0 to 4.0
4.0 to 3.1
3.6 to 2.7
Nonmharmonic Tones: .04 to 3.7
307 to 08
Dynamics: Low to High
Melodic Position: 4.0 to 1.5
1.5 to 4.0
3.9 to 1.6
Voice Textures: 3.7 to 1.3

Low Relationships
Melodic PCsition: 4.0 to 4.0

Rhythm: 2 to 2

Type Chords: 1.?

Dynamic Levels: Low to Low
Melodic Position: 1.1 to 1.2

Meter: 4/4 to 4/4
Mbdulations: .0 to .0
Rhythms 2 to 2
NonaHarmonic Tones: .8 to .9
.9 to .8
Dynamic Levels: Low to Low
Iow'to Low
Melodic Position: 4.0 to 3.9
VCice Textures: 3.5 to 3.5

291:-
CONCERT I CHART Qpntinued

High Relationships Low Relationships
Rbod: 1 a 2 to 6 a 7 Meter:. 3/4 to 3/4
Misc.: Nothing to Narration Non-harmonic Tones: .0 to .0
Rhythm: 3 to 1 Dynamics: Low to Low
1 to 3 High to High
3 to 1
Type Chords: 1.4 to 3.3
3.3 to 2.0
Root-movements: 3.1 to 2.3
Dynamics: Low to igh -
Melodic Position: 2.0 to .1
.1 to 3.0
3.0 to .1
VCice Textures: ‘3.8 to 1.2
1.2 to 4.0
4.0 to .2

It should be noted in computing these relationships for Concert I.

since Group III came after the intermission and contained the one composition

it was combined with Group IV inddetermining relationships. or the 154

possible structural relationships examined. there are fifty-six or 36 per

cent high in structural variety and contrast. eighty or 52 per cent

of moderate levels. and eighteen or 12 per cent which are at a low level

or monotonous.

292

Qpnclusipns

The following conclusions based on the data examined may be drawn
as to the amounts of structural complexity, contrast and variety with the
subsequent levels of structural interest found in the nine concerts
studied.

Below is a table showing the rank order of the amounts of
structural interest in terms of variety and contrast. and monotony for each

of the nine concerts compiled from the data.

 

Concert Total 1 of Moderate i of High Levels g of Law Levels
to High Levels

C 92 . to w 8
I 88 36 12
F 85 33 ‘ 15
D 84 . 29 16
H 82 I 33 18
E 80 34 20
A 80 23 20
G 80 22 20
B 79 28 21

From this data it may be concluded that Concert C ranks highest in
amounts of structural interest with 40 per cent relationships which are
high in their amounts of variety and contrast. with a low of'8 per cent
found in those relationships which are repetitious or monotonous. The
table indicates the order of the: remaining concert programs.

Of the 111 total number of possible relationships of’the various

elements of musical structure found in the nine concerts. certain were

293
found to be great in amounts of their influence toward a high degree of
structural interest or'monotony. From the data studied, the structural
elements which contribute to a high degree of structural interest in
the nine concerts consist of the following in order of importance:
variety of voice grouping combinations, varied positions of the melody
found in adjacent compositions. contrasting amounts of forward movement
or unsettledness in root-movements, alternating use of non-harmonic
tones. combinations of low and high dynamic levels, contrasts of mood
colors. and shifts between the low and higher levels of harmonic complexities.
Those structural relationships which are found to be at a low level of
interest or'monotonous in order of importance are the following: dynamic
levels which are similar. similar levels of rhythmic complexities, similar
meters. and similar levels of harmonic structure.

It should be noted that two of the structural elements which are
high in contrast and variety for the nine concerts are found also to be
factors which can contribute a low or monotonous level of structural
interest. It may be concluded. then that much of the burden of building
a concert program which is high inrstructural interest rests upon the

skill of the individual conductor.

294
CHAPTER VI

SUMMARY AND CONCLUSIONS

The final chapter in the dissertation deals with a summary of the
entire work. and presents some overball condlusions and recommendations

about the study.

§EEE££Z

The data reported in this dissertation may be summarized as
follows. In Chapter II a study was made to determine those criteria
which are considered important to a conductor in building a choral concert
prognmn. The criteria examined. in the light of research findings. were
concerned only with internal considerations and not with the external such
as selection of'personnel. rehearsal techniques. acoustics, eye stimuli
and the like. The.internal influences considered included musical
sophistication of the audience. sources of enjoyment. choosing the music.
scheme of'organization. unity. variety and contrast. and order.

From the literature examined it was found that the listener's
ability to perceive and enjoy music is derived from.ane or several
different combinations of musical stimuli. These are (1) physical movement
which is felt to be either in the observer'or in the music itself:

(2) associations of past experiences with music and with its ability to
evoke memories. emotions. or mood; (3) a reaction of'pleasantness or
unpleasantness: and. (4) the meaning of the music. which includes under»
standing, a personal interest in. or an analysis of the structural aspects
of musical composition. Authorities conclude that unless a listener

becomes highly ”formeminded." he is limited to the most elementary levels

295
of music appreciation. If training and experience enhance the listener's
responses to music with increased enjoyment, then it is the responsibility
of the choral conductor to increase musical understanding through some
kind of educational process such as program notes or oral comments.

One important task for the conductor is the discriminative judgment
in the selection of individual choral selections. Research indicates
that the most satisfactory method of selecting individual choral
compositions is by the over-all evaluative judgment. These criteria for
over-all rating includes literary worth and suitability of text. reasonable
range and difficulty of parts. probable appeal to the average chorus
member and to the average audience. However. it was concluded that if a
conductor was to build a choral program high in musical interest he should
give serious attention to the individual components of musical structure
as well as to the overall worth of the individual selection.

The plan of the concert is found to be an important consideration
for the conductor. A method was suggested of first setting up a scheme
of organization presenting some semblance of logic and coherence and
then to find the appropriate choral compositions suitable to the overt-all
plan. Suggestions were offered as to how this might be accomplished
through the use of the principles of unity, variety and contrast. and order
of selections.

Chapter III concerns itself with a study of the conditions and
influences which act upon choral conductors in nine different colleges
and universities as they go about the task of selecting and arranging
music for a public concert. The nine institutions studied appear to be
fairly homogeneous with enrollments of 400 students in a small liberal

arts college to 13.000 fullatime and partatime students in a state college.

296
The music performance groups include p_pppppllg_choirs. mixed college
choirs. madrigal groups. and men's and women's glee clubs. Percentages
of music majors as members of the performing groups. rehearsal periods.
college credit allowed. methods for auditioning students for membership
differ widely from group to group.

Of the four major bases which determine the importance of the
purpose of the choral organization and its subsequent home concert. its
value as an educational experience for the participant was of highest
importance in the estimation of the conductors interviewed. Other purposes
in order of their importance are an educational experience for the college
audience. and the fact that the college places a high degree of importance
on the choral activities and their contributions toward the cultural
life of the college and community. Individual conductors deemed as important
such things as fun for the participants. admission charges to underwrite
the cost of a choir tour. human values and rewards other than educational.
and the use of the concert as a motivating factor.

Those experiences and influences which have contributed most to
the procedures used by the conductors in building choral programs are
experience in program building. research in libraries. attendance at
professional choral concerts. the conductor's participation in choral
concerts. and. relatively important, nnlsical scores obtained from music
publishing companies. From the study it appears that experience itself
is of utmost value for the nine conductors.

Regarding factors which seriously hinder the conductor from freely
selecting and programing music on a concert. there seems to be only one
which somewhat influenced the conductors' choices. This limitation concerns

the lack of musicianship and vocal maturity of the singers themselves.

297
This factor is noted to be highly important in those colleges which do not
have music departments and which offer*music only on an extra-curricular
basis. Another factor which seems to attain some degree of importance in
limiting the conductor is the lack of sufficient rehearsal time.

Chapter IV presents the data on the process used by each of the
nine conductors in choosing individual selections. and the method used
in arranging the order of single compositions into groups and determining
group relationships. In this study it is apparent that the conductors
are influenced in their selection of music not only by the uniqueness of
their own personality or situation. but by the fact that each conductor
selected music specifically for his own group of'performers and the
subsequent public concert presented before his own college audience.

The criteria examined were placed under two major categories.
those aspects of musical structure which appear to be of a more general
nature and those which appear to be of'a more specific nature. In the
general criteria for selecting individual compositions. the matter of
overball'worth of the music is held to be highly important. With one
conductor. it is either a matter of his liking the number or of his
considering it to be one worthy of'perfbrmance. Another conductor
comments. that the overeall worth of a composition is a "twooway" aspect.
If all numbers are chosen because they have a high degree of musical worth.
it would be difficult to select a program which would satisfy everyone
in his audience. Another conductor in judging compositions considers
the expressiveness and clarity of the musical idea. Next in importance.
in the opinion of the nine conductors. is the matter of literary worth and
suitability of text. The third criteria in order of importance is the

inclusion of selections which are of a light or humorous nature. The fact

298
that a conductor should include such selections in order to obtain balance
or variety is an important factor. Fourth. is the matter'of the overhall
probable appeal of the music for the performers. It is interesting to
note that the conductors are of the impression that the appeal of the
music for the participants is slightly more important than the appeal of
the music for the home concert audience.

When combining individual choral compositions with other compositions
in order to form groups. the importance of the general criteria or overhall
aspects appears to be of little or no consequence. There is. however,
one exception. The matter of style is highly important since the conductors
like to group together compositions which are of the same chronological
period. In the specific Criteria, the conductors regard highly the
following structural elements in order of their importance: tempo.
mood. dynamics. quality of sacred or secular. rhythm. harmonic structure.
and meter.

When asked to suggest other criteria. only one reported that he
selected music for a balanced repertoire over a fourbyear cycle. Several
of the conductors stressed that they not only select music with the concert
program in.mind. but plan music suitable for other concert appearances.

The type of choral arrangement seemed to be important to a few of the
conductors. One conductor avoids using compositions which attempt to make
a chorus sound like an orchestra. Another conductor avoids compositions
which contain humming parts or'those which unnecessarily double parts in
order to obtain a fuller sound. Still another conductor maintains that
many folksong arrangements lack simplicity and sincerity.

From the data it may be concluded that the nine conductors place

more importance on the general criteria or overball aspects of the music

299
when selecting individual compositions for possible use on a concert
program. In turn, these same conductors place a higher value on the
components of.musical structure when combining the previously selected
compositions into groups. The one exception is the matter of style.

Two methods of programing seem to be primarily used by the nine
conductors. One conductor sets up a scheme of organization beforehand
and then finds the appropriate compositions suitable to this scheme or
arrangement. Two conductors select individual compositions appropriate to
their choral groups and situations. and then arrange the compositions
into some sort of order fer a public concert. Six conductors use a
combination of the two methods described.

One conductor was influenced in his method of building a program
by lack of adequate funds for the purchase of new music. Another
conductor selects music primarily to fit the concerts presented offecampus
with the home concert program being made up from the numbers sung at the
other concerts. A.third conductor selects music for two different choral
organizations which appear separately in offecampus concerts. and the home
concert is made up from the two repertoires. Lack of staging facilities
influenced the program arrangement of a fourth conductor.

An examinatibn of the nine concerts reveals a divergence in over:
all scheme of organization. This divergency is found in the different
kinds of choral organizations featured, use of assisting soloists and
ensembles9 total number of individual compositions programedo total
number of groups. and program length.

Finally. each conductor described in detail the important considerations
which helped him determine the order of the choral compositions. In analyzing

the comments made by the conductors. it is apparent that the general

300
considerations of musical structure were referred to more often than the
specific details of musical structure. It may be hypothesized that this
dichotomy between what they held as important in the process of selecting
and arrangingcompositions for a program, and how they described the
actual process in building the concert program under study may be attributed
to two major factors. One might be due to the conductor's memory of Ehe
process he actually fellowed. or he may be influenced more than he realizes
by the general aspects of muSical structure.

In the arrangement of single compositions in groups. the quality
of mood appears to be the primary determinant. In the verbal descriptions
given by the conductors interviewed this was mentioned most often. In
order of their importance the following were considered as highly important
in the process of combining compositions: tempo. style and harmony. the
overball quality of contrast. rhythm. length. dynamics. coloristic
contrasts through the use of solo voices or piano. the positions of the
melody. and familiarity of the text to the audience. Finally. all nine
conductors regard the principles of variety and contrast as being highly
important to their process of building a musically interesting concert
program.

In Chapter V a study is made to determine the amount of music
structural interest contained in the nine concert programs. The method
used consisted of comparing the number of different musical elements
contained in the 156 compositions. The first step consisted of analyzing
the music in order to determine the percentages found in the following
data: type chords. roots-movements. non-aharmonic tones. dynamic levels.
position of the melody. and voice textures. Other data examined were the

key and mode. meters tempo. mood. rhythmic complexities. type of accompaniment.

301
modulations, and use of solos or ensembles. An overaall concert norm of
musical structure was established and then each musical element was
examined in order to determine the low or high amount of structural
complexities. Each composition. in turn, was compared with this overeall
concert norm in order to find where it fell on the scale of structural
complexity. The analysis data were arranged on the respective tables and
graphs for each concert studied.

The next step was to examine the amount of variety and contrast
or'monotony found in the musical structure of the nine programs. This was
done by determining the amount of differences in each pair of’musical
elements studied. These relationships. then. revealed the amount of
structural variety and contrast or monotony. A criterion of judgment for
the various structural elements was first determined for each of the
fourteen structural elements of music. From these data, interestelevel
charts were constructed indicating the low orrfigh amount of contrast and
variety as revealed by the amount of differences and similarities of the
structural complexities.

From these data it was concluded that Concert C ranks the highest
in amount of structural interest with 92 per cent structural relationships
which are high or moderate in amount of variety and contrast. with a low
of 8 per cent in those relationships which are repetitious or'monotonous.
The following is the rank order of the remaining eight concert programsg
Concert I with 88 per cent high and 12 per cent low; Concert F‘with 85
per cent high and 15 per cent low; Concert D with 8% per cent high and
16 per cent low; Concert H with 82 per cent high and 18 per cent low:
Concert E'withr80 per cent high and 20 per cent low: Concert A with 80

per cent high and 20 per cent low; Concert G with 80 per cent high and 20

302

per cent low: and Concert B with 79 per cent high and 21 per'cent low.
Of the total number of possible relationships of the various

elements of musical structure studied. those which contribute to a high
degree of interest consist of the following: variety of voice textures.
varied positions of the melody. contrasting amounts of forward movement
or'unsettledness as feund in rootmmovements, use of non-harmonicvtones.
use of dynamics. contrasts of mood. and differences of harmonic complexities.
Those structural elements found to be at a low level of musical interest
in the nine concerts studied are similar dynamic levels, similar'levels
of rhythmic complexities. similar meters. and similar levels of harmonic

complexities.
Final Conclusions

The information reported in this study indicates clearly certain
conclusions.

A most significant conclusion is that there are varying amounts
of structural interest and monotony found in the nine choral concerts
studied. The percentages of monotony range from 21 per cent for Concert
B to 8 per cent for Concert C. Those music structural elements which were
found to be high in variety and contrast ranged from 28 per cent in
Concert B to 40 per cent fer Concert C.

The question now'is asked. what are the causes for structural
monotony in the programs examined? The evidence reported in this study
seems to point to both the internal conditions of the music programed and
the external influences upon the conductor during his process of building

a program.

303

First. the conductor will be considered. The majority of the
conductors indicated that they have few external problems or factors which
seriously limit or hinder them in their task of'program building. After
examining the data presented in this study, one can only conclude that '
most of the conductors do not give sufficient attention to the details of
musical elements or else are not aware of their importance for attaining
a high degree of variety and contrast in musical interest.

In describing the actual process of structuring a program. the
majority of conductors appear to be more concerned with the general
conditions than with the details of music structure. Such remarks as
”I look more at the general aspects and the over-all mood in positioning
these numbers." "It is just that the quality of this one piece seemed to
demand that we open the concert with it. I go by instinct a lot.” are
two similar types of responses received fromthe conductors interviewed.

In one instance the conductor obtains his order by placing those selections
which are longer in the first part and the shorter compositions in the
second half of the program. In another instance all sacred compositions
are placed first and secular in the second half. A few conductors

referred Specifically to key. meter. or harmony.as determinants which
influenced the order of individual compositions.

It is understood that a choral concert might contain a low amount
of structural interest and still be high in overeall musical enjoyment
for the audience. The matters of excellence found in the technical performance
level of the choral organizations. appearance. staging. quality of accompanying
instruments. auditorium acoustics. attractiveness of the printed program
and the information contained on it, and others. all exert their direct

or indirect influence upon successful concert performances.
1

304
Other things being equal. it is reasonable to expect that a choral
concert containing a high amount of variety and contrast in the musical

elements studied will have a high degree of musical interest.

305 ‘

APPENDIX

306
APPENDIX

SAMPLE LETTER SENT TO CONDUCTORS

Dear Sir:

Those of us who are choral conductors realize the importance
of building choral concert programs. I am conducting a study of the
relation between the criteria used fer choral concert program building
at the college level and an analysis of the elements of musical structure
feund in choral music.

The purpose of this study is to secure specific information
about the practices employed by selected college choral conductors in
selecting and arranging choral music for a public concert. and to investi-
gate the musical elements found in the individual selections of each
program relative to the scheme of organization determined by the
choral conductor.

Since your training and experience is in choral music, your
cooperation in this phase of the study is needed, and I am, therefore.
asking your assistance. This assistance will involve two items, a
;personal interview and an opportunity to examine the individual choral
selections performed at a recent concert. The findings of this study
‘will be summarized and sent to each person.participating in this research.

Will you return the enclosed reply card indicating whether or
not you are willing to participate in this project and the time most
convenient for a personal interview.

Sincerely,

Maurice Gerow

307

INTERVIEWLQUESTIONNAIRE: "CRITERIA FOR BUILDING A CHORAL CONCERT
PROGRAM?

Name
College

Instructions--This study is concerned with determining those criteria

which are of primary importance in appraising your procedures in structuring
a logical and musically interesting choral program at the college level.

The criteria included on the following pages have been derived from a

survey of related literature.

You are asked to evaluate the following cirteria in terms of
their importance in your own process of building the concert program
under consideration. Kindly answer each question strictly in accordance
with your practice of program building. This investigation is concerned
with methods of program building only. Please feel free to express
honestly the best that your experience has indicated. Do not worry if
your procedures run counter to "textbook" advice. Please evaluate
the criteria by assigning it the number of your choice according to the
following scale:

1.--0f no importance
2.--Slightly important
3.--Mbderately important
4.--Very important

5.-0f greatest importance

For example, if'you rigorously follow a particular'procedure suggested
in the criteria for building your own programs give it a rating of

four or five depending upon its importance and frequency. If you do
not use a particular criterion suggested, or use it very little, rate
the criterion as being of no importance or of slight importance. These
criteria which you use in about fifty per cent of your activities
involved in the preparation of the concert program.under study should
be given a rating of three-~moderately important.

Feel free at any time to ask questions regarding definitions,
meaning of statements, or to qualify your answers if‘desired.

1.
2.

3.

on the program under study.

308
PART I

Number of years of experience directing college choral groups.
Number of years of directing college choral groups in your present
position.

Type of performance group(s) represented on the concert program
under study:

Choir:
Men's Glee Club:
women's Glee Club:
Others:

Total enrollment Music majors % General %

Total enrollment Music majors % General %
Total enrollment Music majors General %
Total enrollment music majors % General %

Explain the kind of audition or voice test required for admission
into each group.
Average number of scheduled rehearsal periods each week, length:
Type of audience that attends home concerts.
What experiences have contributed most to your present procedures
of building choral programs? Please evaluate each by assigning it
the number of your choice according to the scale of importance.

value Assigned

a.

 

College courses elected which were designed specifically
for program building No.
b. Participation as a student in choral programs at the
college level. No.
c. Attendance at other college choral concert programs or
choral festivals. No.
d. Attendance at professional choral concert programs. No.
a. Suggestions or opinions offered by: students No.
music faculty No.
interested lay people No.
f. Printed programs found in periodicals. books, and other
publications. No.
g. Programs heard over the radio or television. No.
h. Summer choral workshops. No.
1. Music obtained directly from music publishing companies. No.
3. Individual research carried on by you in libraries and .
other places. No.
R. Ekperience derived from building choral concert programs
year after year. No.
1. Other No.

PART II

Evaluate each of the following statements as factors which tend
'to limit you as you selected and programed the choral numbers for use

Kindly use the same rating scale.

1.

2.
3.

4.
5.

9.

10.
11.
12.

13.

14.

your situation and performance groups and affect your choice of

309

Value Assigned

Personal preferences or goals conflict with music de-
partment or college goals. Explain.
Lack of adequate rehearsal time.
Singers have limited amount of'musicianship and vocal
experience.
Singers lack vocal maturity for more difficult music.
Lack sufficient number of tenor voices fer proper balance
of parts.

Basses

Altos

Sopranos

Singer's musical tastes conflict with conductor's musical
taste.
Limited budget fer the purchase of choral music.
Sources inadequate for obtaining new choral literature
suggestions suitable fbr the choral groups represented
in the programs under study.
Audience which attends home concert does not care to
listen to music that has worth.
Concert hall facilities are limited. Ekplain.
Rehearsal hall facilities are limited. Explain.
Lack of adequate equipment fer the perfbrmance of
certain choral numbers, i.e., piano. organ, risers,
or instrumentalists.
Due to the type of college or other conditions, the choral
groups which perform in concert are limited exclusively to
either'men or women's organizations.
Others.

PART III

N0.
N0.

NO 0
NO.

No.
NO.
NO.
NO.

No.
Nb.

No.

I

No.
No.
No.

No.

NC.
No.

Evaluate the following statements of’purpose which apply to

numbers and the subsequent final concert program.

1.
2.

30

h.

5.

7.

Culmination of year's choral activities. (Home concert)
College expects the home concert performance as a part of
the cultural life of the college and community.

The home concert is another medium of entertainment for the

student body.

value

NC.

No.

NC.

For the community and student body No.

Educational for the singers.

for those who participate.)

Educational for the college audience. (Through the choral
concert an attempt is made to influence the musical taste
the audience by presenting a type of musical literature
which is not usually heard via the radio or television.

A medium for public relations and/or for advertising the
offerings of the college.

Others.

(The experience of rehearsing
and singing the music programed for the home concert tends to
broaden the knowledge and understanding of musical literature

No.

No.

No.
No.

 

 

 

 

 

 

 

310
PART IV

Evaluate the following criteria both general and specific in
terms of their importance in the process of selecting single compositions
for use on the choral concert program under study. Kindly use the (A)
column for recording the values assigned.

 

 

 

General Criteria: Values assigned
(A) (B)
1. Purpose or aim of the concert program. No. No.
2. Literary worth and suitability of the text. No. No.
3. Reasonable range for all parts. No. No.
4. Difficulty of parts. No. No.
5. Over-all worth.of the music-beauty,
expressiveness. No. No. .
6. Over-all probable appeal to my choral groups. Nb. No.
7. Overhall probable to home concert audience. No. No.
8. Select a few numbers which are either well-
known or familiar to the audience. No. No.
9. Select a few numbers which are of a light or
humorous nature. No. No.
10. Style of the composition. No. No.
11. Other No. No.

Speci fic Criteria:

1. Select music which contains contrapuntal

 

 

 

 

devices. No. No.
2. Coloristic contrasts No. No.
3. Length No. No.
4. Mbod No. No.
5. Dynamics No. No.
6. No. No.
7. Rhythm No. No.
8. Harmony No. - No.
9. meter No. No.
10. Tempo No. No.
11. Form No. No.
12. Secular No. No.
13. Sacred No. No.
14.. Types of accompaniment No. No.
15. A cappella No. No. '
16. Other No. .No.

Kindly reconsider these same criteria in terms of combining single
compositions. To what extent does the degree of importance change when
placing single compositions side by side to form groups in the concert
program.under study? Kindly use column (B) for recording the values
assigned.

311
PART V

In order of its importance indicate which method you used to
structure or build the choral concert under study.

value assigned

1. Set up a scheme of organization and then found the

appropriate choral selections suitable to this

arrangement. No.
2. Selected individual choral selections appropriate

to my performing groups and my situation in terms

of difficulty and suitability. Arranged these into

some sort of order for the home concert program. No.

3. Combined both of the above methods. No.

4. Other (explain) ' No.
PART VI

Rate the following art principles, according to their degree
of importance, that influenced the arrangement of choral selections
on the concert program under study.
value assigned

1. Unityb-by unity we mean the adherence to a main or'dominant
theme (broad sense) or style in order that the structure
may seem whole or complete; Literally unity means ”oneness.”
In music one of the main elements of unity is that of
repetition. No.

2. variety and Contrast--by variety we mean a state or
quality of being various or varied; something
differing from others of the same general kind.

To contrast something is to place or arrange it
so as to set off or bring out differences,
diversity of adjacent parts. No.

PART VII

What is the approximate length, in terms of minutes, of the
entire concert and of the intermission if“used?

 

Outline the chronological order of the music on the program
‘under study and describe. in.your own words. the important considerations
'which seemed to influence the order of the compositions. For example,
in arranging the order of single compositions within groups and in
«determining the group relationships, explain how the elements of music
(style, rhythm, harmony, and so on) and the art principles of unity,
'variety, and contrast were considered in this phase of building your
program. A program which finally contains a high degree of msical
interest.

31.2
ANALYTICAL CHART
Pro gram Group Selection in Group

Composition title:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Composer: Arranger:

1. Key Mode

2. Meter Tempo

3. Duration Total number of measures

4. Chronological order Century

5. Style. primarily homophonic polyphonic both

6. General mood . voicings

7. Melodic position:
Soprano--number of measures percentage
Alto--—-number of measures percentage
Tenorb--number of measures percentage

 

 

Bass---number of measures percentage
Unison SATB--number of measures percentage

 

 

 

 

 

 

Others- number of measures. percentage
8. voice combinations by sections:

SATB--number of measures percentage

'I‘TBB----number of measures percentage

Others

9 . mscellaneous:
a. Unaccompanied accompanied (type)
independent of voices
reproduces choral parts

 

b. Incidental solos

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

duets
trios
quartets
instrumental (type)
obligato
descant
narration
other
10. Type chords: Total
a. Triads-number percentage
b. Sevenths-number percentage
c. Nineths-number percentage
d. Elevenths-number percentage
e. Thirteenths-number percentage
f. Fifteenths-number percentage
11. Hbot movements: total
Fifths or fourths percentage
Thirds or sixths percentage
Seconds or sevenths percentage

 

 

1 2. Number of modulations to keys removed by:
One accidental
Two accidentals
More than two accidentals

 

 

 

 

13.

14.

15.

Number of non-harmonic tones used:
a. Passing tones

b. Neighboring tones

c. Suspensions

313

d. Others: i.e., appoggiaturas, anticipations, escape
tones, pedal points, and free tones.

Rhythm complexities:
In terms of low moderate
a. Meter signatures:

b. Rhythmic patterns:
Unit:

 

moderately high

 

 

c. Rhythm.patterns primarily coincide with bar line
seldom coincide with bar line

d. Pattern combinations:

 

 

Dynamic levels:

a. Total measures of ppp
b. Total measures of pp
c. Total measures of'p
d. Total measures of mp

e. Total measures of mf

f. Total measures of f

g. Total measures of ff

h. Total measures of fff

1. Total measures of crescendo
j. Total measures of descrendo

 

percentage
percentage
percentage
percentage
percentage
percentage
percentage
percentage
percentage
percentage

 

 

 

 

high

314
CONCERT PROGRAM A

I
Ecce Videmus EuM.o e e o e e e e e e o o o o e o o e o o PaIGStrina
CTUCifixuS o o o o o e e e e e e e o o o o e o e o e o e LOtti
Grant Unto Me the Joy of Thy Salvation . . . . . . . . . Brahms

Concert Choir

II
0 Bone Jesu o e o o o o e o e e e e o e o o o e o o o o PaIOStrina
0 Sing Unto the Lord. 0 e o o e e o e o o o o o e o o o HaSSIGr
I Have Longed for Thy Saving Health 0 o o o o e o o e e Byrd
Chapel Choir
III
AVG Maria 0 e e e e e e e o o o e e e o o o o e o e o o BrUCkner

Now we Sing Thy Praise. . . . . . . . . . . . . . . . . Tschesnokoff
The LaSt Wbrds Of DaVid o e e e e e e e e e e o e o o o ThOMPson
Concert Choir

Intermission

IV

Come Soon 0 e e o e e o o o e o e e o o o e e o o o o o Brahms

To Be Sung of a Summer Night on the water . . . . . . Delius

Stomp Ybur FOOt e e e e o o o o e e e e o o e e o e o o arroaCQpeland
Concert Choir

V

Oh. La. Lac 0 e o e e o o e o o o o o o o o o e o o o o arr. Henderson

I went to the Market. 0 o e o e e o o e e o o e o e o arr. Henderson

Louisiana Hayride . . . . . . . . . . . arr. Stickles
madrigal Singers

VI

State Fair SeleCtiOnS o o o o e e e o e o e e o o .ROgOrs & Hammerstein

HOld 'em J06. e e e o e e e e o e e e e e e o o o o e 0 Thomas

Oklahoma Selections . . . . . . . . . . . . . . . Rogers & Hammerstein
Concert Choir

 

llllll|ll|l WA] 11.11 \|l I||| 1111|I|llu|11l

315
CONCERT PROGRAM B

I

LiebeSliederwaltzeSooeeeooeoooeoeoeeeeo Brahms
(From Opus 52 and Opus 65)

Verzicht, O Herz, auf Rettung

Finstere Schatten der Nacht

Rede, Madchen

Quartet: Die grunan Hopfenranke

Nein, Geliebter

vom Gebirge Well' auf Well'

Duet: vegelein durchrauscht die Luft

Am.Donaustrande

Ein kleiner, hubscher vogel

Wie des Abends schone Rote

Solo: Nagen im Herzen

Nein, es ist nicht auszukommen mit den Lenten!

Quartet: ‘Wen so lind die Auge mir

Sieh', wie ist die Wells klar

Nachtigall, sie singt so schon

Zum Schluss (Nun, ihr Mhsen, genug!)
THE COMBINED GLEE CLUBS

Intermission

II

Sacred Choruses
Ecce quomodo moritur justus . . . . . . . . . . . . .Jacob Handl
My spirit, be joyful (Cantata No. 146). . . . . . . Bach
German University Songs
Crambambuli . . . . . . . . . . . . . . . ... arr. Fritz volbach
Ergo Bibemus (Goethe) . . . . . . . . . . . . . . . Eberwein
THE MEN'S GLEE CLUB

III

Songs by the Blue and White Quartet

IV

TheNightingale...................
No, no, resistance is but vain! . . . . . . . . . . .
THE WOMEN'S GLEE CLUB

. . . ‘Weelkes
. . . Purcell

316

CONCERT PROGRAM B continued

V
Madrigals
Thesilverswan.................. Gibbons
Spring (Thomas Nabhe) e e e e o e e e e 0 Douglas Leedy, '59
Matona, mia cara. . . . . . . . . . . . . . . . . . di Lasso

THE COMBINED GLEE CLUBS

VI

College Songs
Torchbearers . . . . . . . . . . . .
Primavera (Original version) . . . .
OvertheYearSoeeeeoeeeee

. Arthur D. Bissell
THE COMBINED GLEE CLUBS

e e o e Everett So Olive
0 e e e Ramsay Le Harris

   

— ‘_‘-‘

CONCERT PROGRAM C

I

317

Four Serious Songs . . . . . . . . . . . . . . . Johannes Brahms Op. 121

As With Beasts

So I Returned

0 Dearth

Though I Speak With the Tongues of Men
THE MEN'S GLEE CLUB

II

Piano Solo

III

Miserere (Psalm 51) . . . . . . .
Here Is Thy Footstool . . . . . .
King of Glory. King of Peace. . .
Simple Gifts (Shaker Hymn). . . .
THE MEN'S GLEE CLUB

Tenor Solo

V
Father William (From Mice in Wonderland) .
Black Is the Color of My True Love's Hair .
Lord Randall (British F0115 Song). 0 o e e e

Hailihry.......o........ 0
THE MEN'S GLEE CLUB

Intermission

VI

The College Quartet

VII

Clarinet Ensemble

0 O O O

arr. N. Lindsay Norden

. . Gregorio Allegri
. . Paul Creston
J. Stanley Sheppard

arr. Copland- Fine

0 e o e o Imng Fine

arr. Stuart Churchill
. . . arr. Philip Duey
o e e 0 “3.113111 Dawson

 

 

 

 

 

CONCERT PRCBRAM C continued

VIII

Tara. Tantrara, Tenio . . . . .. . . . . . . .
Echo-Song..................
Septanber Song (From Knickerbocker Holiday) .

THE MEN '5 GLEE CLUB

IX
The Hollywood Personality
X
Stomp Your Foot (From The Tender Land) . . .

Salvation Belongeth to Our God . . . . . . .
THE MEN’S GLEE CLUB

O

O

31.8

. Philip Goulon
0 d1 Lasso
. Kurt Weill

. Aaron Copland
Paul Tchesnokov

CONCERT PROGRAM D

I

The Seven Last Words of Christ. . . . . . . .
Lord, Have Mercy
Daughters, Weep Not
Father, Into Thy Hands

String Quartet
The Closing Doxology (Psalm 150). . . . . . .

Two Pianos
canyOnSintheS{yeoeoeeeooooeo

wondrousmveeeeeeeeeeoeoooeee

Climbing Up the Mountain, Children. 0 e o e
A CAPPELLA CHOIR

II
Duo Piano
III
We Be Three Poor Mariners . . . . . . . . . .
Hear w Song (from Pagliaccj.) e O o e e o o O
ABamSOngeeeeooooeeeeeozoe
MObileBay (Chantey).......... on
STATESMEN
Intermission

IV

Cantata Domino Canticum Novum e e e e e e
Let GO,WmY0u StayMe1.... o e e 0
When I Behold Thy Fair Locks Golden Sheen
ReSt Sweet Nymphs e e e e e e e e e e o o
Thewldandmueooeeeeoeoeoe

MADRIGAL SINGERS

O O O 0 O
O O O O O

V

At the Cry of the First Bird . . . .
Like As the Culver on the Bared Bough
Dieu! qu'el 1a fait bon regarder! .
LesmmeSdeCamptowne e e o o e e e
MADRIGAL S

NGERS

He...

0 O O O O O O O O

O O C O O

O O O O O O O O O

O O O O

319

oooIhde

. Lockwood

. Williams
arr. McKay
arr. Snith

. . . Ravenscroft
Leoncavallo-EZLkan

arr. mrtholomew

O O O O

O O O O O

Grieg

. . Hassler
. . Bennett
0 Goudimel
Pilkington

Anonymous

. Fletcher
. Stevens
. Debussy
Foster-Hill

CONCERT PROGRAM E

Adoramus te Christa . . . . . . . .
Exultate D00 0 e o e e e o e e o o e 0
Thou KnoweSt. Lord 0 e e o e e e 0
Hear Us, 0 Lord (Judas Maccabaeus). .
A CAPPELLA CHOIR

O O
O O O 0

II

Soprano Soloist

III

April Is in My Mistress' Face. . . . . . .
Willy, Prithee GO to Bed 0 e e e e o e o e
E3. La, La. I Cannot Conceal It. 0 e e e 0
Fire, Fire,:My Heart 0 e e e e o o e o o e

MADRIGAL SINGERS

Intermission
IV

Quant j'ai Guy 13 tabourin o e e e o e e o e
Benedictus o e e o e o e e e e e o o e o o e

Exnltate D90 0 e e e e e o e e e e e e o e e o

A cmmu CHOIR

V

Come Where My Love Lie Dreaming. . . . . . .
Ev'ry Night When the Sun Goes Down . . . . .
GO T911 It on the Mbuntain e e o e e e e e e

MADRIGAL SINGERS

VI
Alma Mater (Concert Arrangement) . . . . . .

The Sublime Process of Law Enforcement . . .
Romany Life (The Fortune Teller) . . . . . .

A CAPPHLA CIDIR

O

320

o o e e o o Palestrina
e e e o e e PaIOStrina
e e e e e o Purcell
e e e o e e Handel
o e o e o o Mbrlay
. . . . . Ravenscroft
e o e e o o Carton
e o o e e e Mbrlqy

o o o e e e DBbusay
e o e o e e Paladihe
e e e e o e POUlanc

e e o o e e FbSter
Appalachian Folk Song
0 e e e e e Spiritual

o o o o e e Dallin
e e e e e e ThOMPson
o o e e o 0 Herbert

 

 

Cantata Domino . . .
Tenebrae Factae Sunt
Psalm91......

DerSamann.....-.

Psalm1joeeeeee

Beautiful Savior

Wondrous love . . .
Prayer to Jesus . .
The Joys of Mary . .
Were You There . . .
Amen e o e o e o e 0

Lord, Thou Hast Been

O O O O O
O O O O O

O O O O O 0

Our

CONCERT PROGRAM F

I
CONCERT CHOIR
II
CONCERT CHOIR
Int emission
III

Refuge.......

TheCreation.......o........

CONCERT CHOIR

O O 0 C O

321

Hans Leo Hassler
. Francis Poulenc

Felix Mendelssohn
. Johannes Brahms
. Lawrence Morton

F. Melius Christiansen

e e arr. Tom SCOtt
. . George Oldroyd
. arr. John W. Work

arr. H. T. Burleigh
arr. Jester Hairston

R. Vaughan Williams
0 o e e a Tom SCOtt

 

— lI._ '-

._ ‘—|

 

 

 

 

CONCERT PROGRAM G

I

mmtherSoeeeooeeeeeeeeoe
Lord, Thou hast been our dwelling place
The Lord is my shepherd
Hallelu, Praise ye the Lord

Gloria. from mss II o o e e e
Alleluia from Motet VI . . .
A

EXHltateDeOeeeeeo

A Choral FlOuriSh e e e o e e
Invocation and Chorale. . . .
Seek Not Afar For Beauty. . .

A

AMadrigalForMary. o e e 0

Four Whimsical Rhymes . . . .
Hush A bye, Baby
Little Tommyr Tucker
On Saturday Night
Molly, W Sister, and

CAPPELLA CHOIR

II

o e e o
o e e o
e e e e
e e e 0
me o e e
e o e e

0000.
He...

APPELLACOR

Intermission

III

I Fall Out

A CAPPELLA CHOIR

Sorrento Folk Song . . . .
Green Grow the Rushes, Ho!
Beyond the Village. 0 e e 0
Begin the Beguine . . . . .
Stomp your fOOt e e e o e 0

>0 0 O O O

R

O O O O

O O O O O

322.

see... krlfiogers

. . Hans Leo Hassler
. Johann Sebastian Bach

. . Francis Poulenc

. . R. Vaughan Williams
. . . Paul Christiansen
e o e Leland Bo Sateren

. . . Robert G. Olson
O O O O 0 use mun-6y

arr. Raymond Allyn Smith
0 e o arr. George wan
arr. H. A. Schimmerling
. . . Lawrence-Porter
. . . . Aaron Copland

323
CONCERT PROGRAM H

I
Brothers Sing On . . . . . . . . . . . . ._. . . . . . . . . . Grieg
AveMaria0.0000000000000000.eoeoeeeVittoria
TuESPetrus......................... Haj-131‘

MEN'S GLEE CLUB

II

Bass Solo

III

Salvation 15 Created 0 o e o e e o o e o e o e o o o e o o TSCheSDOkOff
The Creation 0 e e o o e arr. MChter

MEN'S GLEE CLUB

Intermission

IV

Seventy-Six Trombones e e e e e e e o e e e o o o o o wraith Wilson
m the Things YOU. Are 0 e e e e e e e e e o e e o e arr. HouenbOCk
MEN'S GLEE CLUB

Male Quartet

VI

Old Man Noah o o o e o e e e e e e o e e o e e e o o e arr. Bartholomew
Didn't W 101d Deliver Daniel? 0 e e e e e e e e e o e o arr. Ferguson
MEN'S GLEE CLUB

VII
Baritone Solo

VIII
StellaByStarlj-ght00.000000000000000... Young
SunshineGirl........................ Merrill
InWAmSeeeeeeeeoe ..........LoesserandGrouya

MEN'S GLEE CLUB

 

y 11411 ‘l‘lq‘l. it

Efl‘fifgftrfi?
p 1 1 V , ‘l

CONCERT PROGRAM I

324

I
Motet VI (Psalm 117) Praise the Lord, All Ye Nations . . . . . Bach
EveningSongtoGod..o.............o.... Haydn
CONCERT CHOIR
II
Fourpsalms.(3pe7}+0.0000000000000000... Grieg
How fair is Thy face
God's Son hath set me free
Jesus Christ our Lord is risen
In heav'n above
CONCERT CHOIR
Intermission
III
Neniagopu$8zoeooeooeeeeeeoeeeeoeeooo Brahms
CONCERT CHOIR
IV
flowWheretheWaters MOWOOOOOOOOOOOOOO mm” To Milkey
0 What Lovely magic Hath Been Here . . . . . . . . . . Granville Bantock
JOhIIHardyeeeoeeeeeeeeeeeeeeeeoeoo EI'QStBacon
Jimmie's gotagoil ooeeeoeeooeeeoooijlCent Persichetti
CONCERT CHOIR
V
TheThreeKj-ngs00000000000000.0000. HealeyWillan
ChriStmaSEve00.000000000000000... NomanmbOff
TheStoryoftheTwelve eeeoeeeeeeeoeoeeee TomSCOtt
AlmaPQtereeoeeeeeoeeeeeeoeeeeeeArrouOldfield
CONCERT CHOIR

 

1 I . I . 1 {LI-lill‘lil‘l

11‘.
.11!

BIBLIOGRAPHY

m

BIBLIOGRAPHY

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