INFORMATION TO USERS This was produced from a copy of a document sent to us for microfîlming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. Univ6TSify M icrofilm s International 300 N. ZEEB ROAD, ANN ARBOR, Ml 48106 18 BEDFORD ROW, LONDON WC1R 4EJ, ENGLAND • " 792124-2 KOHLENBERG, RANDY BRYAN HARRISON KERRS PORTRAIT OF A TWENTIETH-CENTURY AMERICAN COMPOSER. THE UNIVERSITY OF OKLAHOMA, PH.D., 1978 COPR. 1979 KOHLENBERG, RANDY BRYAN UniversiV Miadnlms international s o o n , z e e s r o a o . a n n a r b o r , m i 4 s io 6 © 1979 RANDY BRYAN KOHLENBERG ALL RIGHTS RESERVED PLEASE NOTE: In all cases this material has been filmed In the best possible way from the available copy. Problems encountered with this document have been Identified here with a check mark . 1. Glossy photographs 2. Colored Illustrations ______ 3. Photographs with dark background ^ 4. Illustrations are poor copy ______ 5. Print shows through as there Is text on both sides of page 6. Indistinct, broken or small print on several pages \y^ throughout 7. Tightly bound copy with print lost In spine 8. Computer printout pages with indistinct print 9. Page(s) lacking when material received, and not available from school or author ______ 10. Page(s) ______ seem to be missing in numbering only as text follows ______ 11. Poor carbon copy ______ 12. Not original copy, several pages with blurred type 13. Appendix pages are poor copy ______ 14. Original copy with light type ______ 15. Curling and wrinkled pages ______ 16. Other U niversi^ AAicronlms international 300 N. ZEES RD.. ANN A R30R . Ml 43106 '3131 761-4700 THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE HARRISON KERR: PORTRAIT OF A TWENTIETH- CENTURY AMERICAN COMPOSER A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY RANDY B. KOHLENBERG Norman, Oklahoma 1978 HARRISON KERR: PORTRAIT OF A TWENTIETH- CENTURY AMERICAN COMPOSER APPROVED BY -W. \/Lv-uC1 (a ! ; DISSERTATION COMMITTEE DEDICATION This study of the life and music of Harrison Kerr is dedicated to the memory of Karen Louise Mernitz Kohlenberg. XIX ACKNOWLEDGMENT This study would have been impossible without the support and assistance of Harrison and Jeanne Kerr who provided many documents, unpublished manuscripts, clipping files, musical scores, musical recordings, and photographs. The author is especially grateful to the Kerrs for their hours given during the personal interviews and for the written permission to use quotations and musical examples in this study. The author is indebted to the chairman of the dissertation committe. Dr. Eugene Enrico. His guidance, encouragement, careful editing, and many hours of planning contributed significantly to the success of the study. The author also is grateful to the dissertation committee. Dr. Harry Fierbaugh, Dr. Melvin Platt, and Dr. Irvin Wagner. Their comments, suggestions, and encouragement have enhanced the quality of the study. The author also appreciates the encouragement of Dr. Ralph Verrastro who was the first to envision the potential of the study. The author is also indebted to Billie Kohlenberg and Bill and Hilma Mernitz. Their support and encouragement has made this study possible. IV PREFACE Harrison Kerr, born 1897, is a living American com­ poser who in recent years has received little acclaim for his musical and administrative accomplishments. Although Kerr probably is best known for his efforts to foster an understanding of twentieth-century American music, his achievements as teacher, administrator, and composer are equally important. From 1946 through 1949, Harrison Kerr held the high­ est and most prestigious position in fine arts for the United States Government. After leaving that post, he became the Dean of the College of Fine Arts at the University of Oklahoma. Kerr also served as the first administrator of both the American Composers Alliance and the American Music Center. Earlier in his career, he edited an arts magazine, managed a major non-profit music press, supervised the New Music Quarterly Recordings project, and held several teach­ ing and administrative positions. Kerr has composed nearly a hundred works, but because of self criticism, has allowed fewer than half to be performed. The works released for performance include a four-act opera, four symphonies, five other works for V orchestra/ three works for mixed chorus, a dance suite for two pianos and percussion, three string quartets, two trios, as well as works for flute and piano, voice and piano, voice and chamber ensemble, violin and orchestra, violoncello and orchestra, solo piano, organ, solo guitar, flute duet, and trombone ensemble. Approximately forty-eight works have not been released by Kerr for publication. Despite his significance as a composer, teacher, and administrator, the only critical study of Harrison Kerr's life and work is an article written in 1959 by Alexander Ringer. No comprehensive biography has been published. The following chapters detail the events of Kerr's life and the significance of his works. v x TABLE OF CONTENTS Page PREFACE ............................................... V CHAPTER I. THE LIFE AND WORK OF HARRISON K E R R .............. 1 Childhood, Youth, and Early Maturity; 1897-1921 ............................... 1 Ancestry ............................... 1 His F a t h e r ................................2 His M o t h e r ................................5 Childhood ............................... 9 Y o u t h .................................... 11 Fontainebleau ........................... 16 Early Teaching Career..................... 22 Greenbrier...............................24 The New York Years: 1928-1949 26 The Chase S c h o o l ......................... 26 National Broadcasting Company ............ 28 T r e n d .....................................31 New Music Quarterly....................... 34 Arrow Music Press ....................... 38 Varese, Paneyko, Calder, and Ives ........ 39 American Composers Alliance .............. 48 American Music Center and B M I ............. 49 Chief, Music and Arts Section............. 56 National and International Music C o u n c i l ......................... 63 The Oklahoma Years: 1949-1971 66 The Early Years in Oklahoma............... 66 The Tower of K e l ......................... 74 Return to O k l a h o m a ....................... 78 Huntington Hartford Foundation .......... 81 Composer-in-Residence .................... 81 vii The Musical Experience .................. 84 The World T o u r ............................ 85 The Years of Retirement...................... 86 Active Retirement ...................... 86 The Composer in A m e r i c a .................. 87 Kerr's Eightieth Birthday .............. 90 The Problems of the Composer.............. 92 II. THE MUSIC OF HARRISON K E R R ...................... 94 Introduction .............................. 94 Pitch and T o n a l i t y .......................... 98 R h y t h m ..................................... 104 Timbre and T e x t u r e ......................... Ill Intensity................................... 120 Structure................................... 123 Trio for Clarinet/ Violoncello, and Piano I I I I I I I I T ............. 125 Movement I, A l l e g r o ..................... 127 Movement II, Largo ..................... 134 Movement III, Vivace Scherzando ........ 137 Movement IV, Allegro vivace, quasi p r e s t o ......................... 140 Sonata for Violin and P i a n o ................. 144 Large Section I ......................... 148 Large Section I I ......................... 153 Large Section I I I ....................... 155 Three Duos for Two Flutes................... 159 Movement I, A l l e g r o ..................... 162 Movement II, Larghetto .................. 166 Movement III,