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Functions of Quotations in Steven Stucky's Oratorio August 4, 1964

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Functions of Quotations in Steven Stucky's Oratorio August 4, 1964 FUNCTIONS OF QUOTATIONS IN STEVEN STUCKY‘S ORATORIO AUGUST 4, 1964 AND THEIR PLACEMENTS WITHIN THE CONTEXT OF A QUOTATION CONTINUUM: CULTURAL, COMMENTARY, REMEMBRANCE, AND UNITY Jennifer Tish Davenport, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: David B. Schwarz, Major Professor Stephen Slottow, Committee Member Joseph Klein, Committee Member and Chair of the Division of Composition Studies Lynn Eustis, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Davenport, Jennifer Tish. Functions of Quotations in Steven Stucky’s Oratorio August 4, 1964 and Their Placements within the Context of a Quotation Continuum: Cultural, Commentary, Remembrance, and Unity. Master of Music (Music Theory), May 2011, 104 pp., references, 70 titles. The oratorio August 4, 1964 is a twelve-movement work for orchestra, chorus, and four soloists written by Steven Stucky. The premise for the libretto, adapted by Gene Scheer, is the confluence of two events during one day (August 4, 1964) in the life of Lyndon B. Johnson. Although the main idea of the libretto focuses on these two events of this one day, many cultural references of the 1960’s in general can be found as well, such as quotations from the well-known song “We Shall Overcome.” Stucky borrows from a motet he wrote in 2005 for another quotation source utilized in this oratorio, “O Vos Omnes.” My goal in this thesis is to reveal and analyze the many different levels of quotations that exist within August 4, 1964, to explore each quotation's individual function within the oratorio (as a cultural gesture, commentary or remembrance), and to examine the structural coherence that emerges as a result of their use within the oratorio. Copyright 2011 by Jennifer Tish Davenport ii ACKNOWLEDGEMENTS I would like to thank my major professor, David Schwarz, for his expert guidance over the course of this project and my committee members, Stephen Slottow and Joseph Klein, for their time and suggestions as well. I am grateful to the composer, Steven Stucky, who gave permission for me to purchase the orchestral and vocal scores immediately following the world premiere of August 4, 1964 in 2008 for analysis and study. Steven Stucky and Gene Scheer have also graciously granted me permission to utilize excerpts from the oratorio in this thesis and have both quickly responded to any questions or requests I have submitted. I greatly appreciate the Summer Research Grant awarded to me by the Division of Music History, Theory and Ethnomusicology at the University of North Texas which helped further my research on quotation and the continuum. Many thanks as well to the Estate of Stephen Spender for kindly allowing the reprint of excerpts from ―I Think Continually of Those Who Were Truly Great‖ from New Collected Poems by Stephen Spender (2004) and to the United Methodist Publishing House for granting gratis permission for use of the United Methodist Hymnal version of ―We Shall Overcome.‖ Last, but certainly not least, a special thanks to my entire family for their continuous support and understanding and in particular to Linda Kennedy, my mother, for also selflessly devoting endless hours to proofreading and editing. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF EXAMPLES .....................................................................................................................v PREFACE .................................................................................................................................... viii Chapters 1. "O VOS OMNES": THE MOTIVIC HALF-STEP AND MUSICAL MEANING .1 2. "WE SHALL OVERCOME": "OBVIOUS/LITERAL" QUOTATION AND CULTURAL ASSOCIATIONS ............................................................................22 3. "WE SHALL OVERCOME": TWO TYPES OF "ELUSIVE" QUOTATIONS AS COMMENTARY ...................................................................................................36 4. "WE SHALL OVERCOME": "ELUSIVE" QUOTATIONS AS REMEMBRANCE .................................................................................................60 5. QUOTATIONS FROM "O VOS OMNES" AND "WE SHALL OVERCOME": STRUCTURAL RELATIONSHIPS AND UNITY ..............................................80 BIBLIOGRAPHY ........................................................................................................................100 iv LIST OF EXAMPLES Page 1. Visual Representation of the Quotation Continuum ............................................................3 * (a) Melodic Half-Step Motive ...........................................................................................5 2. *Diminished Tetrachord from Oct 2,3 .................................................................................6 3. * (G♭ – F) Half-Step Motive Embedded into Melodic Line ..............................................7 * (a) (E♭ – D) Half-Step Motive Embedded into Melodic Line ........................................7 4. *Half-Step Motive as Neighbor Tone ..................................................................................8 5. *Half-Step Motive as Voice leading ....................................................................................9 † (a) Example of Parsimonious Voice Leading .................................................................10 † (b) Harmonic Reduction of Example 5 and Parsimony ..................................................11 6. *Cadential Use of Half-Step Motive..................................................................................12 †† (a) Cadential Use of Half-Step Motive, Ending of ―O Vos Omnes‖/‖Elegy‖ ..............14 7. *Polytonality, G minor and A♭ minor .............................................................................16 * (a) Creation of Harmony with Half-Step Motive ............................................................17 8. *Melody from ―We Shall Overcome‖ in August 4, 1964 ..................................................24 ‡ (a) Reprint of ―We Shall Overcome‖ from United Methodist Hymnal ..........................25 * (b) Main Quotation from ―We Shall Overcome,‖ the Brass Statement ..........................28 9. *Musical Setting of Text ―(And) We Shall Overcome‖ ....................................................31 * (a) Melody for ―I don‘t have a price‖ and its Retrograde and Transposition .................33 10. *Harmonic Progression and Interruption by Half-Step Motion ........................................38 ______________________________ * These items are reproduced with permission from Steven Stucky and/or Gene Scheer, copyright holders of August 4, 1964. ‡ These items are reproduced with permission from the United Methodist Publishing House. † These examples are adapted from August 4, 1964 (harmonic reductions ). †† This example is taken from the final four measures of the ―O Vos Omnes‖ piano reduction (copyright held by Theodore Presser Company) and is the exact same harmonic and melodic content as ―Elegy‖ from August 4, 1964. v 11. * ―Elusive Quotation‖ and Commentary ―overcome some – (day)‖ .................................40 ‡ (a) Excerpt of Example 11 from ―We Shall Overcome‖ ................................................42 12. * ―Elusive Quotation‖ and Commentary: ―someday, deep in my heart‖ ...........................43 ‡ (a) Excerpt of Example 12 from ―We Shall Overcome‖ ................................................44 13. * ―Elusive Quotation‖ and Commentary: ―Oh, deep in my heart, I do believe‖ ...............46 * (a) Tertian Harmonies and Open Fifth Stackings in Movement 4 ..................................49 † (b) Harmonic Reduction of Example 13a .......................................................................49 14. ‡ Troped ―We Shall Overcome‖ Melody Fragment ..........................................................51 * (a) Overlay of New Text with Melody from Example 14 ..............................................51 * (b) Troped ―Elusive‖ Quotation: ―(and) we/shall overcome‖ tropes with the text ―I don‘t have a price.‖ ............................................................................................................52 15. *Troped ―Elusive‖ Quotation: ―(and) we/shall overcome‖ tropes with the text ―I don‘t have a price.‖ .....................................................................................................................54 16. *C minor versus C major in ―And we shall overcome‖.....................................................55 * (a) Connection between Johnson‘s ―And we shall overcome‖ melodic line and ―We Shall Overcome‖ melody ............................................................................................. 56-57 17. * (a) Shared Intervallic Content and CSEG between ―I don‘t have a price‖ and ―I think continually‖ ........................................................................................................................61 * (b) Shared Intervallic Content and CSEG between ―I don‘t have a price‖ and ―I think continually‖ ........................................................................................................................61 18. ‡Transposition of ―(and) We shall overcome‖ ..................................................................62 * (a) ―I think continually …‖ as a Slightly Altered Melody from mm. 4-7 of ―We Shall
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