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The Choral Music of Keaton Lee Scott with a Conductor's Analysis Of University of South Carolina Scholar Commons Theses and Dissertations 2016 The horC al Music of Keaton Lee Scott ithW A Conductor’s Analysis Of Requiem Damion Womack University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Other Music Commons Recommended Citation Womack, D.(2016). The Choral Music of Keaton Lee Scott itW h A Conductor’s Analysis Of Requiem. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3904 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE CHORAL MUSIC OF KEATON LEE SCOTT WITH A CONDUCTOR’S ANALYSIS OF REQUIEM By Damion Womack Bachelor of Music Education Alabama A&M University, 1997 Master of Music Education Alabama State University, 2003 _______________________________________ Submitted in Partial Fulfillments of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2016 Accepted by: Larry Wyatt, Major Professor Alicia Walker, Committee Member Andrew Gowan, Committee Member Samuel Douglas, Committee Member Cheryl L. Addy, Vice Provost and Dean of The Graduate School ACKNOWLEDGEMENTS First, I am thankful to God for an amazing life, family, and career. I would like to thank my parents, Charlie and Edna Womack, my sister Darlene Brown, and my brother, Rodrick Hill for their support. I would also like to thank my wife Sonechka Womack for her continuous love and support. My mentors have also been instrumental in my progression as a conductor. My major professor, Dr. Larry Wyatt, has been an amazing influence in my life. He is a wonderful conductor, musician, and educator. Richard Tucker, my undergraduate profes- sor, treated me as his son and taught me how to educate students. Perry Anderson, my high school choral director, instilled the love of choral music in me. My committee members, Dr. Larry Wyatt, Dr. Alicia Walker, Dr. Andrew Gowan, and Dr. Samuel Douglas have been great throughout this process. Additionally, I thank my professors, colleagues, and students for all they have taught me. K. Lee Scott has been exceptional through the entire process. He met with me on several occasions, sent many emails, and has answered countless phone calls and email messages. It was my pleasure to have the opportunity to work with such a talented per- son. ii ABSTRACT In addition to the analysis of Requiem by K. Lee Scott, this document provides biographical information and compositional style characteristics. The study was informed by frequent correspondences and multiple interviews with the composer. It is the author’s desire that this study will inspire and prepare other conductors to program this excellent composition, and encourage greater study of other accessible choral works by K. Lee Scott. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................ ii ABSTRACT ....................................................................................................................... iii LIST OF TABLES .............................................................................................................. v LIST OF FIGURES ............................................................................................................ vi Chapter 1: INTRODUCTION ............................................................................................. 1 Chapter 2: BIOGRAPHY .................................................................................................... 5 Chapter 3: COMPOSITIONAL STYLE ........................................................................... 14 Chapter 4: REQUIEM ........................................................................................................ 23 Chapter 5: SUMMARY AND CONCLUSION ................................................................ 74 BIBIOGRAPHY ................................................................................................................ 76 APPENDIX A: A Conversation with K. Lee Scott ........................................................... 78 83 APPENDIX B: A Conversation with Dr. Donald Trott .................................................... 81 86 iv LIST OF TABLES Table 4.1: The overall structure of the first movement ..................................................... 27 Table 4.2: The overall structure of the second movement ................................................ 39 Table 4.3: The overall structure of the third movement .................................................... 45 Table 4.4: The overall structure of the fourth movement .................................................. 50 Table 4.5: The overall structure of the fifth movement ..................................................... 61 Table 4.6: The overall structure of the sixth movement .................................................... 67 Table 4.7:The overall structure of the seventh movement ................................................ 73 v LIST OF FIGURES Figure 3.1: “The Old Ship of Zion,” mm. 25-4 .................................................................. 17 Figure 3.2: “Write Your Blessed Name,” mm.1-14 ........................................................... 19 Figure 3.3: Gloria, mm.124-131 ....................................................................................... 21 Figure 3.4: “Now Glad of Heart” mm. 41-47 ..................................................................... 22 Figure 4.1: Requiem, mm. 53-61 ....................................................................................... 29 Figure 4.2: Requiem, mm. 74-77 ....................................................................................... 31 Figure 4.3: Requiem, mm. 82-89 ....................................................................................... 32 Figure 4.4: Requiem, mm. 90-109 ..................................................................................... 33 Figure 4.5: Requiem, mm. 44-52 ....................................................................................... 34 Figure 4.6: Requiem, mm. 39-43 ....................................................................................... 36 Figure 4.7: Requiem, mm. 90-94 ....................................................................................... 36 Figure 4.8: Requiem, mm. 95-109 ..................................................................................... 37 Figure 4.9: Requiem, mm. 30-38 ....................................................................................... 38 Figure 4.10: Requiem, mm. 53-57 ..................................................................................... 39 Figure 4.11: Requiem, mm. 36-47 ..................................................................................... 42 Figure 4.12: Requiem, mm. 28-34 ..................................................................................... 44 Figure 4.13: Requiem, mm. 22-31 ..................................................................................... 47 Figure 4.14: Requiem, mm 32-39 ...................................................................................... 48 vi Figure 4.15: Requiem, mm 36-46 ...................................................................................... 51 Figure 4.16: Requiem, mm 63-71 ...................................................................................... 52 Figure 4.17: Requiem, mm 80-82 ...................................................................................... 53 Figure 4.18: Requiem, mm 96-106 .................................................................................... 54 Figure 4.19: Requiem, mm 1-18 ........................................................................................ 55 Figure 4.20: Requiem, mm 27-30 ...................................................................................... 56 Figure 4.21: Requiem, mm 36-40 ...................................................................................... 57 Figure 4.22: Requiem, mm 80-82 ...................................................................................... 57 Figure 4.23: Requiem, mm 86-91 ...................................................................................... 59 Figure 4.24: Requiem, mm 92-100 .................................................................................... 62 Figure 4.25: Requiem, mm 1-13 ........................................................................................ 63 Figure 4.26: Requiem mm 14-22 ....................................................................................... 64 Figure 4.27: Requiem mm 51-61 ....................................................................................... 68 Figure 4.28: Requiem, mm 18-25 ...................................................................................... 69 Figure 4.29: Requiem, mm 35-41 ...................................................................................... 70 Figure 4.30: Requiem, mm 39-41 ...................................................................................... 70 Figure 4.31: Requiem, mm 42-44 ...................................................................................... 71 Figure 4.32: Requiem, mm 59-62 ...................................................................................... 74
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