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J.A.C. Redford's a Psalm Triptych As Sonic Altarpiece

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J.A.C. Redford's a Psalm Triptych As Sonic Altarpiece J.A.C. REDFORD’S A PSALM TRIPTYCH AS SONIC ALTARPIECE Thesis submitted to The Graduate College of Marshall University In partial fulfillment of the Requirements for the degree of Master of Arts Music History and Literature By Erin Jones Kishpaugh Dr. Vicki Stroeher, Committee Chairperson Dr. Marshall Onofrio Dr. David Castleberry Marshall University Huntington, WV May 2005 Copyright © 2005 by Erin Jones Kishpaugh All rights reserved. Scripture taken from the HOLY BIBLE, NEW INTERNATIONAL VERSION. Copyright © 1973, 1978, 1984 International Bible SOCIETY. Used by permission of Zondervan Bible Publishers. Score and excerpts of A Psalm Triptych are used with the permission of J.A.C. Redford. Recordings and photographs are included with this document with the permission of Patricia Dawson Jackson, Doris Fuqua, and Paula Florea. ABSTRACT J.A.C. REDFORD’S A PSALM TRIPTYCH AS SONIC ALTARPIECE By Erin Jones Kishpaugh J.A.C. Redford’s love of music for the voice and the importance of his faith, key factors in understanding this composer who is best known for his film and television scores, are displayed through the song cycle A Psalm Triptych. This study examines the structure of and inspiration behind this song cycle as a means to determine its function. Redford’s approach to text setting is motivated by a desire for the meaning to be more clearly understood when illuminated by his music. Inspired by visual art, he generated a textual structure resembling triptych altarpieces, through which the listener hears the psalmist’s story told in the composer’s voice. He unified the songs by illuminating themes of the texts which express his Christian beliefs and fashioned a musical offering that is a union of form, function, and faith - a sonic altarpiece. ACKNOWLEDGMENTS The members of my thesis committee - Dr. Vicki Stroeher, Dr. David Castleberry, and Dr. Marshall Onofrio – have graciously helped me to navigate the circumstances of the past few years. Former and current Marshall University Department of Music faculty and Music Library staff have made contributions to my development as a musician and to the completion of this paper. Dean Leonard Deutsch and the Graduate College awarded me the thesis research grant which allowed me to travel to conduct interviews. The generosity of J.A.C. Redford – both in time and materials – has been overwhelming, truly making this research project a joy. The assistance of Redford’s family, friends, and colleagues – particularly Patricia Dawson Jackson and Doris Fuqua – is greatly appreciated. The following people have been sources of encouragement and assistance along my journey: Stacey Frattaroli Scheiber, Kim Jackson O’Harrow, Rebecca Hank Kennedy, Dr. Cynthia Dewey, Deborah Lucas, Michelle Hontz, Eric Near, The Alexander Alliance and the Sweet Briar course communities, my church family at the Vineyard Church of Charleston, WV, Joni Cantrell Prince and everyone at Arts in Action and 4th Wall, my students past and present, and the families I was given at birth and gained in marriage. The support and unconditional love of my son Jonathan Michael and my “adopted daughter” Divine Nzishura Muragijimana mean so much to me. My best friend and husband Scott has been with me every step of the way. “To the place where one heart is made from two – I will go there with you.” (S. C. Chapman) iv TABLE OF CONTENTS ABSTRACT............................................................................................................................ iii ACKNOWLEDGMENTS.......................................................................................................iv TABLE OF CONTENTS.........................................................................................................v LIST OF TABLES..................................................................................................................vii LIST OF MUSICAL EXAMPLES.........................................................................................ix Chapter I. INTRODUCTION............................................................................................................1 Justification of the Study......................................................................................….. 1 Analytical Issues..........................................................................................................2 The Psalms as Moves of Faith .................................................................................4 Notions of Generative Text......................................................................................6 The Triptych .............................................................................................................8 The Composer's Voice ...........................................................................................11 II. THE HISTORICAL CONTEXT OF A PSALM TRIPTYCH.......................................15 The Redford Family Musical Heritage.....................................................................16 1953 Through 1982: Redford's Early Life and Developing Career.........................18 1982 Through 1986: Professional Success and Conversion to Christianity............22 1987 Through 2001: From "Shout for Joy to the Lord" to A Psalm Triptych.........26 1987 Through 1995: "Shout for Joy to the Lord"..................................................28 2000 and 2001: Completion of the Triptych .........................................................31 Conclusions.......................................................................................................... 35 III. UNDERSTANDING THE TEXTS............................................................................37 Psalms: Changing People in Relationship with an Unchanging God..................... 37 Background and Literary Analysis of the Psalms Set by Redford...........................46 Psalm 98..................................................................................................................46 Psalm 51..................................................................................................................50 Psalm 145 ...............................................................................................................58 Psalms 98, 51, and 145 as a Cycle.........................................................................63 Conclusions ...............................................................................................................65 v Chapter IV. THE PSALMIST'S JOURNEY THROUGH REDFORD'S EYES: ANALYSIS OF A PSALM TRIPTYCH ..................................................................67 Redford Creates the Structure of the Triptych.........................................................68 Illuminating the Path Through A Psalm Trtiptych................................................69 "Shout for Joy to the Lord" ...................................................................................75 "Have Mercy on Me, O God"................................................................................86 "Great is the Lord".................................................................................................96 Conclusions.............................................................................................................104 V. CONCLUSIONS ......................................................................................................112 Appendices A. J.A.C. REDFORD'S CONCERT AND CHAMBER WORKS ..............................115 B. J.A.C. REDFORD'S FILM, TELEVISION, AND THEATER CREDITS ............121 BIBLIOGRAPHY ................................................................................................................129 SCORE OF A PSALM TRIPTYCH ......................................................................................141 vi LIST OF TABLES Table 1.1 FILM ANALOGY OF VOICES AND PERSONAS.............................................13 2.1 TIMELINE ..............................................................................................................19 3.1 DIVISIONS WITHIN THE BOOKS OF PSALMS..............................................41 3.2 TYPES OF PARALLELISM..................................................................................44 3.3 PSALM 98: CONTENT OVERVIEW...................................................................47 3.4 PSALM 98: NIV TEXT AND PHRASE RELATIONSHIP.................................49 3.5 WORD TRIOS IN PSALM 98 ...............................................................................50 3.6 PSALM 51: CONTENT OVERVIEW...................................................................51 3.7 PSALM 51: NIV TEXT AND PHRASE RELATIONSHIP.................................52 3.8 WORD TRIOS IN PSALM 51 ...............................................................................54 3.9 PSALM 145: CONTENT OVERVIEW.................................................................58 3.10 PSALM 145: NIV TEXT AND PHRASE RELATIONSHIP................................59 3.11 WORD GROUPS IN PSALM 145..........................................................................62 3.12 WORDS FOR MERCY IN PSALMS 98, 51, AND 145........................................63 3.13 NAMES OF GOD IN PSALMS 98, 51, AND 145.................................................64 4.1 PROPORTIONS OF “SHOUT FOR JOY TO THE LORD”.................................76 4.2 ANALYSIS OF “SHOUT FOR JOY TO THE LORD”.........................................77 4.3 TONAL LANDMARKS IN “SHOUT FOR JOY TO THE LORD”......................85
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