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A Socio-Pedagogical Analysis of Five Short Choral Works by Adolphus Hailstork

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A Socio-Pedagogical Analysis of Five Short Choral Works by Adolphus Hailstork A Socio-Pedagogical Analysis of Five Short Choral Works by Adolphus Hailstork Item Type text; Electronic Dissertation Authors Dungee, Jason A. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 03:36:33 Link to Item http://hdl.handle.net/10150/621093 A SOCIO-PEDAGOGICAL ANALYSIS OF FIVE SHORT CHORAL WORKS BY ADOLPHUS HAILSTORK by Jason Andrew Dungee __________________________ Copyright © Jason Andrew Dungee 2016 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Jason Andrew Dungee, titled A Socio-Pedagogical Analysis of Five Short Choral Works by Adolphus Hailstork and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. 7/25/2016 Bruce Chamberlain Date 7/25/2016 Elizabeth Schauer Date 7/25/2016 Gregg Hanson Date Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ___________________________________________________________ Document Director: Bruce Chamberlain Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Jason Andrew Dungee 4 ACKNOWLEDGEMENTS The completion of this document is truly the work of a village of individuals who have taken time to invest in my development as both a man and a student. While impossible to acknowledge everyone, I would like to express my gratitude to the following: As a man of faith, I am keenly aware that left to my own devices I would be undone. Therefore, my first thanks belong to God and my Lord and Savior Jesus Christ. To my Parents, your support of my musical gift has been in place as long as I can remember. Thank you for giving me such a profoundly beautiful blueprint of how to be a loving parent. To my professors at Hampton University and Westminster Choir College, you saw something in me before I saw it in myself and always directed towards my potential. For that, I am forever grateful. To my church family at Mt. Calvary Missionary Baptist Church, thank you for always reminding me of the difference between a church job and music ministry. To my friends and colleagues in the Choral Graduate department and the Arizona Choir, thank you for the laughs and the light times that were a critical component in making this time successful. I look forward to hearing great things from you. To Dr. Adolphus Hailstork, thank you for putting pen to paper and crafting such wonderful art. I will strive to always be a champion for your music. To all of my professors with whom I have had the pleasure of studying, thank you for all of your wisdom and guidance. You are the heartbeat of the Fred Fox School of Music. To Dr. Elizabeth Schauer and Professor Gregg Hanson, thank you for serving on my graduate committee. Your insights have been valuable. To Dr. Bruce Chamberlain, thank you for being so willing to share the wisdom and knowledge that you have accumulated over almost 4 decades of successful music making. I will always value our talks and hope to always have the passion for my craft that you display daily. To my wife Crysta LaDawn, someone once said, “Grace is getting what you don’t deserve, mercy is not getting what you do”. I realize that at times in this process you sacrificed immensely and I will always strive to ensure that you reflect on this as worth those sacrifices. I love you to the moon and back and can’t wait to raise our beautiful son together. 5 DEDICATION To my daughter, Jordan Olivia, who is my motivation and inspiration to be my best self. 6 TABLE OF CONTENTS LIST OF FIGURES…………………………...……………………………..…..………..8 LIST OF MUSICAL EXAMPLES……………………………………………..…..……..9 ABSTRACT……………………………………………………………………………...13 CHAPTER 1: INTRODUCTION………………………………………………………..14 Purpose of Study…………….……….……….…….……….…….……...............18 Thesis Statement…………….……….…….……….……….…….…..………….19 Review of Scholarly Literature……….….…….……….……….….…………….19 CHAPTER 2: SOCIO-PEDAGOGICAL CONTEXT…………….……...……………..25 Cultural Perspectives………………………….……..…….…….….…................29 Black Composers/Black Music…………………………….………..…...............31 Function of Black Music…………….……….……….…………….……………39 Perspectives of Blackness as an Asset…………….……….……...….………….41 Implications For Music Educators…………….……….………………...............44 Implications for Repertoire Selection…………….…………….…….………….52 CHAPTER 3: ADOLPHUS HAILSTORK…………….……...……….……………….56 Biography………..…………….……….…………….……….……….…………56 Five Short Choral Works……….…………..…………….……………..………..57 Salient Style Features…………….……….…………….……….……….………59 The Obscuring of Conventional Harmonic Function…………....………59 The Use of Small Motivic Cells as Thematic Material………………….62 The Use of Various Techniques of Tone Painting……………................64 The Use of the Text to Determine the Musical Form…………..……….66 7 TABLE OF CONTENTS – Continued CHAPTER 4: ANALYSIS OF FIVE SHORT CHORAL WORKS…………….….……..71 No. 1: I Will Sing Life…...…………………………………….…….…….……...71 No. 2: Nocturne……………...………………………….……….….……….……83 No. 3: Crucifixion…………………...…………………….……….……………..90 No. 4: The Cloths of Heaven………...…………………...……………....……….99 No. 5: The Lamb…………………….…………………….………….………….104 CHAPTER 5: CONCLUSION .......................................................................................109 APPENDIX: LIST OF WORKS BY ADOLPHUS HAILSTORK….……………...….111 REFERENCES................................................................................................................117 8 LIST OF FIGURES Figure 1. The Lamb text division.………………………………………..………………67 Figure 2. The Cloths of Heaven text division…..………………………………………..68 Figure 3. Poem I Will Sing Life………………………………………………....………..71 Figure 4. I Will Sing Life text completion of mm. 72-83………………………………...74 Figure 5. Text of Nocturne by Jim Curtis………………………………………………..83 9 LIST OF MUSICAL EXAMPLES Musical Example 1. Hailstork, The Cloths of Heaven, mm. 24-28………………….…..60 Musical Example 2. Hailstork, The Cloths of Heaven, mm. 12-15……………………...61 Musical Example 3a. Hailstork, Nocturne, initial entrances…………………………….61 Musical Example 3b. Hailstork, Nocturne, entrance of soprano melody………………..62 Musical Example 4. Hailstork, Crucifixion, mm. 1-4…………………..………………..62 Musical Example 5. Hailstork, Crucifixion, mm. 19-21…………………..……………..63 Musical Example 6. Hailstork, The Lamb, mm.1-4……………………………...………63 Musical Example 7. Hailstork, The Lamb, mm. 26-30………………………..…………64 Musical Example 8. Hailstork, The Lamb, mm. 72-76……………………………..……64 Musical Example 9. Hailstork, Crucifixion, mm. 54-59…………………………………65 Musical Example 10. Hailstork, The Cloths of Heaven, mm. 21-24…………………….66 Musical Example 11. Hailstork, The Lamb, mm. 54-59…………………..……………..68 Musical Example 12a. Hailstork, I Will Sing Life, mm.1-5………………………...……72 Musical Example 12b. Hailstork, I Will Sing Life, mm. 120-124………………………..72 Musical Example 13. Hailstork, I Will Sing Life, mm. 29-33……………………………73 Musical Example 14. Hailstork, I Will Sing Life, mm. 53-57……………………………73 Musical Example 15. Hailstork, I Will Sing Life, mm. 80-82……………………………75 Musical Example 16. Hailstork, I Will Sing Life, mm. 87-89……………………………75 Musical Example 17. Hailstork, I Will Sing Life, mm. 90-95……………………………76 Musical Example 18. Hailstork, I Will Sing Life, mm. 9-11……………………………..77 Musical Example 19. Hailstork, I Will Sing Life, mm. 98-99……………………………77 Musical Example 20. Hailstork, I Will Sing Life, mm. 100-102…………………………78 10 Musical Example 21. Hailstork, I Will Sing Life, mm. 116-120…………………..…..…79 Musical Example 22. Hailstork, I Will Sing Life, mm. 145-149………………………....80 Musical Example 23. Hailstork, I Will Sing Life, mm. 150-154……………………..…..80 Musical Example 24a. Hailstork, I Will Sing Life, mm. 160-165………………………..81 Musical Example 24b. Hailstork, I Will Sing Life, mm. 160-165…………………..……81 Musical Example 25a. Hailstork, I Will Sing Life, mm. 34-36…………………………..82 Musical Example 25b. Hailstork, I Will Sing Life, mm. 168-170.….……………………82 Musical Example 26. Hailstork, Nocturne, initial entrances.…………….…….………..84 Musical Example 27. Hailstork, Nocturne, Rehearsal B………………….……………..85 Musical Example 28. Hailstork, Nocturne, Rehearsal C………………………….……..85 Musical Example 29. Hailstork, Nocturne, Rehearsal D………………………………...86 Musical Example 30. Hailstork, Nocturne, Rehearsal H………………………………...86 Musical Example 31. Hailstork, Nocturne, Rehearsal I…………………………...….….87 Musical
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