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IDENTITY ARTIFACTS and CULTURAL CRUMBS: an ANALYSIS of the ART MUSIC of JOHN DANGERFIELD COOPER by Marcus Alonzo Simmons Submitt

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IDENTITY ARTIFACTS and CULTURAL CRUMBS: an ANALYSIS of the ART MUSIC of JOHN DANGERFIELD COOPER by Marcus Alonzo Simmons Submitt IDENTITY ARTIFACTS AND CULTURAL CRUMBS: AN ANALYSIS OF THE ART MUSIC OF JOHN DANGERFIELD COOPER by Marcus Alonzo Simmons Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2019 Accepted by the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Raymond Wise, Research Director ______________________________________ Carol Vaness, Committee Chair ______________________________________ Marietta Simpson ______________________________________ Peter Volpe September 16, 2019 ii Copyright © 2019 Marcus Alonzo Simmons iii This dissertation is dedicated to my ancestors who struggled and strove, pressing onward always, for it is due to every obstacle overcome in their lives that I am enabled to reach this point and to produce this work in mine. I wish to specifically and especially dedicate this to the memories of Isham Owen Baker, Ada Blaylock Simmons and Clyde Taylor Simmons without whom I would not be and Dr. James Edward Matthews Hoy and Mr. Allen Foster without whom I would not have known the existence of this great music, and musicianly man. iv Acknowledgements I thank God for my life, health and strength, my love for music and my determination. These have all been tested on my journey to the completion of this document and degree and I know that, if not for grace and mercy, these words would not be written. I would like to thank my research director, Dr. Raymond Wise, for his sage advice on all aspects of the dissertation. His thoroughness and guidance were invaluable. I would like to thank the members of my advisory and dissertation committees —Dr. Carol Vaness, Dr. Raymond Wise, Prof. Marietta Simpson, Prof. Peter Volpe, and Dr. Roman Ivanovitch— whose guidance and suggestions were valuable in keeping this dissertation focused and grounded. Thanks to the musicians of Tindley Temple United Methodist Church, St. Luke’s Episcopal Church, NANM, and Phi Mu Alpha who were the inspiration for the subject matter of this study, especially Dr. James Edward Matthews Hoy, Mr. Allen Foster, Mr. Theodore Thomas Jr., Mr. David Antony Lofton, and Mrs. Margaret White Palmer. Special thanks to my wife, Jessica, who is a constant source of encouragement and inspiration, my family who have nurtured and endured my curiosity and all those in my “framily” for believing in and encouraging me to strive upward toward the light. Thanks to the family and friends of Dr. Cooper who allowed me to pester them with my questions and curiosities and encouraged me in my continued pursuit and study of the life and music of Dr. Cooper. v It is necessary that I give thanks and offer my gratitude to Dr. Tammy Kernodle without whom I would have never started this specific journey of inquiry. Dr. K, thank you for teaching me how to do this work and for being an inspiration to write the stories which I believe deserve and need to be told. You helped me to find my voice and realize what I had to offer the world. That was a labor which I will never forget. Thank you to Dr. Carren Moham for the many calls you answered, theories you entertained, suggestions you offered, meals you cooked, and encouragements you offered along this journey. I am very grateful to have had your assistance in achieving this accomplishment. Thank you to Dr. Janice Jackson and Dr. Rachel Franklin. You both did the work of giving me the tools to thrive and permission to create when those I had were worn out and expired. Thank you for tending the fire which burned within the young scholar’s heart that I had upon entering and matriculating through UMBC. Without your labor, I would not have successfully launched from there to this point of accomplishment. vi Identity Artifacts and Cultural Crumbs: An Analysis of the Music of John Dangerfield Cooper This dissertation provides a biography for Dr. John Dangerfield Cooper, a culturally informed lens to examine and understand his works, and a paradigm for approaching African American art music. It has been said by many that “African Americans have not made a substantive contribution to the field of art music, hence their exclusion from the canonical anthologies and analytical texts of the genre.” Research showed that African American composers who had indeed made significant contributions to the genre and many had already been biographized and their music published. My research also revealed that much of the work focusing on this music lacked cultural some awareness with analyses lacking depth and breadth to fully capture the musical messages in the manuscripts. Even further research revealed that there was not biographical information for composer John Cooper and that there was differing opinions about his oeuvre. I found this intriguing and completed the research that led to this full study on Cooper, his works, and African American paradigmatic analysis. To provide a biography for Dr. Cooper and enhance the analytical tools for African American art music, I began with an examination of Dr. Cooper’s life and works. Collecting Cooper’s works, interviewing friends, family, and former students, and reading the writings of Cooper’s contemporaries, I gained context for his music, experiences, and perspective on those who lived vii before and during the same time period. Incorporating analytical works about African American cultural communication, identity construction, and musical heritage written by ethnomusicologists, music theorists, anthropologists, philosophers, educators, historians, sociologists, and psychologists resulted in the creation of a biography for Dr. Cooper and a paradigm to approach his and other African American’s art music. After assimilating these various sources, it seemed that specific and essential elements related to the personal and cultural identity of the composer were illuminated. I best described these elements as cultural crumbs and identity artifacts. These elements, taken together with consideration of Jennifer Post’s life spheres and an expansion of Horace Maxile’s semiotic framework, produced the lenses necessary to view Dr. Cooper’s work contextually for academically and culturally competent interpretation and understanding. viii Table of Contents Acknowledgements .................................................................................... v Identity Artifacts and Cultural Crumbs: An Analysis of the Music of John Dangerfield Cooper .................................................................................. vii List of Examples ....................................................................................... xi List of Figures ........................................................................................ xiii List of Appendices ................................................................................... xv Introduction: Setting the Stage .................................................................. 1 Chapter 1: Context, Artifacts, and Connection to Crumbs ......................... 5 Chapter 2: The Negro Dreams His World ................................................. 23 Historical Context ............................................................................... 24 The Life of Dr. John Cooper ................................................................ 30 The Social Context of Dr. John Dangerfield Cooper ............................ 34 Chapter 3: Behind the Mask: Double Consciousness and the Music of Dr. John Dangerfield Cooper ......................................................................... 48 Viewing the Veil: Historical Context of Double Consciousness Theories ............................................................................................ 54 Importance of Perceiving Double Consciousness ................................ 65 Semiotics ............................................................................................ 67 Ancestry ............................................................................................. 79 Chapter 4: Cooper’s Music Examined through Consciousness, Semiotics, Ancestry, and Style ................................................................................. 90 ix Steps toward Perceiving Double Consciousness.................................. 91 Compositional Style ............................................................................ 97 Song, Text, and Significance: Source Materials ................................. 105 Song, Text, and Significance: Analysis .............................................. 106 Open for Us the Gates of Heaven .................................................. 106 This Day May Christ Be Known to You .......................................... 110 Dleifregnad .................................................................................. 113 You Touched My Hand ................................................................. 117 To You ......................................................................................... 120 Lord I Have Seen ......................................................................... 123 Chapter 5: Postlude Improvisation on New Analytical Paradigms .......... 146 Decolonizing the Ivory Tower and Further Studies ............................ 150 Appendix A: Figures and Examples ....................................................... 160 Appendix B: Collected Research Documents ........................................
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