The "classical" music of Black has suffered from non­ A Brief Analysis of Masses by acceptance in the world of art music. Frequently, only music that Black Composers: is of a specific ethnic origin such as Baker, Bonds, Ray, and Walker , , and are ac­ cepted by classical musicians. The by Andre Jerome Thomas moment that a Black leaves these ethnic areas, he is generally not viewed as a serious instrumental composition of some The first section is perhaps the composer. Another contributing length, but not a cantata or oratorio, most interesting, consisting of the factor to this problem is the lack of or they desired to write a liturgical exposition of a fugue. This is a com­ exposure through performance and composition that expressed the positional procedure that is quite publications, with financial' stum­ musical vernacular (ethnic idioms) different for Ms. Bonds' style of bling blocks being only one problem of their people. Whatever their writing. She alters the procedure in the list of difficulties that many desire, some unique compositions somewhat to accommodate her twentieth-century composers face in have resulted. writing style and her harmonic getting their compositions pub­ vocabulary. In her article, Bonds lished. MASS IN D MINOR states, ". . .I wrote a fugue in the In an effort to gain acceptance by Margaret Bonds Negro idiom in a choral work."5 and to preserve folk forms, many Perhaps the term Negro idiom is early twentieth-century BI'ack com­ Margaret Bonds (1913-1972) was one that implies freedom from the posers used their ethnic musical born in , llIinois. Her com­ strictness of the usual procedure. If forms as a basis for their composi­ position teachers included William one were to investigate the fugue tions. Today these forms are being Dawson and . She was written by Nathaniel Dett (an early viewed with renewed interest. influenced by the works of Harry T. twentieth-century Black composer), In this brief overview, one will be Burleigh (a composer and an ar­ in The Ordering ofMoses-a cantata, introduced to four unique composi­ ranger ofspirituals) and another well one would find the same type of tions by four twentieth-century known black composer, Will Marian freedom from procedure as found in Black composers. Each of the com­ Cook. Of Cook's influence, Bonds the "" of Bonds. An example of posers has written a Mass. The com­ writes, "Even now, when I write this deviation from the usual pro­ posers were selected because of something for choir and it's jazzy cedure can be viewed in the opening their diversity in composition. Two and bluesy, spiritual and Tchaikosky twelve measures. In these measures of the composers (Margaret Bonds all rolled up into one, I laugh to Bonds includes both the subject and George Walker) have written myself, 'that is '."3 (four measures in length), and free Masses that reflect no real ethnic in­ The choral works by Bonds in­ material, which is a development of fluence. The compositions of Robert clude three large compositions: the subject before bringing in the Ray and David Baker represent com­ Mass in D Minor, Ballad ofthe Brown second voice of the fugue. positions that illustrate two ethnic King, and . Mass in D Minor is a The B section is contrasting-it is forms, gospel and jazz. work that is often quoted by non-fugal, and she introduces the The Mass as a musical form is not scholars, but of those who quote the soprano solo. Bonds uses sequential a novel form of composition for work none have seen the actual repetition in the structure of the composers of Afro descent. Jose score. The only existing score to this melodic material. Mauricio Nunes-Garcia (1767-1830) work is not complete. Unfortunately Section C begins with a return of an Afro-Brazilian composer active in the "Kyrie" is the only existing the subject found in Section A, the eighteenth and early nineteenth movement of the Mass in D Minor. along with related material also centuries, wrote a Requiem Mass. The score to the "Kyrie" consists on­ found in Section A. In the presenta­ Since 1974, this Mass has received a ly of the vocal parts (SATB chorus tion of this melodic material, the number of performances. It is and soprano solo) and indications writing is not contrapuntal. published by Associated Music for an organ accompaniment. In In Ms. Bonds, one finds a com­ Publisher and has been recorded for order to perform the "Kyrie" move­ poser who, although born in the "The Black Composers Series" (Col­ ment, it is necessary to reconstruct twentieth century, has a strong umbia M 334311)1. The earliest the accompaniment. A performance nineteenth-century tie. Her writing is known Mass by a black composer is score with an organ accompaniment strongly tonal centered. In her works Missa de adviento y cuaresima by has been constructed by this we also hear the popular and jazz in­ San Francisco De Borja author.4 fluences. These influences are evi­ (1510-1542). This Mass is written for In the "Kyrie" movement, Bonds dent in the use of her harmonic SATB choir. It is published by follows the dictates of the Mass text vocabulary (seventh, ninth, Tesoro Sacro Musical.2 and divides the "Kyrie" into three eleventh, and thirteenth chords). In the twentieth century, Black sections. The formal musical struc­ After studying the score, this composers wrote Masses because ture is ternary. The return is a author can certainly agree with the they desired to write a vocal- modification (non-fugal) of the statement made by Raoul Abdul original material presented in the about Bond's writing-"... one is Thomas is Assistant Professor of Chorai first section. Each section is impressed with the high degree of Music Education at Florida State preceded by an organ introduction musicality and fine craftsmanship in University. or an organ interlude. her work."6 December 1986 Page 7 GOSPEL MASS Black Chorus, which specializes in the Catholic liturgy. At the request by Robert Ray the music of Afro-American com­ of Father Rivers, Ray joined a posers' as well as gospel music. It workshop team that gave workshops Robert Ray, who received his bach­ was his work with this group that throughout the country on creative elor's degree in from North­ spurred his late interest and acquisi­ liturgy planning, using the Afro­ western University in Evanston, Il­ tion of gospel skills. These cir­ American worship experience. It was linois, was born in St. Louis, cumstances gave Ray first-hand ex­ this activity that sparked the idea of Missouri, February 1, 1946. Though perience in understanding the prob­ the Gospel Mass. he is perhaps best known for the lems of the musician who is not The Gospel Mass consists of six Gospel Mass, his interest in music familiar with the gospel idiom. movements: "Kyrie," "Gloria," did not extend to the gospel idiom The concept of the Gospel Mass "Credo," "Acclamation," "," until much later (in 1968) when he began as a result of Ray's acquain­ and "Agnus Dei." The text in the joined the faculty at the University tance with Father Clarence Rivers, a Gospel Mass is a combination of the of 111inois. At the University of Il­ nationally known priest, composer, traditional Latin liturgical Mass text linois, Ray's teaching assignment in­ and primary leader in the implemen­ (both in- the Latin and English cluded the University of 111inois tation of Black musical forms into translations of the text), and text that is freely written by the com­ poser. The "Kyrie" movement is the only movement where Ray uses both the Latin and an English translation of the text. In it, he alternates be­ tween the Latin and English. The Gospel Mass is scored for & soprano, alto, and tenor soli, SATB IDGH SCHOOL BAND CHORAL FESTIVALS chorus, keyboard, bass, and trapset. Band and Choir Directors Take Note. Music USA: The choral writing is predominantly syllabic and • Fits Your BUdget ... Economy and Deluxe 3 and 4 Day Packages. homophonic. The soli writing is not .. • Rewards and Recognizes ... participation plaques, Monstrous Trophies and Souvenir T-Shirts. difficult. Ray included many of the • Lets You Decide ... Whether TO Compete Or Be Evaluated By improvisatory elements of the Expert Adjudicators. gospel idiom into the score. The soli • Is professionally Run ... in America's Two Favorite Cities. passages can be performed as writ­ • Is Worry-Free ... Comprehensive FREE Travel Planning Available. ten; however, some improvisation • Loaded With Fun In Both Locations. and use of several vocal devices do • Offers Jr. High &Middle School Programs. enhance the performance. Some WASHINGTON, D.C. April 10-12, 24-26, May 22-24 & 29-31,1987 suggested vocal devices are the use DAYTONA BEACH, FL May 1-3, May 8-10 and May 15-17, 1987 of terminal vibrato on long sus­ ColAmald D. Gabriel, USAF (Ret) tained pitches, passing tones, upper Chairman of Performing Arts - George Mason University and lower neighbors, and bends Music USA Chief Adjudicator & Advisory Board Chairman (slight raising or lowering of a pitch CALL TODAY! Toll lFree 800 654-3018 (lll1lFL Cali Collect 004 253i-1ID18) less than a semitone). Promoting Music Education Through Quality Evaluation Some of the movements of the Gospel Mass have several unique features. In the "Kyrie," besides the use of Latin and English he also uses a bass ostinato for most of the movement. He likewise uses' bass ostinati in the "Sanctus" and "Credo" movements. , The "Agnus Dei" is perhaps one of YES! MUSIC USA SOUNDS GREAT! TELL ME MORE. .... the most beautiful movements of Check One: 0 Mr 0 Mrs 0 Dr 0 Ms 0 Other _ I the Gospel Mass. The mood is one of Name Title _ I quiet submission. To add to this School feeling, Ray writes a keyboard ac­ Address _ I companiment that promotes the City State Zip _ I feeling of a ballad. Broken keyboard Office Phone ( __) Best Time TO Call _ figures in the left hand is a very unusual device to be used in Black Home Phone { __l Best Time To Call _ I gospel music. Another unusual Number of Members in Band Or Choir _ I feature is the choral a cappella in­ Name Last Festival Attended City Year _ I troduction in the "Credo" move­ Music USA Interests: 0 Daytona Beach 0 washington, D.C. ment. This is particularly unique o Orchestra 0 MarChing/Field/Ensemble 0 Choir I because most gospel compositions Date (s) of Interest _ begin with an instrumental introduc­ CHJ1286 I M....AIL T....ODAY....' . Music USA P.O. Box 6061 Daytona Beach, FL 32022 tion. The combination of these I. .. -_ __ ...... J Page 8 THE CHORAL JOURNAL features aid in creating a composi­ tional Endowment of the Arts, the also a result of his intentional in­ tion with mass appeal. Cleveland Orchestra, the Atlanta volvement of specific harmonic When performing gospel music, Symphony, the New York Philhar­ structures as in the Mass, where he the actual performance usually dif­ monic Orchestra, and from many chooses to emphasize a specific in­ fers slightly from the printed page. other symphonies and foundations. terval (Le., a second). Walker also Ray has done a good job of in­ Walker wrote eleven choral stated that he was particularly fond cluding many of the improvisatory works. Of the eleven, Mass is the of harmonies that employed the tri­ IO elements of the style in the score. most extended composition. Mass is tone. 0 These are found frequently For those conductors totally un­ scored for SATB soli, SATB chorus, throughout' the Mass. Intensity is familiar with the gospel idiom, the and a very large orchestra. The work built by changes in dynamics, Albert McNeil Jubilee Singers' consists of five movements ("Kyrie," changes of textures, and har­ recording of the Gospel Mass would "Gloria," "Credo," "Sanctus," and monically by the use of the trio-tone be helpful in preparing a perform­ "Agnus Dei"). Although the forces and other dissonant intervals. ance. However, the real joy comes to are large, they are not used flam­ Melody is an important element in the conductor and performers when b6yantly, showing extreme virtuosi­ his compositional process. When they understand the gospel style and ty. asked about it, Walker states that he can feel free to make contributions In Mass, many of the important begins with an idea that is essential­ away from the printed page. This compositional features of Walker's ly melodic. 11 Even with this con­ Mass is available through Jensen writing style are present. In his com­ sideration, the choral writing at Publications. positions, there is a noticeable com­ times is non-vocal. It is angular in­ Barbara Baker wrote about ac­ mon factor. Walker strives to cluding octave transpositions and quiring the skills necessary for achieve in his writing a linearity of leaps that are large within a short understanding and performing unpredictable phrase lengths. This phrase. gospel music. "An understanding of fascination has led to a type of free In the Mass, Walker's use of gospel style can be acquired meter that can be seen throughout melody and the melodic motif are through an aural/oral (hear/sing) ap­ the Mass.gln the "Kyrie" movement, very important. Each of the proach. Teacher and student should the meter changes from ~ to 1, to ~ to listen to as many records as possible ~ to ~, and then from ~ to ~. ,...... that are in the specific style to be Like many twentieth-century com­ Selected Recordings By learned." She also suggests that posers, Walker has abandoned the The King's Singers after listening, imitation should traditional concept ofharmony. This The Swingle Singers follow. 7 Proficiency in performing does not imply that he is not in­ gospel music, like jazz, is gained terested in the vertical structure. Hi-Lo's • The Singers Unlimited through listening and imitating. Quite to the contrary, the "Kyrie" Manhattan Transfer • Rare Silk Albert McNeil Jubilee Singers Karl Ernst, in a speech to the movement is based upon a chord p.m. singers • Soundsation Ninth Conference of the Interna­ that is found in the first eight and other tional Society for Music, said: "It is measures, and that is a combination DISTINGUISHED CHORAL ENSEMBLES important to remember that of the diminished seventh chord on FREE Catalog: DJ RECORDS, Dept. J performance without understanding e and a diminished seventh chord on P.O. Box 95, McMinnville, OR 97128 flounders in technique."s This is cer­ d-sharp. Walker's use of harmony is t.. WE HANDLE QUALITY ..dl tainly true when performing a musical composition in the gospel idiom. To give a good performance Endowed Chair in

in gospel music, one must be o Choral knowledgeable about origin, stylistic changes, and idiomatic The University of Nebraska-Lincoln characteristics. Without bringing Nominations and Applications are solicited for the Steinhardt Foundation Distinguished Professor of Choral Music. Duties will include direction of the this understanding to the score, the select choral ensemble and assumption of leadership in the development of a performer will in no way transmit distinguished choral conducting and performance program. The rank of the the total essence of the music. appointment will be Full Professor. Salary is commensurate with the qualifica­ tions being sought. MASS by George Walker Qualifications: A national reputation of unquestioned distinction for ex­ cellence in choral conducting and performance studies George Theophilus Walker, born June 27, 1922, is perhaps the most Deadline for receipt of applications: February 1, 1987 recognized of the four composers Send applications and nominations to: discussed in this article. Dr. Walker has won numerous awards for his Kerry S. Grant, Director compositions. He received the The School of Music Harvey Gaul Prize (1964), the University of Nebraska-Lincoln Religious Art Festival Award (1961), 120 Westbrook Music Building and numerous others. In addition to Lincoln, NE 68588-0100 these awards and honors, Dr. Walker The University of Nebraska-Lincoln does not discriminate in its academic. °admissions. or employ· has received grants from the Na- ment programs and abides by all Federal regulations pertaining to same.

December 1986 Page 9 movements has important melodic quent performances. The work is "Agnus Dei," and the "Nunc Dimit­ motives. In the "Gloria" and "Credo" available by rental from General tis." there is a principal melodic motif Music Publishing Company. In the Lutheran Mass one can view that is used throughout each move­ many characteristics of Baker's ment. He treats both principal LUTHERAN MASS compositional style. His harmonic melodic motives in a similar by David Baker language is jazz oriented. Both the fashion. This treatment involves chordal structures and the modes transposition, melodic alterations, David Baker was born December that he uses frequently are used by and rhythmic alterations. One 21, 1931, in , Indiana. many jazz composers. distinguishing factor about the prin­ He is known to the music world as a According to Baker, he was in­ cipal melodic motif in the "Credo" conductor, composer, educator, and fluenced by George Russell. Many of movement is that it is viewed by performer. Presently, he is on the Mr. Russell's ideas related to theory some authorities as being the incipit faculty of Indiana University, where and harmony can be found in his of the traditional Credo chant.12 he serves as chairman of the Jazz book, A Lydian Chromatic Concept Imitation is not an important ele­ Studies Department in the School of of Tonal Organization. One impor­ ment in this composition. The Music. tant concept of Russell's employed writing at times is contrapuntal, but Mr. Baker"s works total over one­ by Baker throughout the Mass is the non-imitative, with the exception of hundred. The works range from or­ use of the Lydian scale as a basis the brief canon in the "Agnus Dei" chestral ensembles to piano solo rather than the major scale. Baker movement. and other combinations. His choral also uses a scale, created by Russell, Dr. Walker has written a fine com­ works include nine of extended in the "Kyrie" movement. He calls it position that demands good musi­ length: Beatitudes (1968), Black an auxiliary diminished blues scale. cianship, both instrumentally and America (1968), Catholic Mass for Another 'important element of vocally. Even with these demands, Peace (1969), Five Songs to the Sur­ Baker's compositional style that is the Mass is certainly a major con­ vival ofBlack Children (1970), Psalm used in the Lutheran Mass is im­ tribution to twentieth-century choral 22 (1968), A Song of Mankind provisation. Improvisation is music, and it deserves many subse- (1970), and Lutheran Mass (1967). restricted to the instrumental parts The Lutheran Mass is written for in this Mass with the exception of mixed voices and a jazz septet con­ that found in the "Credo" and "Nunc sisting of piano, bass, trapset, Dimittis." In the instrumental im­ trumpet, trombone, alto saxophone, provised passages Baker frequently SelVing the Handbell Ringerand Director with acomplete line of and baritone saxophone. The mass suggests a mode or scale as a basis Handbell Products. (800) 422-0044 consists of eight movements: "In­ for the improvisation. He treats the Calif.. Alaska & Hawaii call (213) 439·0481 troit," "Kyrie," "Gloria," "Gradual," choral improvisation differently. 1032B Redondo. P.O. Box 91235. Long Beach. CA 90B09 "Credo," "Offertory," "Sanctus," The "Credo" movement is im­ provisatory -in nature. The text is spoken by the chorus at various rates of speed. The rate of speed of INC. declamation of the text is deter­ mined by the individual singer. The "The Concert Tour CO."TM instruments improvise freely in any invites you to consider a manner desired. In the "Nunc Dimit­ tis" the voices sing the text at any European Concert Tour rate of speed using various for Your Performing Ensemble designated pitches. His preference is that the voices enter in stretto. We guarantee: outstanding performance sites Baker uses various ostinati in the qualitative hotels (all with private facilities) Lutheran Mass. Ostinati can be found in the "Introit," "Sanctus," qualitative bi-Lingual guides and and the "Nunc Dimittis." A fantastic low price! , ac ) After 27 years we are known as "The Concert Tour CompanyHTM ERIC ERICSON of Stockholm, Sweden, Write or call collect Today will be the Guest Clinician for the Seventeenth Annual CoS TRAVEL SERVICE, INC. CHORAL CONDUCTORS CONFERENCE February 5-7, 1987 "The Concert Tour CO."TM Sponsored by: The University of 8222 West 95th Street, Hickory Hills, IL 60457 Southern Mississippi Hattiesburg, Mississippi (312) 737-0209 For Further Information, contact: Division of Lifelong Learning, Type of Group _ Box 5056, Southern Station, Name _ Hattiesburg, MS 39406-5056 or Dr. Rolland H. Shaw, Director of Address _ Choral Activities, University of Southern Mississippi City State, Zip _ (601) 266-5545. This activity is coordinated by the Division of Phone ( Lifelong Learning AA / EOE Ie 9E or ,

Page 10 THECHORALJOURNAL In the Lutheran Mass, Baker has It is this author's hope that this ar­ for Music Education" (Ph.D--: dissertation, written a very exciting composition. ticle will develop a spark of interest University of Maryland, 1978), p. 143. Each movement is contrasting. The in the performance of these com­ B Karl D. Ernst, "Education of the Music Teacher -A Look to the Future," Music choral writing is demanding positions. With some background Education in the Modern World (Moscow: Pro­ because of the wide range of the information and with much en­ gress Publisher, 1974), p. 55. parts and the high tessitura. For couragement from this author, g David Baker, ed., et ai., The Black Com· these reasons, this writer feels that perhaps these compositions will poser Speaks (Metuchen: Scarecrow Press this composition should be per­ someday receive the exposure and Inc., 1978). 10 Ibid., p. 356. formed only by adult singers. performance that they deserve. 11 Ibid., p_ 365. Because the jazz idiom is foreign 12 Dominique-Rene deLerma, "The Choral to many choral directors, it is also Notes Works of George Walker," American Choral important that the conductor Review, 23, 1 (January 1981): 16. understand the performance prac­ 1 Jose Mauricio Nuiies-Garcia, Requiem 13 Telephone Interview with David Baker, Mass. Dominque-Rene deLerma ed. (New Austin, Texas, 5 November 1982. tice as it relates to the jazz combo. York: Associated Music Publishers, 1977), In an effort to aid conductors in the preface. preparation of the work, Baker sug­ 2 Dominque-Rene deLerma, "Guide to a gests that the conductor study the Reference Library of Music by Black Com­ posers" (Baltimore, Maryland: Black Artist score, become familiar with the Collective, enc. 1982), p. 2. terms and notation, familiarize 3 Margaret Bonds. "A Reminiscence," The REGENT'S COLLEGE himself with the 'be-bop' and swing Negro in Music andArt, International Library of , ENGLAND styles and listen carefully to a taped Negro Life and History, compiled by Lindsay MAY 24-31, 1986 performance of the work for ideas. 13 Patterson (New York: New York Publishing Co., 1970), p. 192. Summer seminar A perusal score is available from the 4 Andre J. Thomas. "A Study of the for Directors composer. Selected Masses of Twentieth-Century Black on English Choral This brief look at the masses of Composers: Margaret Bonds, Robert Ray, Music four Black twentieth-century com­ George Walker, and David Baker." (D.M.A. posers has shown that each is dif­ thesis, University of Illinois), pp. 188-205. Under the 5 Margaret Bonds. "A Reminiscence," p. ferent in an individual way, bringing 192. direction of a unique contribution to the Mass 6 Raoul Abdul, Blacks in Classical Music: A LOUIS HALSEY form. Personal History (New York: Dodd, Mead and internationally Several other Black composers Co., 1977), p. 54. known choral 7 Barbara W. Baker, "Black Gospel Music musician have also written Masses. Because Styles, 1942-1975: Analysis and Implications of their unique contributions to the genre, a few will be mentioned here. • Lectures and workshops Mass by Greyson Brown was the first III Meetings with distinguished Mass written in the gospel style. British musicians Clarence Rivers' composition and his work within the Catholic church • Visits to centers or musical inspired many additional composi­ and historical interest tions as well as the implementing of .. Opportunities to hear the various Black musical idioms in­ leading choirs to the liturgy. His Mass is titled, Additional savings on stock orders For further Mass Dedicated to the Brotherhood information about ofMan. Jazz elements are present in this course, being this composition. offered on a William Cooper has written a CAllTOll FREE delightful campus in Mass, Mass for Congregation and 1-800-858-3000 the center of Choir, which is based on traditional London, spirituals. In his Festival Mass of (in Pa. 1-800-372-7000) please write to: Thanksgiving, Mr. Cooper im­ Director of Music, plements various musical ideas Regent's College, from the Black experience. There is Fast, professional service Inner Circle, a quotation of "We Shall Music of all publishers Regents's Park, Overcome," which is symbolic of LONDON NW 1 4NS Martin Luther King and the civil England rights' movement. Charge accounts invited Overall, the Masses of the Advanced graduate twentieth-century Black composers UNIVERSITY student applications range from jazz and gospel to those MUSIC also welcome. that represent traditional twentieth­ Fee $500. century western art music and from SERVICE Accommodation in campus those that are functional composi­ residence hall available on first­ tions to those that make significant P.O. Box 354 come, first-served basis. contributions as concert composi­ Hershey, Pa.17033 tions.

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