A Conductor's Guide to Tenor/Bass Choral Music by Canadian
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A Conductor’s Guide to Tenor/Bass Choral Music by Canadian Composers by Brendon Mark Ramsay A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Brendon Mark Ramsay 2018 A Conductor’s Guide to Tenor/Bass Choral Music by Canadian Composers Brendon Mark Ramsay Doctor of Music Arts Faculty of Music University of Toronto 2018 Abstract This study examines the presence of active tenor/bass choirs in Canada and the growing volume of repertoire for this voicing by Canadian composers. From Vancouver’s Chor Leoni to St. John’s Newman Sound, numerous tenor/bass choirs are thriving in Canada. Canadian tenor/bass choirs have long been actively commissioning some of the country’s finest choral composers to write specifically for tenor/bass voices. The result is a growing library of high-quality choral music by Canadian composers for tenor/bass voices that deserves greater recognition. Unfortunately, the contributions of Canadian composers have been greatly overlooked on recommended lists of tenor/bass choir music, however, and this research seeks to rectify that situation. This conductor’s guide contains analyses of one hundred selected works for tenor/bass ensembles by Canadian composers. All of the works have been written specifically for tenor/bass voices and are readily available to conductors and choirs. Both secular and sacred repertoire is represented. Analysis information includes date of composition, voicing, accompaniment, performance duration, publisher information, text source and complete texts, vocal ranges, general musical characteristics, and technical considerations. In addition, four of the selected works include an expanded analysis to assist conductors while preparing these specific works ii with tenor/bass choirs. This supplemental conductor’s guide includes background on the composer and composition, exploration of the text and connections with the music, and teaching strategies to help meet the identified challenges in the score. The music examined is appropriate for community and school ensembles comprising tenors and basses ranging in age from youth through adult groups. For the purposes of this study, it does not include barbershop style repertoire. Appendices include a representative list of active tenor/bass choirs in Canada, listings of the one hundred selected works by various parameters (i.e. sacred/secular, voicing, level, etc.), as well as a listing of additional original and re-voiced repertoire for tenor/bass choirs by Canadian composers. iii Acknowledgments First and foremost, many thanks to the composers, conductors, choristers, and colleagues who submitted scores, concert programs, and information along the path to helping me complete this dissertation. Your willingness to share and your genuine interest in the project were a great source of encouragement. Thank you to committee members Dr. Lori-Anne Dolloff and Dr. Jeff Reynolds for your continued support throughout this process. It was an honour knowing you were in my corner. Several years ago I had lunch with a potential graduate school advisor. At the time, I had no idea the significance of that conversation. Looking back over the past few years, I can honestly say I feel blessed to have studied with an educator who leads by example, who demands excellence of both her students and herself, and who has helped to reaffirm and redefine my educational practices and philosophy. Dr. Hilary Apfelstadt, thank you for lunch and for being a master teacher. To my family and friends, both near and far, your encouragement along this adventure has been appreciated more than you know. Thank you for checking in and asking how it’s been going. A special thank you to my parents, Brenda and Bryan, my brother Tim, and Ella and Seamus. You have always been loving and supportive. Thank you for believing in me. Joseph, your unending patience, love, and support has meant the world. I love you. iv Dedication To Erma “Gram” Kilbride –– thank you for the music. v Table of Contents Abstract ..................................................................................................................................... ii Acknowledgements ................................................................................................................... iv Dedication ................................................................................................................................. v Table of Contents ...................................................................................................................... vi List of Tables ............................................................................................................................ ix List of Figures ........................................................................................................................... x List of Appendices .................................................................................................................... xi Chapter 1: Introduction and Methodology ................................................................................ 1 1.1 Background of the Study ................................................................................................ 1 1.2 Methodology .................................................................................................................. 1 1.3 Definition of Terms ........................................................................................................ 3 1.4 Parameters of the Study .................................................................................................. 3 1.5 Organization of the Study .............................................................................................. 4 Chapter 2: Literature Review .................................................................................................... 5 2.1 History of Tenor/Bass Choirs in Canada ........................................................................ 5 2.2 A Canadian Tenor/Bass Network ................................................................................... 8 2.3 Overlooked Canadian Repertoire for Tenor/Bass Voices .............................................. 10 2.4 Locating Canadian Repertoire for Tenor/Bass Voices.................................................... 13 2.5 Summary ........................................................................................................................ 15 Chapter 3: Musical Analyses of Tenor/Bass Choral Works ...................................................... 16 vi 3.1 Categories of Analysis .................................................................................................... 16 Chapter 4: Conductor’s Guide to Four Selected Works ........................................................... 224 4.1 “When You Are Old” by Stephanie Martin ................................................................... 224 4.1.1 Composer ............................................................................................................. 224 4.1.2 Composition ......................................................................................................... 225 4.1.3 Text Elements ...................................................................................................... 225 4.1.4 Musical Elements ................................................................................................. 227 4.1.5 Technical Considerations ..................................................................................... 228 4.1.6 Suggested Resources ............................................................................................ 229 4.2 “Dans les chantiers” by Mark Sirett................................................................................ 229 4.2.1 Composer .............................................................................................................. 229 4.2.2 Composition.......................................................................................................... 230 4.2.3 Text Elements ....................................................................................................... 230 4.2.4 Musical Elements.................................................................................................. 232 4.2.5 Technical Considerations...................................................................................... 233 4.2.6 Suggested Resources............................................................................................. 235 4.3 “I am not yours” by Stephen Chatman............................................................................ 235 4.3.1 Composer .............................................................................................................. 235 4.3.2 Composition.......................................................................................................... 236 4.3.3 Text Elements ....................................................................................................... 236 4.3.4 Musical Elements.................................................................................................. 237 4.3.5 Technical Considerations...................................................................................... 238 4.3.6 Suggested Resources............................................................................................. 240 4.4 “A un hombre de gran nariz”