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Choral'art'music'as'a'' Reflection'of'prairie'identity'

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Choral'art'music'as'a'' Reflection'of'prairie'identity' ! ! ! Choral'Art'Music'as'a'' Reflection'of'Prairie'Identity' by' Melissa'Iretha'Morgan' A'thesis'submitted'in'conformity'with'the'requirements' for'the'degree'of'Doctorate'of'Musical'Arts' Faculty'of'Music' University'of'Toronto' ©'Copyright'by'Melissa'I.'Morgan'2017' ' Choral'Art'Music'as'a'Reflection'of'Prairie'Identity' Melissa Iretha Morgan Doctorate of Musical Arts in Choral Conducting Faculty of Music University of Toronto 2017 Abstract'' The Canadian Prairie, identified in this research as the southern regions of Alberta, Saskatchewan, and Manitoba, are often described by geography and landscape. The Prairies also possess a rich choral heritage. This study seeks to identify potential commonalities among choral compositions from the Canadian Prairie region by pursuing the answer to this question: In what way, if any, can choral music from the Prairies be construed as reflecting the values and geographical texture of the region? The qualitative research for this study included a survey of the history of Canadian choral music, a review of literature pertaining to the notion of identity and place, data collection related to selected composers and their repertoire, interviews with representative composers and writers, in addition to formal musical and textual analyses of selected works. The results of this research led me to conclude that four general elements have shaped the choral heritage of the Prairies: religious beliefs, secondary and post-secondary education, cultural voices, and Prairie landscapes. ii Acknowledgements' The process that led to the completion of this document has challenged and strengthened me in many ways. God has blessed me with wonderful mentors, friends, and family. I am grateful for their support and humbled by their faithful encouragement over the years. First, I would like to thank my supervisor, mentor, and friend Dr. Hilary Apfelstadt. You spent countless hours pouring over every part of this document, and you encouraged me to dig deeper. You are a model of excellence, and I am grateful to be mentored by you. Thank you also to Dr. Gillian MacKay and Dr. Lori Dolloff, my two other wonderful committee members, for your guidance and your positive and constructive feedback. To David L. McIntyre, Elizabeth Raum, Paul Suchan, T. Patrick Carrabré, Sid Robinovitch, and Andrew Balfour—you are the inspiration behind this project. Thank you for taking time to speak to me and meet with me. Thank you for your music and entrusting me to share your work with the world. It would be remiss of me if I did not thank Mr. Robert Solem, Dr. Henry Engbrecht, Dr. Gerald Langner, and Dr. Leonard Ratzlaff for sharing your knowledge about the trends and history of choral development in the region. I am thankful to Dr. Barbara Reul for your detailed advice and edits of my related lecture presentations. To Dr. Lynn Cavanagh, I am very grateful for your help and explanations pertaining to the analysis portion of this paper. I would also like to acknowledge Trevor Powell of the Saskatchewan Archives, the University of Alberta library Archivists, the University of iii Calgary library Archivists, and the Canadian Music Centre for their access to historical documents, and music manuscripts. Stewart Wilkinson and Daryl McKinnon—I am indebted to you for breaking up your retirement to fill in for me as I pursued this degree. To Luther College High School, especially Mark Anderson, Principal, Nancy Ostime, Vice Principal, Shawn Steib, Vice Principal, Bryan Hillis, President, and my music office buddies, Debby, Cornelia, and Gregory—thank you for your support, for attending the various recitals and concerts related to my studies, and for the many other ways you have supported me over the years as I strove to complete this degree. To my editor, Dr. Deborah Bradley, thank you for your keen eye and patience. To DMA Power Team members Jennifer Martyn and fearless leader Karine St. Pierre—your friendship means the world to me. Our weekly morning sessions were the highlight of this wonderful journey. Thank you for the laughs, the discussions, and for keeping me on track. To my dear Uncle Ron, thank you for allowing me to bounce ideas off of you, for spending countless hours reading through my drafts and encouraging me every step of the way. Finally, thank you to my family for your tremendous support and for believing in me. To my mom, Aunty Rose, Granny, Makenzie, Aunt Gloria, Uncle Greg, Jason, Suzie—you took me in when I needed a place to stay, you provided transportation when I needed to go, you fixed my house when it needed repair, you fed me when I was hungry, you took me to a Rider game when I needed a break. Most of all, you prayed for me when I did not think that I was going to make it. I am nothing without you all. I love you with my whole heart. iv Dedication' This thesis is dedicated to my mom, Elizabeth Morgan, my aunt, Rosemary Forbes, and my Granny, Enid Miller. ' ' ! v Table!of!Contents! Acknowledgements.................................................................................................................iii! Dedication....................................................................................................................................v! Table.of.Contents......................................................................................................................vi! List.of.Tables..............................................................................................................................ix! List.of.Figures..............................................................................................................................x! List.of.Appendices...................................................................................................................xii! Chapter.1......................................................................................................................................1! CHORAL.ART.MUSIC.ON.THE.PRAIRIE................................................................................1! 1.1! Introduction...........................................................................................................................1! 1.2! Research.Question.and.Objectives.of.the.Study.........................................................4! 1.3! Need.For.the.Study...............................................................................................................5! 1.4! Methodology.........................................................................................................................10! 1.5! Context...................................................................................................................................11! 1.6! Four.Influences.on.Choral.Music.from.the.Prairies................................................13! 1.7! Selection.Criteria................................................................................................................14! 1.8! Describing.Prairie..............................................................................................................15! 1.9! An.Overview.of.Each.Chapter..........................................................................................16! CHAPTER.2................................................................................................................................18! Identity.and.Sense.of.Place..................................................................................................18! 2.1! What.is.Identity?.................................................................................................................18! 2.2.! What.is.Sense.of.Place?.....................................................................................................20! 2.3.! Exploring.Place.and.Identity.on.the.Canadian.Prairie...........................................21! Chapter.3...................................................................................................................................28! Influences.of.Choral.Art.Music.On.the.Prairies............................................................28! 3.1! Development.of.Prairie.Choral.Communities.Through.the.Church..................28! 3.1.1!! Religious!Choral!Traditions!in!Alberta!..........................................................................!32! 3.1.2!! Religious!Choral!Traditions!in!Saskatchewan!............................................................!35! 3.1.3!! Religious!Choral!Traditions!in!Manitoba!......................................................................!38! 3.1.4!!!!!!!!!!Conclusion!..................................................................................................................................!41! 3.2! Development.of.Prairie.Choral.Communities.through.Education.....................44! 3.2.1!! PostAsecondary!Choral!Traditions!in!Alberta!.............................................................!45! 3.2.2!! PostASecondary!Choral!Traditions!in!Saskatchewan!...............................................!48! 3.2.3!! PostASecondary!Choral!Traditions!in!Manitoba!........................................................!53! 3.2.4!!!!!!!!!Conclusion!...................................................................................................................................!56! 3.3! Prairie.Choral.Music.Influenced.by.Selected.Cultural.Voices..............................56! 3.3.1!! Introduction!to!Aboriginal!culture!..................................................................................!56!
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