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INSTRUCTIONAL AND PERFORMANCE MATERIALS FOR TEACHING THE HISTORICAL DEVELOPMENT OF MUSICAL STYLE TO THE HIGH SCHOOL BAND STUDENT Item Type text; Dissertation-Reproduction (electronic) Authors Kreloff, Herschel Mayer, 1931- 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 23/09/2021 15:45:37 Link to Item http://hdl.handle.net/10150/287730 |¥ 71-2^,886 I i". KRELOFF, Herschel Mayer, 1931- | INSTRUCTIONAL AND PERFORMANCE MATERIALS | FOR TEACHING THE HISTORICAL DEVELOPMENT OF I MUSICAL STYLE TO THE HIGH SCHOOL BAND I STUDENT. | The University of Arizona, A.Mus.D., 1971 I Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 HERSCHEL MAYER KRELOFF ALL RIGHTS RESERVED ill IHIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED INSTRUCTIONAL AND PERFORMANCE MATERIALS FOR TEACHING THE HISTORICAL DEVELOPMENT OF MUSICAL STYLE TO THE HIGH SCHOOL BAND STUDENT by Herschel Mayer Kreloff A Dissertation Submitted to the Faculty of the 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 19 7 1 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Herschel Mayer Kreloff entitled INSTRUCTIONAL AND PERFORMANCE MATERIALS FOR TEACHING- THE HISTORICAL DEVELOPMENT OF MUSICAL STYLE TO THE HIGH SCHOOL BAND STUDENT be accepted as fulfilling the dissertation requirement of the degree of Doctor of Musical Arts Q'%. Dissertation Director Date t * After inspection of the final copy of the dissertation, the following members of the Final Examination Committee concur in its approval and recommend its acceptance:* si "7 / y/a it/ 3>//*/?./ Z//{./7f *.This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination. The inclusion of this sheet bound into the library copy of the dissertation is evidence of satisfactory performance at the final examination. PLEASE NOTE: Some pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS. STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of 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 dissertation are allowable without special permission, provided that ac­ curate acknowledgment of 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: 7LJl 7^,Uf~ -.m ACKNOWLEDGMENTS The author wishes to express his gratitude first to DP. 0. M. Hartsell who served as advisor and disserta­ tion director for this project. His encouragement and inspiration were essential. His guidance and criticism were invaluable, A special acknowledgment is owed to Professor Robert McBride who initially encouraged the author to pursue a doctoral degree, and whose continued friendship and aid supplied a large measure of resolve toward its completion. Thanks and appreciation are extended to Professors Henry Johnson and James R. Anthony for their time, interest, and numerous helpful suggestions. iv TABLE OP CONTENTS Page LIST OP ILLUSTRATIONS viii ABSTRACT xiv 1. INTRODUCTION 1 Limitations of the Band Program 1 Purpose 1 Repertoire 3 Emphasis k- The Utility and Technique of the Study ... 5 2. STYLE IN MUSIC 9 Style as Culture 10 Style as History 1f? Style as Communication 18 3. GREGORIAN CHANT AND ORGANUM 22 Chant as Genre 23 General Features of Plainchant 26 Modal Theory 28 Notation and Rhythm . 33 Tropes and Sequences 36 Organum 1+1 Performance Suggestions for the Band Setting of Victimae Paschali Laudes . Il3 Condensed Score of the Band. Setting of Victimae Paschali Laudes llU Pull Score of the Band Setting of Victimae Paschali Laudes ... k7 Student Study Material . 59 The Ecclesiastical Modes 60 Mode Transposition 61). Gregorian Notation 66 v vi TABLE OP CONTENTS—Continued Page k. MEDIEVAL MOTET AND CONDUCTUS 70 Twelfth Century Organum 70 Modal and Mensural Notation 72 Thirteenth Century Polyphony 76 The Polyphonic Conductus 78 The Medieval Motet 82 Performance Suggestions for the Band Setting of De Castitatis - Victimae 88 Condensed Score of De Castitatis - Victimae 91 Full Score of De Castitatis - Victimae ... 9i|. Student Study Material • "102+ Modal and Mensural Notation 106 The Polyphonic Conductus 110 The Medieval Motet 111 5. LATE RENAISSANCE SACRED POLYPHONY. 115 Rhythm and Melody 115 Dissonance 118 Texture 123 Harmony 127 The Motet 131 Thomas Luis de Victoria 131 Condensed Score of 0 V03 Prunes 133 Pull Score of 0 Vos"*0mnes 135 Student Study Material 1^1-3 Melody • . 14-3 Intervals 1if-6 Passing Tones 1^9 Suspensions . 150 Chords and Cadences . .. ... • • • 15k 6. SEVENTEENTH CENTURY MONODY 1£8 Figured Bass . • 159 Melody 16k Caccini and Nuove Musiche ••••••••• 166 Performance Suggestions for the Band Setting of Dovrb Dunque Morire ..••••..• 167 Condensed Score of Dovr6 Dimque Morire ... 173 Pull Score of Dovrk Dunque Morire 175 Student Study Material . 180 Figured Bass ^ Triads 183 Harmony and Counterpoint 187 Recitative . 189 vii TABLE OP CONTENTS--Continued Page 7. LATE BAROQUE INSTRUMENTAL POLYPHONY 192 Vocal Models for Instrumental Forms .... 19k- Raraeau's Harmonic Theories 200 The Realization of Tonality 20£ Orchestral Development 209 Handel's Orchestral Style 212 Condensed Score of Overture and. Alia Breve . 215 Pull Score of Overture and Alia Breve ... 218 Student Study Material 228 Melody 232 Harmony 2.3k- 8. PRE-CLAS3ICAL INSTRUMENTAL HOMO PHONY 2L\& Melody 2l|-7 Texture 2lj-9 Form and Harmony 252 The Sinfonia 25>7 Giovanni Battista Sammartini 25>8 The Mannheira Orchestra 2^8 Comments on the Band Setting of the Sammartini Symphony in F Ma;]or ..... 2f?9 Condensed Score of the Symphony in F Major, First Movement 261 Pull Score of the Symphony in F Major, First Movement 26ij. Student Study Material 272 Melody and Harmony . 272 Texture 275 APPENDIX: CORRECT RESPONSES TO THE STUDENT STUDY ASSIGNMENTS POUND IN CHAPTERS 3 THROUGH 8 279 LIST OP REFERENCES 292 LIST OP ILLUSTRATIONS Figure Page 1. Three Styles of Text Setting In Gregorian Chant 25 2. Original and Transformed Storms of Modes 1 and 3 31 3. The Pour Authentic Modes in Their Original Forms and Transposed to Begin on the Tone G 33 l|. The Principal Simple Neumes of Gregorian Notation Shown Opposite Their Counter­ parts in Contemporary Music Notation ... 3k- 5» A Melody in Plainchant and in Modern Notation • 35 6. The Sequence Victimae Paschali Laudes 37 7. The Plainchant Melody Victimae Paschali Laudes Used as a Cantus Firmus in a Renaissance Motet 39 8. The Opening of the Hymn Christ Lag in Todesbanden 39 9. The Opening Melodies from Three Movements of Bach's Christ Lag in Todesbanden, Each Based upon the Chant Victimae Paschali Laude s 10. Types of Organum l|.2 11. Three Kinds of Text Setting in Gregorian Chant 59 12. The Ecclesiastical Modes 60 13. An Excerpt from the Chant Victimae Paschali Laudes 62 1lj., America in Major, Dorian, and Phrygian Modes • 63 15. Untransposed and Transposed Forms of the Dorian Mode 66 viii LIST OP ILLUSTRATIONS—Continued Figure Page 16. Gregorian Square Notation and Modern Notation • 67 17# Two Types of Twelfth Century Organum 71 18. The Rhythmic Modes 73 19. Transcriptions into Modern Notation from the Ligature Notations of Modes I and II . 7J+ 20. The Transcription of Mensural Notation into Modern Notation 76 21. An Excerpt of Ilenstiral Notation from a Polyphonic Conductus and its Transcrip­ tion into Modern Notation 80 22. The Polyphonic Conductus De Castitatis Thalamo 81 23. Portion of a Motet which Features a Different Mode in Each Voice &k- 2i|-. Victiraae Paschali Laudes as a Gregorian Chant and as a Motet Tenor 85 25. The Arrangement of a Page of Motet Manuscript . 85 26. The Notation of a Medieval Motet 86 27. The Transcription into Modern Notation of the Excerpt (Figure 26) Above 86 28. The Motet Nus hom - Cil s1entremet - Victimae . 87 29. Medieval Cadences 88 30. The Sustained Note and Discant Styles of Organum 10J4. 31. The Rhythmic Modes 106 32. The First Rhythmic Mode in Modal Notation and its Transcription into Modern Notation . 107 33. A Portion of a Two Part Polyphonic Conductus . 110 31^. A Portion of a Medieval Motet 112 X LIST OP ILLUSTRATIONS—Continued Figure Page 35>» Three Rhythmically Independent Lines ••••• 116 36. A Two Line Excerpt Barred According to the N.atural Accents 117 37. Examples of Melodic Curves from the Music of Two Composers of the Late Renaissance . 118 38. Examples of Suspensions 120 39# A Progression of Consonant Intervals (a) and the same Progression with Suspensions (b) . 121 I4.O. Passing Tones 122 lj.1. A Progression with Passing Tones and with Suspensions . 123 l|.2. A Homophonic Texture 121). ij-3* A Polyphonic Texture 12i|. Canonic Imitation 126 Eree Imitation 126 l|.6. Modes used in Renaissance Music 128 lj.7* Typical Renaissance Cadence in Two Parts . • 129 I4.8 # An Authentic Cadence 129 lj.9. A Leading Tone Cadence 130 J>0. A Phrygian Cadence 130 51. Melodies of Victoria 1l±3 52. A Melody of Palestrina 1i|4 53. Voice Ranges 1lj-5 The Identification of Intervals 1l|-7 The Passing Tone 114-9 xi LIST OP ILLUSTRATIONS—Continued Figure Page 56. The Suspension . 151 57. An Example Containing Suspensions, Passing Tones, and Consonant Intervals 152 58. The Basic Two-Part Cadence 155 59. A Portion of a Monody with a Realization of the Figured Bass 161 60.
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