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An Annotated Guide to African Romances, Op University of Kentucky UKnowledge Theses and Dissertations--Music Music 2021 SONGS FOR HIGH VOICE: AN ANNOTATED GUIDE TO AFRICAN ROMANCES, OP. 17 BY SAMUEL COLERIDGE-TAYLOR Makeda Danielle Hampton University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0002-5364-9968 Digital Object Identifier: https://doi.org/10.13023/etd.2021.244 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hampton, Makeda Danielle, "SONGS FOR HIGH VOICE: AN ANNOTATED GUIDE TO AFRICAN ROMANCES, OP. 17 BY SAMUEL COLERIDGE-TAYLOR" (2021). Theses and Dissertations--Music. 189. https://uknowledge.uky.edu/music_etds/189 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Makeda Danielle Hampton, Student Dr. Angelique Clay-Everett, Major Professor Dr. Lance Brunner, Director of Graduate Studies SONGS FOR HIGH VOICE: AN ANNOTATED GUIDE TO AFRICAN ROMANCES, OP. 17 BY SAMUEL COLERIDGE-TAYLOR ________________________________________ DMA PROJECT ________________________________________ A DMA Project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Makeda D. F. Hampton Lexington, Kentucky Director: Dr. Angelique Clay-Everett, Associate Professor of Voice Lexington, Kentucky 2021 Copyright © Makeda D. F. Hampton 2021 https://orcid.org/0000-0002-5364-9968 ABSTRACT OF DMA PROJECT SONGS FOR HIGH VOICE: AN ANNOTATED GUIDE TO AFRICAN ROMANCES, OP. 17 BY SAMUEL COLERIDGE-TAYLOR African Romances, Op. 17, composed in 1897 by African-British composer Samuel Coleridge-Taylor (1875-1912), is a collection of seven songs for high voice that is uniquely both African and American. The lyrics of this song cycle were first published in the book Majors and Minors, a collection of poems published in 1895 by Paul Laurence Dunbar (1872-1906). Broadly speaking, academic discourse in Black vocal music has been underrepresented due to the absence of centralized information, such as published scores, recorded materials, catalogs, and guides for study and performance. While the art song repertoire of Black composers has become more researched in depth over the years, the narrative of Samuel Coleridge-Taylor as an art song composer still remains in obscurity. Coleridge-Taylor’s vocal canon is relatively unknown compared to his famous instrumental works and the art songs of other composers of the late-Romantic period. Despite several compositions appearing in anthologies by Black song composers, the vocal works of Coleridge-Taylor are not widely recorded or performed, thus resulting in the absence of critical performance study. Specifically, the seven songs of African Romances – “An African Love Song,” “A Prayer,” “A Starry Night,” “Dawn,” “Ballad,” “Over the Hills,” and “How Shall I Woo Thee?” – have not been the subject of prior significant analysis. Additionally, African Romances represent the earliest known song cycle by a Black composer and Black poet. This treatise aims to address the underserved Black Art Song from a historical point of view, examine the musical and poetic narratives and aesthetics of Samuel Coleridge-Taylor and Paul Laurence Dunbar, and provide a guide to African Romances, Op. 17 for performers, teachers and scholars of classical vocal repertoire. KEYWORDS: Black Art Song, Voice, Repertoire, Rubric, Samuel Coleridge-Taylor, Paul Laurence Dunbar Makeda D. F. Hampton Name of Student May 26, 2021 Date SONGS FOR HIGH VOICE: AN ANNOTATED GUIDE TO AFRICAN ROMANCES, OP 17 BY SAMUEL COLERIDGE-TAYLOR By Makeda D. F. Hampton Dr. Angelique Clay-Everett Director of DMA Project Dr. Lance Brunner Director of Graduate Studies May 26, 2021 Date DEDICATION For Nana, Poppa Jack, Mom-mom, and Pop-pop iv ACKNOWLEDGMENTS Throughout the writing of this dissertation, I have received an enormous amount of support and assistance. I want to first thank my doctoral advisor and first collegiate voice teacher, Dr. Angelique Clay-Everett, for believing in my voice nearly 18 years ago. You have provided so much support through every step of my journey, and I am grateful for such a relationship that allows your ability to navigate the space between both mentor and friend. Thank you from the bottom of my heart for leading and encouraging me to be a voice teacher and performer. I feel very fortunate to have had the opportunity to work with you and purse this degree. Thank you to all the members of my doctoral committee: Dr. Angelique Clay- Everett, Dr. Everett McCorvey, Dr. Lance Brunner, Dr. DaMaris Hill, and Professor Doreen Maloney. Thank you for your encouragement, support and flexibility, especially throughout the final stages of this process. You have inspired me to think in new ways that bring clarity and impact to my research and performance. Professor Cliff Jackson: thank you for sharing your musical genius and life experiences with me in every vocal coaching and helping me find my confidence as a performer. It was such a privilege and an honor to share the stage with you for my 3 doctoral recitals. To the many other mentors in my life, I deeply thank you all. In addition, I would like to thank Alltech, the Lyman T. Johnson Fellowship committee, OperaLex, and the University of Kentucky School of Music for providing scholarships and grants throughout my time at UK. I want to thank all of my family and friends for your continuous and unprecedented support through one of the most exciting and difficult seasons of my life. iii To my ancestors – my grandparents: thank you for your presence, love, and a lifetime of support since my very first academic achievement. To my sister, Dr. Talitha Hampton- Mayo, thank you for helping me organize the nuances of this dissertation narrative with your strategic management expertise. To my brothers, Dr. David Mayo and Keith Wilkerson, thank you for your continuous encouragement and emotional availability. To my parents, James Hampton (daddy) and Darniece Hampton (mommy): thank you. There are not enough words to describe how grateful I am that the Creator chose you both to be my parents. Thank for believing in and supporting all of my dreams, validating me, celebrating every milestone and accomplishment with me, and challenging me to create the world that I wish to exist. I also want to acknowledge my friends, Dr. Julie Foster, my Glide crew, and my UK housemate, Tanyaradzwa Tawengwa: thank you all for understanding and encouraging me. Lastly, I thank the Creator for music, which helps me share stories from my soul and inspire compassion, engagement, and connection. For all of this, my heart is filled with deep gratitude. iv TABLE OF CONTENTS ACKNOWLEDGMENTS…………...…………………………………………………...iii LIST OF TABLES ........................................................................................................... vii LIST OF FIGURES ......................................................................................................... viii PART I CHAPTER 1. INTRODUCTION ........................................................................................ 1 1.1 Introduction ............................................................................................................. 1 1.2 Rationale for Research ............................................................................................ 2 1.3 Literature Review .................................................................................................... 3 1.4 Methodology ............................................................................................................ 7 CHAPTER 2. DEVELOPMENT OF THE EUROPEAN AND BLACK ART SONG .... 10 2.1 European Art Song ...............................................................................................
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