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The Pedagogical Use of Gerald Near's "Chantworks"

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The Pedagogical Use of Gerald Near's The Pedagogical Use of Gerald Near's "Chantworks" Item Type text; Electronic Dissertation Authors Fresolone, Christopher 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 29/09/2021 02:34:27 Link to Item http://hdl.handle.net/10150/228432 THE PEDAGOGICAL USE OF GERALD NEAR’S CHANTWORKS by Christopher Fresolone ____________________ Copyright ©2012 Christopher Fresolone A Document 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 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Christopher Fresolone entitled The Pedagogical Use Of Gerald Near’s “Chantworks” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ____________________________________________________Date: 4/19/12 Pamela Decker ____________________________________________________Date: 4/19/12 John Brobeck ____________________________________________________Date: 4/19/12 Rex Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ____________________________________________________Date: 4/19/12 Document Director: Pamela Decker 3 STATEMENT BY AUTHOR This document 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 document are allowable without special permission, provided that accurate acknowledgement of sources 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: Christopher Fresolone 4 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ......................................................................................6 LIST OF TABLES .............................................................................................................10 ABSTRACT .......................................................................................................................11 WORKING DEFINITIONS ..............................................................................................13 CHAPTER ONE: INTRODUCTION ................................................................................14 CHAPTER TWO: EFFECTS OF EXISTING ORGAN PEDAGOGY RESOURCES ON SKILL DEVELOPMENT LEVEL ....................................................................................18 1. Survey of existing organ pedagogical resources ................................................18 2. Techniques that an intermediate organist could be expected to have mastered from well-known method books ............................................................................20 3. Next steps for the intermediate organist ............................................................21 CHAPTER THREE: GERALD NEAR BIOGRAPHY .....................................................23 1. Education and professional positions.................................................................23 2. Awards and commissions ..................................................................................24 3. Compositions .....................................................................................................25 Choral and other non-organ works ............................................................25 Organ works ...............................................................................................26 CHAPTER FOUR: OVERVIEW AND FEATURES OF CHANTWORKS ......................29 1. Organization of Chantworks ..............................................................................29 2. Types of settings ................................................................................................30 3. Compositional features ......................................................................................32 Vorimitation .......................................................................................................32 5 TABLE OF CONTENTS – Continued Harmonic language ................................................................................................37 CHAPTER FIVE: EXPRESSION PEDAL TECHNIQUES .............................................45 CHAPTER SIX: MANUAL CHANGES AND REGISTRATION CHANGES ...............67 CHAPTER SEVEN: TECHNICAL IMPLICATIONS OF VOICE CROSSING .............84 CHAPTER EIGHT: PERFORMANCE PRACTICE OF CHANT AND VARIABLE METERS ............................................................................................................................95 CHAPTER NINE: CONCLUSION ...................................................................................99 APPENDIX A: PEDAGOGICAL ATTRIBUTES OF EACH PIECE FROM CHANTWORKS ...............................................................................................................103 APPENDIX B: PERMISSIONS ......................................................................................129 REFERENCES ................................................................................................................130 6 LIST OF MUSICAL EXAMPLES Musical Example 4.1. Near, “Conditor alme siderum,” mm. 1-3 ......................................32 Musical Example 4.2. Near, “Conditor alme siderum,” mm. 12-14 ..................................33 Musical Example 4.3. Near, “Jam, Christe, sol justitiæ,” mm. 1-9 ...................................34 Musical Example 4.4. Near, “Jam lucis orto sidere,” Variation III, mm. 1-8 ...................35 Musical Example 4.5. Near. “Jam lucis orto sidere,” Variation IV, mm. 1-13 .................36 Musical Example 4.6. Near, “Audi, benigne Conditor,” mm. 27-31 .................................38 Musical Example 4.7. Near, “Audi, benigne Conditor,” m. 1 ...........................................38 Musical Example 4.8. Near, “Conditor alme siderum,” mm. 17-23 ..................................40 Musical Example 4.9. Near, “Lustris sex qui jam peractis,” mm. 33-42 ...........................41 Musical Example 4.10. Near, “Vexilla regis prodeunt,” mm. 1-6 .....................................42 Musical Example 4.11. Near, “A solis ortus cardine,” mm. 19-28 ....................................43 Musical Example 4.12. Near, “A solis ortus cardine,” mm. 19-21 ....................................44 Musical Example 5.1. Reger, Vom Himmel hoch, da komm’ ich her, mm. 13-17 ............47 Musical Example 5.2. Rorem, There is a Spirit That Delights to Do No Evil..., mm. 12-13 ..............................................................................................................47 7 LIST OF MUSICAL EXAMPLES – Continued Musical Example 5.3. Vierne, Berceuse, mm. 23-24 ........................................................50 Musical Example 5.4. Vierne, Berceuse, mm. 27-28 ........................................................51 Musical Example 5.5. Langlais, Prélude modal, mm. 16-18 ............................................52 Musical Example 5.6. Trevor, first exercise for pedal with expression pedal ...................55 Musical Example 5.7. Near, “O lux beata Trinitas,” mm. 1-3 ...........................................57 Musical Example 5.8. Near, “Audi, begnigne Conditor,” mm. 1-8 ...................................58 Musical Example 5.9. Near, “Jam, Christe, sol justitiæ,” mm. 26-30 ...............................59 Musical Example 5.10. Near, “Verbum supernum prodiens,” m. 32 ................................60 Musical Example 5.11. Near, “Veni Creator Spiritus,” m. 10 ...........................................61 Musical Example 5.12. Near, “Veni, veni Emmanuel,” mm. 1-2 .....................................62 Musical Example 5.13. Near, “Veni, veni Emmanuel,” m. 23 ..........................................63 Musical Example 5.14. Near, “Lustris sex qui jam peractis,” mm. 1-3 ............................64 Musical Example 6.1. Sweelinck, Fantasia in the Manner of an Echo, mm. 43-46 .........69 Musical Example 6.2. Near, “A sola magnarum urbium,” mm. 1-7 ..................................73 Musical Example 6.3. Near, “Veni, veni Emmanuel,” mm. 3-10 ......................................76 8 LIST OF MUSICAL EXAMPLES – Continued Musical Example 6.4. Near, “Aurora lucis rutilat,” mm. 19-26 ........................................76 Musical Example 6.5. Near, “Aurora lucis rutilat,” mm. 31-33 ........................................77 Musical Example 6.6. Near, “Verbum supernum prodiens,” m. 19 ..................................78 Musical Example 6.7. Near, “Verbum supernum prodiens,” mm. 30-31 ..........................79 Musical Example 6.8. Near, “A solis ortus cardine,” mm. 44-46 ......................................80 Musical Example 6.9. Near, “Lustris sex qui jam peractis,” mm. 34-39 ...........................81 Musical Example
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