CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

A STUDY OF FOLK SONGS IN THE WIND BAND REPERTOIRE: A CONDUCTOR

AND EDUCATOR’S POINT OF VIEW

A Thesis submitted in partial fulfillment of the requirements For the degree of Master of

Music in Music, Conducting

By

Claudio D. Alcántar

May 2018

The thesis of Claudio D. Alcántar is approved:

______Prof. Mary Schliff Date

______Prof. Gary Pratt Date

______Dr. Lawrence Stoffel, Chair Date

California State University, Northridge

ii ACKNOWLEDGEMENTS

I would like to express my immense gratitude to Dr. Lawrence Stoffel for being an amazing human being and for guiding and inspiring me to pursue a career in music education. Your love for music making and your dedication and support for music education has truly inspired me. I am forever thankful for your support and mentorship over these last two years.

Gary Pratt, your love and dedication to Cal State Northridge, its students and the community continues to amaze me. Thank you for being a great role model and bringing out the best out of every student over your career as a musician and educator. You have truly inspired me to follow your steps.

Mary Schliff, thank you for your continuous help over these years. You keep the music education and credential program going at Cal State Northridge and I thank you for your dedication and hard work. You have created many music educators and continue to encourage me to get out there and teach!

iii DEDICATION

Dedicated to my family, friends, students, teachers and everyone that has played a role in my development and growth as a musician, educator, conductor and human being.

iv TABLE OF CONTENTS

SIGNATURE PAGE ii

ACKNOWLEDGEMENTS iii

DEDICATION iv

ABSTRACT vii

INTRODUCTION 1

The Conductor 1

Music Education 2

Folk Songs in Western Music 4

GRAINGER: SPOON RIVER 7

Composer Background 7

Historical Perspective 7

Composition 8

CURNOW: KOREAN FOLK RHAPSODY 18

Composer Background 18

Historical Perspective 18

Composition 22

VAUGHAN WILLIAMS: ENGLISH FOLK SONG SUITE 27

Composer Background 27

Historical Perspective 27

Composition 29

v KOZHEVNIKOV: THIRD MOVEMENT FROM SYMPHONY NO.3 46

Composer Background 46

Historical Perspective 46

Composition 48

CHAVEZ: MARCHA PROVINCIANA FROM CHAPULTEPEC 53

Composer Background 53

Historical Perspective 54

Composition 56

CONCLUSION 56

BIBLIOGRAPHY 58

APPENDIX A: Recital Program 62

APPENDIX B: CURRICULUM VITAE 70

vi ABSTRACT

A STUDY OF FOLK SONGS IN THE WIND BAND REPERTOIRE: A CONDUCTOR

AND EDUCATOR’S POINT OF VIEW

By

Claudio Daniel Alcántar

Master of Music in Music, Conducting

The role of the conductor draws close parallels to those of a teacher. As both a conductor and music educator one has the responsibility to choose great repertoire, comprehensive repertoire, that which stimulates a student’s musical intelligence, and educates students by exposing them to a variety of cultural music from around the world.

The repertoire chosen in this thesis integrates folk song based compositions in the school wind band curriculum, which serve to broaden the student’s musical education through exposure to the culture and the history of countries from around the world.

The purpose of this thesis is to illustrate an in depth study of several folk song- based compositions for the wind band: Spoon River by Percy Grainger, arranged by

Glenn Cliffe Bainum; James Curnow’s Korean Folk Rhapsody; Ralph Vaughan

William’s English Folk Song Suite; the third movement of Boris Kozhevnikov’s

Symphony No. 3; Marcha Provinciana from “Chapultepec” by Carlos Chávez; and A

Bike Ride in the City of Angels by Jeremy Stacey. The repertoire selected serves as an avenue of cultural transmission, which links the students to traditions, values, and ideas held by given cultures, through the act of music performance.

In this thesis I will provide the history behind these folk songs. A study on what these melodies represent to a given culture, how the composer came about these

vii melodies, and an insight on how the composer sets these melodies into our modern wind band arrangements though a form and harmonic analysis. Ultimately providing settings of folk melodies that can be used by conductors and educators to teach culture and history through the art of great music making. This thesis is in conjunction with a recital with a performance of the selected works.

viii INTRODUCTION

Conductor

Holding the position of a conductor, a leader, a teacher is a position with a lot of responsibility. Frank Battisti, conductor Emeritus of the New England Conservatory

Wind Ensemble describes that the ultimate goal of the conductor is to communicate the expressive potential of a musical composition by making interpretive decisions based on insights and knowledge gained through thoughtful and imaginative study of the score.1

Amongst the many stages of score study, the conductor must also consider the history of the music in order to truly capture the style and meaning. Eugene Ormandy, conductor of the Philadelphia Orchestra believes that during the process of score study, the conductor must prepare himself both technically and artistically by being a musician, historian, stylist, orchestrator, and listener.2

Furthermore, having an understanding of composition, music theory and analysis is crucial to understanding how it works internally. In Johann Joachim Quantz’s Treatise

On Playing The Flute he states, “The greatest skill required of the leader is that he have a perfect understanding of how to play all types of compositions in accordance with their style, sentiment and purpose.”3 Therefore it is desirable for the ensemble leader, now known as the conductor, to have deep understanding of a variety of musical styles in order to realize the music.

1. Frank L. Battisti, and Robert Garofalo, Guide to Score Study for the Wind Band Conductor, 1.

2. Eugene Ormandy, quoted in Elizabeth A.H. Green, and Mark Gibson, The Modern Conductor, xi.

3. Johann J. Quantz, On Playing The Flute, 205.

1 The modern day conductor-educator adds on many more tasks to the already challenging position. Estelle Jorgenson believes that teaching music is like an art and craft. In her book The Art of Teaching Music she posits that teachers are in a crucial position to help students develop as people, musicians, and lovers of music and culture.4

The ultimate goal of music making is to express the intentions of the composer. To bring out the good, the true and the beauty in music which ultimately connects us all as human beings.

Having the students connect to music can be achieved by creating a bridge between music and culture. Providing a historical perspective to the body of repertoire that the students are working on can help them further appreciated it from a new perspective. Furthermore, the integration of folk music with the Western Art form can provide a body of work rich with history and meaning. The notions of the good, the true and the beautiful are all understood in terms of the particular traditions they represent.5

Each culture too has a separate set of traditions and values, and through their folk music we are able to learn and develop an understanding of their culture and music aesthetics.

Music Education

Music education should be an essential component of the human experience.

Howard Gardner states that an understanding of music may be the key for understanding all human thinking, and that to understand the human condition we must take music

4. Estelle R. Jorgensen, The Art of Teaching Music, ix.

5. Ibid., 32.

2 seriously into account.6 Music is central to human life and plays an important role to the human experience and connection. In A Philosophy of Music Education music educator

Bennet Reimer describes formalism as a position that concentrates on the internal qualities of music and that factors such as political opinions, references to particular people or events, suggestions of ideas or ordinary emotions and so forth, are insignificant to the music and the experience of it.7 When music is prioritized in this way, we then are able to bring out the true beauty and the original intentions of a composer. However, knowing more about the music will not hurt or damage the end result. Being able to understand the music by including traditions, values, people, and places will only nurture our overall understanding of the music as teachers and students.

A traditional music education curriculum at a fundamental level is constructed to teach students how to read and write and perform notation. These are building blocks of music education. As education changes, music educators are starting to re-think their rehearsal strategies by incorporating the four major categories of the 2014 National

Standards of Music: Creating, Performing, Responding and Connecting.8 Standard No.4,

Connecting, enhances a student’s musical learning by incorporating cultural ideas, beliefs and values through music performance. The music educator-conductor should therefore be able to incorporate quality music, which as a bonus is filled with historical contexts will serve to enrich a student’s well-rounded education.

6. Howard Gardner, Frames of Mind: The Theory of Multiple Intelligences, 123.

7. Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 41-42.

8. National Standards of Music, NAFME, 2014.

3 Reimer states that neglecting the role of music in culture throws our understanding out of balance both about culture and about music and we should take into count both the unique qualities of music as music, which characterize it transculturally, and the situated aspects of music, which characterize it as culturally grounded construction.9 Music is deeply tied within culture and creating this connection for students opens up a greater understanding and appreciation for the music that students perform.

Folk Songs in Western Music

Composers of western art music have made use of folk songs and have demonstrated musical value in this body of music by incorporating it in their compositions. There are traces of folk like melodies and topics in the music of Mozart,

Haydn, Beethoven, Brahms, Chopin, Bartok, and Dvorak just to name a few. Bartók states that “folk music models the way in which a musical idea can be expressed in all its freshness and shapeliness; in short in the very best possible way, in the briefest possible form, and with the simplest of means.”10 Incorporating folk-like melodies into music is not a new concept and programming quality music, which incorporates folk melodies, can bring many benefits for students.

The study of folk music has branched out into its own field of study.

Ethnomusicology is the field of study in which a scholar is dives into a specific culture in order to learn their music as well as their customs, traditions. The term ‘folk song’

9. Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 169.

10. Béla Bartók, quoted in Lajios Vargyas, The Folk Song as a Work of Art, 196

4 entered the English language in 1888 and was defined in the American Century

Dictionary as “a song of the people; a song based on a legendary or historical event, or some incident of common life, the words and generally the music of which have originated from the common people and are extensively used by them.”11

Through the research of ethnomusicologists and field collectors we have learned that much of this music was used for social events, ceremonies, religious occasions, worship, story telling, festivals, dance, music serves a purpose. Even so, music was used as a means of education not just for entertainment. A perfect example of this is nursery rhymes, which are passed down orally to children, which texts are often times tied to national identity.

Music that derives from a specific group of people may have its own language, its own scales, intervals, modes, melodic counters, meters, and rhythmic combinations.

Some of this music may be different as it may make use of different tuning systems, vocal techniques, and instrumental techniques, even different instruments that may not be the norm in the Western tradition of art music. When incorporating this music into the school band curriculum we must be aware that much of the music we perform may not be authentic, or primitive sounding, instead a setting of such melodies by a composer with western instruments and harmony. The benefits have a sociological function, which not only provides great music, but also allows for music to be relevant, meaningful, and significant to students in an ensemble.

The purpose of this thesis is to illustrate an in depth study of several folk song- based compositions for the wind band. The compositions chosen in conjunction to a

11. Margaret Dean-Smith, “Letters to Lucy Broadwood: A Selection From the Broadwood Papers at Cecil Sharp House,” 241.

5 recital are Spoon River by Percy Grainger, arranged by Glenn Cliffe Bainum; James

Curnow’s Korean Folk Rhapsody; Ralph Vaughan William’s English Folk Song Suite; the third movement of Boris Kozhevnikov’s Symphony No. 3; Marcha Provinciana from

“Chapultepec” by Carlos Chávez; and A Bike Ride in the City of Angels by Jeremy

Stacey.12 The repertoire selected serves as an avenue of cultural transmission, which links the students to traditions, values, and ideas held by given cultures, through the act of music performance.

In this thesis I will provide the history behind these folk songs. A study on what these melodies represent to a given culture, how the composer came about these melodies, and an insight on how the composer sets these melodies into our modern wind band arrangements through a form and harmonic analysis. Ultimately providing settings of folk melodies that can be used by conductors and educators to teach culture and history through the art of great music making.

12. A Bike Ride in the City of Angels is a new composition commissioned for this conducting recital. The composition is based on folk-like melodies that represent various cultures found in Los Angeles. Because it is a new work, it does not have a place in the repertoire as true folk music and is therefore not explored in this Thesis.

6 GRAINGER: SPOON RIVER

Composer Background

Percy Aldridge Grainger was an Australian-born composer, pianist, and collector of folk songs. A composer who has contributed a great number of folk song based compositions to the wind band repertoire. Amongst some of his most famous works include Irish Tune from County Derry, Hill Song No.2, Shepherd’s Hey, Molly on the

Shore, and Lincolnshire Posy. Spoon River is not as commonly known as some of the other compositions mentioned, and out of the group is one of the few that use an

American folk song as its source.

Historical Perspective

As a collector of folk songs, Percy Grainger worked on developing a method for accurately capturing folk songs. At this time many composers captured folk melodies by simply transcribing them from a singer and notating them. Grainger in the other hand made use of the newest recording technology available in order to accurately capture the rhythm, pitches, tempo, and character of such melodies.

He delineated his entire methodology of folk song collection in his seminal article entitled “Collecting with the Phonograph.” In this article he argues that the phonograph could help the recording efforts of other collectors and displays his methodology including a starting pitch and the use of a metronome to accurately approximate the pitch and the tempo in the playback.13 Grainger was overly methodical in wanting to capture

13. Percy Grainger, “Collecting with the Phonograph,” 150-151.

7 the true essence of these folk songs and the character of the folk singers. “The phonograph was, for Grainger, far more than a tool for simply recording a greater number of tunes or a mere aid to transcription: it was the only way to record the minute details of the singing, language, and characteristics of the singers themselves.”14 This was one of the main characteristics that distinguished Grainger from his contemporaries when it came to the collection of folk songs. Many ethnomusicologists followed in these steps and began using better recording devices such as tape recorders to help capture music of indigenous cultures. Throughout his career as a collector he captured over 400 songs in the span of four years and kept his collection organized in a cataloging system, one that organized folk melodies into various generic headings. Some of these headings include:

“American Folk Music Settings,” “British Folk Music Settings,” and “Unnumbered Sea

Chanty Settings.”15 Spoon River would fall under the American Folk Settings category.

Composition

Percy Grainger’s band version of Spoon River incorporates an American reel.

According to Grainger’s program notes, Captain Charles H. Robinson heard the tune played by a rustic fiddler at a country-dance at Bradford, Illinois in 1857. The publication of Edgar Lee Masters’ Spoon River Anthology, in 1915, prompted Robinson, by then 90- years-old, to send the tune to Masters. In 1919, Masters forwarded it to Grainger, who

14. Graham Freeman, “It Wants All the Creases Ironing Out: Percy Grainger, The Folk Song Society, and The Ideology of the Archive,” 417.

15. Teresa Balough, A complete Catalogue of the Works of Percy Grainger, xv.

8 completed his orchestral version in 1929.16 Grainger describes the tune as “archaic in character; typically American, yet akin to certain Scottish and English dance-tune types”17 Spoon river depicts the Illinois River. The melody to the fiddle tune that was sent to Percy Grainger as found in his program notes is seen in Figure 1.1.

Figure 1.1 Spoon River melody from the Program notes, Percy Grainger.

16. Percy Grainger, Spoon River, program notes. 17. Ibid.

9 Grainger’s concept of arranging and scoring music that could be used for a variety of mixed instruments is known as elastic scoring.18 The first publication of Spoon River was published for solo piano in 1922, and was then republished in 1929 using elastic scoring.19 According to Bird, “Elastic scoring was an invention of [Grainger] which revolved around the idea that many of his works could be performed by any number of instrumentalists from four to four hundred as long as the tonal balance of the work was preserved.”20

In a preface to the orchestral edition of Spoon River dated December 2, 1929,

Grainger included an essay titled, “To Conductors and to Those Forming, or in Charge of

Amateur Orchestras, High School, College and Music School Orchestras and Chamber-

Music Bodies.”21 In the essay, Grainger emphasized that his music tells its story by means of intervals rather than tone color. Therefore any combination of instruments can be used on a performance so long as proper balance of tone is kept.22 Most of his music is based on folk tunes, those that have been passed down orally making the melody the primary importance when it comes down to capturing the essence of its origin.

Percy Grainger created a wind band version of his orchestral arrangement, which was premiered by the Goldman band during the 1933 summer season. This arrangement

18. Thomas C. Slattery, Percy Grainger: The Inveterate Innovator, 131.

19. John Bird, Percy Grainger, 224

20. Ibid.

21. Percy Grainger, Spoon River, Orchestral edition program notes.

22. John Bird, Percy Grainger, 224.

10 was never published and the parts were nowhere to be found.23 Glenn Cliffe Bainum created this wind band arrangement of Spoon River in 1967. In his program notes,

Grainer states that “this setting aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence.24 This arrangement is very similar to the orchestral arrangement as the melody is continuous through out each statement and is simply scored with different textures and combination of sounds between several instrumental families.

The introduction begins with a octave quarter note ostinato in the pitched percussion and 3rd and 4th clarinets followed by rich whole note chords in measure 3 in the piano going from C # Dominant 7, to C Dominant 7, to F Major 7. The melody shown in Figure 1 is first presented in the saxophones broken down as a call and response starting with solo tenor saxophone, baritone saxophone and alto saxophone in alternation from measures 6–21. At measure 22, the clarinets 1 and 2 take over the statement of the melody being joined by the oboe, English horn, and clarinet 3 and 4 at measure 30. The quarter note octave pedal tone ostinato is transferred to the flutes and alto saxophone giving this second statement of the fiddle tune a different texture. To add even more color, the saxophones, bassoons, horns and trombones 1 and 2 accentuate beat two with an E♭ Major triad giving the melody a much more vibrant sound on the sustained G in the clarinets. This statement of the melody ends with an extension to the last three notes of the melody as Grainer augments the last three quarter notes of the melody into 3 half notes. Grainger is a master at transforming the melody with his masterful orchestration, and use of tone color by combining different colors of the wind band instrumentation.

23. William S. Carson, “Grainger’s Spoon River for Band.”

24. Percy Grainger, Spoon River, band program notes.

11 At measure 40, we reach our first big moment in dynamics in which the melody is further broken down into various sections of the ensemble in a forte dynamic. The first group that states the melody is the English horn, alto saxophone, and cornet. This statement is followed by a call and response by the flutes, oboes, clarinets, and second alto saxophone. The quarter note ostinato is now voiced in the bassoons and trombone sections.

In direct contrast to the previous section, the instrumentation thins down to a trio consisting of piccolo, flute and harp. The statement of the melody here at measure 56 is lightly orchestrated and the change of color is very effective. At measure 72 the melody returns to the first clarinet and a new counter melody is introduced as a call and response between the flutes and oboes. The counter melody can be seen in Figure 1.2.

Figure 1.2 Spoon River, Counter Melody, mm. 72–75

This counter melody is smooth and legato in character and is alternated as a call and response between the flutes and the oboe. At measure 80 the counter melody is inverted and moves upward in pitch as the English horn takes over the fiddle melody. The inverted counter melody is played in the flute and 1st clarinet parts. Figure 1.3 shows how the counter melody is inverted in upward motion.

12 Figure 1.3 Spoon River, Counter Melody Inverted, mm. 80–83

It is important to note that the second part of the melody should have been stated in this section at measure 80 but instead but instead Grainger chooses to use the first statement of the melody and develop the countermelody. At measure 88 we start to only hear fragments of the melody as it comes in and out of the texture. Grainger disguises the melody by bringing out the countermelody and playing with contrasting dynamic shifts between the ensemble.

A true statement of the fiddle melody is finally introduced in the piano at measure

104 as the counter melody is again developed and laid on top in a brass like chorale style.

Figure 1.4 demonstrates this counter melody, which is stated in the alto saxophone, trumpet, cornet, and French horn.

Figure 1.4 Spoon River, Counter Melody Inverted in Brass and Saxophone, mm. 103–107

13 At measure 120 we reach our climax that is built upon the chorale like counter melody. From measure 120–127 is used as transitional material to bring us back to the purity of the first statement of the melody. At measure 128 the xylophone takes over the melody as the octave ostinato is brought back in the harp, piano and pitched percussion.

The counter melody is first alternated in the woodwinds at measure 128, slowly adding instruments to the color at measure 134, 136 and 138. This variation of the counter melody is seen in Figure 1.5.

Figure 1.5 Spoon River, Counter Melody Inverted in Woodwinds, mm. 128–131

The density in orchestration begins to thicken at measure 144 as the second part of the melody as more instruments are added to the orchestration of the melody. The accompaniment is also thick in texture as most of the clarinets and low brass begin to pound on the up beats. The entire section from 144 to 169 remains grandioso in style and rich in texture bringing us to the coda at measure 169. The coda begins with a variation of the fiddle melody in the woodwinds which thins out the color and dynamics from

Fortissimo to piano in seven measures. Figure 1.6 demonstrates the melody in the flute and piccolo at the coda.

14 Figure 1.6 Spoon River, Coda Melody, mm. 169–172

This melody gets us down to a piano dynamic and returns to fortissimo in measure 181bringing us back up to an exciting ending filled with trills in the woodwinds and forzando quarter notes syncopation in the brass at measure 183. Table 1.1 shows the form and analysis of Spoon River.

15 Table 1.1 Form and Analysis of Spoon River.

Section Measures Descriptor

Introduction 1-5 Ostinato octaves, Piano chords

A1 6-21 Statement of fiddle melody in Saxophones.

A2 22-39 Melody in Clarinets, joined by oboes and English horn.

A3 40-55 Grows in dynamic range, melody in solo Clarinet, alto saxophone and cornet alternating with clarinets oboes, flutes and alto saxophone.

A4 56-71 Solo piccolo, flute and harp. Chamber like section thinly orchestrated.

A5 72-79 Half statement of the melody in the clarinets with new countermelody introduced in flute and oboe.

A6 80-96 Melody is still present but begins to disappear from the overall texture. Melody goes in and out in the English Horn. Counter melody is inverted and takes over the texture

A7 96-103 Half statement of the melody in the oboe and clarinet section. Counter melody begins to become prominent.

A8 104-120 Fiddle melody in the piano, countermelody is presented in the ensemble in a chorale style weaving in and out of the texture with great dynamic contrast.

Transition/Extension 120-127 Melody is non exsistent, countermelody starts to diminish in sound and orchestration transitioning back to the statement of the melody.

A9 128-151 The first part of the melody is played twice prin the xylophone. Counter melody is present and ostinato quarter notes are back in accompanimnent. The second part of the melody follows at measure 144.

A10 152-168 Final statement of the melody in full. Two measure extension in measure 67-68.

Coda 169-183 Starts fortissimo in and lessons to piano ending in fortissimo to end the piece. Uses motifs from melody, counter melody and accompaniment.

16 When performing this piece, one needs to keep in mind that in order to fully capture the essence of the fiddle tune, one must not take it too fast. The goal is to capture the true dance like playfulness of the reel and take it through its various variations as it changes in color, texture, and orchestration.

17 CURNOW: KOREAN FOLK RHAPSODY

Composer Background

James Curnow is active as a conductor, composer, educator and clinician throughout the United States.25 His contribution to the wind band repertoire has truly brought quality music to school band programs. His composition Korean Folk Rhapsody is based on the Korean folk song “Arirang” in which the folk tune is presented in a variety of styles.

Historical Perspective

Korea has a long history of traditional music known as kugak, or Han’ guk umak which shares much of the same musical background with China and Japan, but elements in Korea’s musical traditions are in marked contrast to those of her neighbors: for example, the triple rhythm in Korean music is easily distinguished from the duple rhythm in the music of China or Japan.26 The folk tune “Arirang” is no exception to the usage of triple rhythm and is traditionally performed in compound time, later translated to the duple rhythm meter we know today. The melody to “Arirang” in triple rhythm can be seen in Figure 2.1.

25. Richard B. Miles, “Korean Folk Rhapsody,” in Teaching Music through Performance in Band, 104.

26. Song Bang-Song, Korean Music: Historical and Other Aspects, 40.

18 Figure 2.1 “Gyeonggi Arirang”

According to Bang-song, the Korean concept of folk song is quite different from its Western counterpart. The Korean definition includes both the simple work song of the peasant and the polished song of the professional singer. Minyo or “folk song” belongs to the first category whereas chapka, “miscellaneous song” belongs to the second.27 There is no distinction as to one being more authentic than the other. They both fall under the category of folk song, one being raw in its simplistic state and the latter seen as an art form.

The folk song “Arirang” comes from the Minyo tradition, and due to its popularity is often times considered the second national anthem of Korea. Howard states that “the term minyo can be traced to the German Volkslied, a term that the Japanese adopted and translated also as minyo and brought to Korea during the early colonial period.” 28

Although Minyo represents the body of traditional folk songs it can be literally translated as ‘people’s song,’ and has essentially been passed down orally over generations.29

27. Song Bang-Song, Korean Music: Historical and Other Aspects, 40.

28. Keith Howard, Bands, Songs, and Shamanistic Rituals: Folk Music in Korean Society, 1.

29. Song Bang-Song, Korean Music: Historical and Other Aspects, 240-241.

19 Because this music has been passed down orally we must take careful consideration on the meaning behind the texts of “Arirang.” By doing so we can unfold the meaning behind a melody which Korea holds with high regard to their culture and nationality. There are many different versions to the texts for “Arirang,” and the texts change according to the region from which they derive. According to Park, the title itself will inform you which region the texts come from. “The first word in each song title indicates the name of the city or district of origin”30 In order to get a broader cultural understanding, it would beneficial to look at several translations and texts from different districts.

Gyeonggi Arirang comes from the western central part of Korea and tells the story of Arang, a beautiful daughter who refused a man she did not love. Her wrongful death by a corrupt servant is avenged when the evil servant is brought to justice. The song is therefore sung to comfort her victimized soul, which wanders as a spirit until the wrong is righted. Jindo Arirang comes from the southern part of South Korea and the texts are mournful, conjuring up family members going off to sea. Miryang Arirang is in the southwest region and reflects the bright and simple character of the townspeople, with a tone of resilience and is much more significant to Koreans as a nation. When they lost their independence to Japan during the Japanese Colonial period (1910–45), it was this melody that was used for the independence movement song with texts associated with hope and will to be independent.31 That being said, “Arirang” not only represents the nation as a whole but also represents different regions and their cultural characteristics.

30. Young T. Park, “Three Local Arirang Songs as Models for Teaching Korean Music in the Classroom,” 46.

31. Ibid., 46-47.

20 According to the program notes provided in the score, the texts most commonly associated with Arirang are shown in Table 2.1

Table 2.1 Texts to “Arirang”

“Ahrirang”

Ahrirang, Ahrirang, Ahririo As you proceed along the Ahririan pass, Blue the sky with its myriad stars, so Sadness fills my heart with its myriad woes.

Sources: James Curnow, Korean Folk Rhapsody, Program Notes. Note: The Spelling of “Arirang” is spelled “Ahrirang” in the program notes. Both spellings can be used interchangeably.

As seen in this translation, “Arirang” is a mountain pass in Korea and holds significant geographical value to their culture. The most common texts associated with the folk song seem to derive from a nationalistic standpoint. Kwon states that “although minyo today can still be considered a living tradition, performance of folk songs now tend to evoke nostalgic connotations of a Korean cultural past that supports more “traditional” image of national identity.”32 Having a broad understanding of the various versions and translations of the texts can help the conductor and educator connect the music to the

Korean culture and most importantly help students appreciate the music they perform.

This music has sentimental meaning and touches the deepest emotions of the people of

32. Donna L. Kwon, Music in Korea: Experiencing Music, Expressing Culture, 90.

21 Korea as a nation and further more brings out special characteristics specific to regions depending on the texts used.

The scales most commonly used when depicting music of Korea is the pentatonic scale. Bong Song states that “the scale of the Korean folk song varies according to locality, pentatonic and tetratonic are the most common scale systems.”33 Arirang itself can be attributed from coming from the central peninsula of Kyonggi, home to the capital

Seoul. Kyinggi minyo typically use an anhemitonic pentatonic mode, a sequence of pitches without half steps.34 Arirang is built on the notes of the pentatonic scale, with no half steps as seen in Figure 2.2.

Figure 2.2

Composition

Curnow’s Korean Folk Rhapsody is a wind band setting of “Arirang” in the

Western European style. This music can be classified into the yang-ak compositional approach, which Kwon defines as “music composed for Western instruments in a

Western style.”35 The folk song is presented in its entirety with very little development or

33. Song Bang-Song, Korean Music: Historical and Other Aspects, 48.

34. Donna L. Kwon, Music in Korea: Experiencing Music, Expressing Culture, 93.

35. Ibid., 130.

22 variation to the melody itself. The harmonic accompaniment does in fact change which is what gives the diversity to each new statement of the folk tune.

Oxford defines a Rhapsody as “one continuous movement, often based on popular, national, or folk melodies.”36 Korean folk Rhapsody is indeed presented to us in one continuous movement with an introduction, the statement of the melody, a development, a re statement of the melody in a new key and a coda. The form is broken down in Table 2.2.

36. Allison Latham, “Rhapsody,” definition in The Oxford Companion to Music.

23 Table 2.2 Form and Analysis for Korean Folk Rhapsody.

Section Measures Descriptor

Intro 1-4 F Major

A

a st 5-13 1 statement of the refrain melody. Eight measures in length with an extra measure as an extension. b 14-22 Verse statement of the melody. Eight measures in length with and extra measure as an extension. Extension 23-24 Two Measure Extension. Serves as an introduction to a new setting of the melody.

A a 25-33 F Major, new texture (staccato) in accompaniment, faster harmonic motion, and not as legato in the refrain melody. Eight measures in length with an extra measure as an extension.

b 34-42 Verse, with woodwind accompaniment. Eight measures in length with an extra measure as extension.

B Development section. Both motives from the Development 43-57 refrain and verse are presented. The refrain is harmonized and the verse is presented with different instrumentation each time and with less rests in between (diminution). Key modulation from F Major to E♭ Major in measure 57. A a First Verse in E♭ Major in a Grandioso style with 58-65 harmony shifting from E♭ Major to A♭ Major in the accompaniment. b 66-73 Verse section in E♭, slower

Coda 73-79 Coda in E♭, both refrain and verse motives are present. D♭ Major 7 cadence to E♭ Major.

24 As seen in Table 2.2, the composition begins with a four-measure introduction, which sets the mood and tonal center in the key of F Major. The first statement of the melody is presented in the alto saxophone, tenor saxophone and French horn in measure

5, and is accompanied with alternating harmony moving from F Major to E♭ Major. The verse is presented in the trumpet parts in measure 14 and finished off in the alto saxophone and clarinets. The second statement of the refrain melody is in contrasting style and there is a two-measure introduction, which sets up a change in style at measure

23. The accompaniment changes from long sustained notes to separated staccato motives first introduced by the temple blocks in measure 21. The second verse is moved to the flute and muted trumpet with long sustained notes as the accompaniment in measure 34.

The development begins at measure 43 and includes both motives from the refrain as seen in the clarinets and the verse as seen in measure 44 in the trumpets. The accompaniment brings back the staccato accompaniment of the second refrain. The verse melody is brought back several times each with less and less rests in between as seen in measure 44 in the trumpets, measure 50 in the alto and tenor sax with horns, and in measure 53 with the trumpets, flutes and oboes.

The re-statement of the first refrain occurs in measure 58 in a Grandioso style with the melody in the clarinet 2 and 3, and the trumpets. A pedal tone is used in the accompanying harmony. A false entrance of the verse occurs in the woodwinds in measure 61, but a true statement occurs at measure 66 at a slower tempo with only the woodwind sections. The coda plays with the dotted quarter eight-note motive to bring the piece to soft delicate end.

25 The percussion is essential in making this music sound authentic. The percussion parts are “designed to aid in capturing the oriental flavor.”37 In Musical Instruments of

Korea, Andrew P. Killick states that:

Idiophones are particularly diverse and prominent in Korean music; indeed, in many ensembles of both the folk and the elite traditions, the leader plays an idiophone. In the case of the farmers' bands, the leading instrument is the kkwaenggwari, a small lipped gong played with an unpadded wooden mallet and therefore producing a bright and penetrating sound.38

Curnow makes use western instruments such as the triangle, bells and a suspended cymbal in order to achieve the sounds of Eastern idiophones. The bells are to be played with plastic mallets and the cymbals are to be struck with on the crown with a triangle beater.

Korean Folk Rhapsody is a great piece to program into the young wind band curriculum. This piece provides students with various learning opportunities such as music notation, range, articulation and style. Most importantly, designing lesson plans that further exploit the history and cultural background of Korea and the folk tune

“Arirang” is enriching and promotes an understating of culture through music performance.

37. James Curnow, Korean Folk Rhapsody, Program Notes.

38. Andrew P. Killick, “Musical Instruments of Korea,” 86.

26 VAUGHAN WILLIAMS: ENGLISH FOLK SONG SUITE

Composer Background

Ralph Vaughan Williams was Britain’s leading composer during his lifetime and devoted his lifetime to composition, folk song research and publication, church music, and music for amateur use.39 In 1904 he became a member of the Folk Song Society and devoted most of his life to research within the folk song realm.

Vaughan Williams was an authority figure when it came to English folk songs and was heavily involved in teaching lectures on folk songs as early as 1902.40 He wrote several compositions for the wind band including Sea Songs, Flourish for Wind Band, and English Folk Song Suite, which is regarded as a staple in the wind band literature.

Historical Perspective

The collection of English folk songs was an important cultural effort in the 19th century. The Folk Song Society was founded in 1898, and its primary purpose was:

The collection and preservation of Folk-Songs, Ballads, and Tunes and the publication of such of these as may be deemed advisable… it must be borne in mind that a main object of the society is to publish only such traditional songs as have not hitherto appeared in print, but have been handed down orally.41

At this point in time the society did not just focus on folk music from Great Britain but was inclusive of all folk music.

39 Richard B. Miles, “English Folk Song Suite,” in Teaching Music through Performance in Band, 241.

40. Ursula Vaughan Williams, R.V.W: A Biography of Ralph Vaughan Williams. 62-63.

41. “Front Matter,” Journal of the Folk-Song Society, i-viii.

27 National identity was in the mind of many scholars and musicians during the years between the two world wars. Music being written by many incorporated folk melodies within the western art form. Cecil Sharp, a founding member of the English

Folk Dance Society states that “in folk music every nation possesses a musical heritage of priceless worth which for many reasons it should cherish and preserve… in the recovery, therefore, and dissemination of our own country’s folk-music, the solution of the problem of characteristic and national school of English music may possibly be found.”42

Composers and scholars where in search of a sound that would identify them and link them to their nationality and what better way to do this than with folk music, the music of the people.

Many scholars of this time believed that true folk music was passed down orally.

Williams believed that “true folk songs exist only by oral tradition, so that if they are not soon noted down and preserved they will be lost for ever”43 According to his wife Ursula,

Vaughan Williams “brought home, among other songs, The Farmer’s Boy, The

Poacher’s Song, Green Bushes, John Barleycorn, and four versions of The Lost Lady

Found” on a ten day excursion to Brentwood, an area just outside of London.44

42. Ralph Vaughan Williams, and Cecil J. Sharp, Folk Songs from the Eastern Counties Collected and Set With an Accompaniment, 5.

43. Ibid., 70.

44. Ursula Vaughan Williams, R.V.W: A Biography of Ralph Vaughan Williams, 64.

28 Composition

English Folk Song Suite was composed for military band in 1924 and is in three movements: March – “Seven Come Sunday”, Intermezzo – “My Bonny Boy”, and March

– “Folk Songs from Somerset.” This suite is the embodiment of the English military style and is authentic to the national sound of Great Britain.

The first movement of the suite makes use of three folk songs embodied in a

British march form. The form is ABCBA with each strain containing a new folk melody.

The first strain makes use of the folk melody I’m Seventeen Come Sunday, which is introduced in the woodwind section at measure 5. The melody is in F dorian mode with a light hearted accompaniment. The melody can be seen in Figure 3.1.

Figure 3.1 English Folk Song Suite, March, “Seventeen Come Sunday,” mm. 5–17

“Pretty Caroline” is introduced in the second strain as a solo clarinet and/or trumpet at measure 33. The second strain is in the key of A♭ Major, the relative major of

F minor. The melody can be seen in Figure 3.2.

29

Figure 3.2 English Folk Song Suite, March, “Pretty Caroline,” mm. 33–63

The third and final strain also known as the trio uses “Dives and Lazarus” as the melody and is presented in a marcatto style in the the low brass at measure 65. This section combines the melody in 2/4 and an accompaniment of 6/8 in the key of F minor.

The folk melody used can be seen in Figure 3.3.

Figure 3.3 English Folk Song Suite, March, “Dives and Lazarus,” mm. 65–95

30 The B melody returns after the trio but this time in the key of G minor as opposed to A♭ major. Following the restatement of “Pretty Caroline,” the first strain, “Seventeen come Sunday” is repeated and ends with a two-measure coda in F major.

Since these are all sung folk melodies they are to be interpreted in a cantabile style and very lyrical but in contrasting style depending on the articulation. The texts to these melodies are crucial to the interpretation of both the conductor and performer as they bring the melody to life. The texts to the three folk songs used in the first movement can be seen in Table 3.1, Table 3.2, and Table 3.3.

31

Table 3.1 Texts to “Seventeen Come Sunday.”

“Seventeen Come Sunday”

As I walked out on a May morning, on a May morning so early, I overtook a pretty fair maid just as the day was a-dawning.

Chorus: With a rue-rum-ray, fol-the-diddle-day, Whack-fol-lare-diddle-I-doh.

Her eyes were bright and her stockings white, and her buckling shone like silver, She had a dark a rolling eye, and her hair hung over her shoulder.

Where are you going, my pretty fair maid? Where are you going, my honey? She answered me right cheerfully, I've an errand for my mummy.

How old are you, my pretty fair maid? How old are you, my honey? She answered me right cheerfully, I'm seventeen come Sunday.

Will you take a man, my pretty fair maid? Will you take a man, my honey? She answered me right cheerfully, Ooh, I dare not for my mummy.

But if you come round to my mummy's house, when the moon shines bright and clearly, I will come down and let you in, and my mummy shall not hear me.

So I went down to her mummy's house, when the moon shone bright and clearly, She did come down and let me in, and I lay in her arms till morning.

So, now I have my soldier-man, and his ways they are quite winning. The drum and fife are my delight, and a pint of rum in the morning.

Source: Brian Coffill, “Ralph Vaughan Williams: English Folk Song Suite,” Program Notes.

32 Table 3.2 Texts to “Pretty Caroline”

“Pretty Caroline”

One morning in the month of May when brightly shone the sun, Upon the banks of Tilbury stream there sat a lovely one, She did appear a goddess fair, her dark brown hair did shine, It shaded the neck and bosom white of pretty Caroline.

I said to her – ‘My pretty maid, do you remember me? I am the jolly sailor which ploughed the Regency, And for courting of a pretty maid her parents did combine, They sent me off in a man of war from pretty Caroline.

It’s seven long years since I was bound all for to save the King, Where rattling cannons roared around, which made the deep sea ring, Here’s gold and silver I have brought and freely would resign, Here’s gold and silver for a ring, ‘tis all for Caroline.’

This maiden fair ‘twixt joy and woe away from him she flew – ‘Oh stand away without delay, unless you tell me true; Produce the ring, the braided ring, and a lock of hair of mine, No mortal man shall e’er deceive this faithful Caroline.’

This braided hair and ring of gold young William did her show, Then Caroline and William unto some church did go, Down in some lofty mansion so splendid they did shine, The sailor blessed the month of May he met with Caroline.

Source: Brian Coffill, “Ralph Vaughan Williams: English Folk Song Suite,” Program Notes.

33 Table 3.3 Texts to “Dives and Lazarus”

“Dives and Lazarus”

As it fell out upon one day, As it fell out upon one day, Rich Divès made a feast, Poor Lazarus sickened and died; And he invited all his friends, There came two angels out of heaven, And gentry of the best. His soul therein to guide.

Then Lazarus laid him down and down Rise up! rise up! brother Lazarus, And down at Divès’ door: And go along with me; Some meat and drink, brother, Diverus, For you’ve a place prepared in heaven, Bestow upon the poor. To sit on an angel’s knee.

Thou’rt none of my brothers, Lazarus, As it fell out upon one day, That liest begging at my door; Rich Divès sickened and died; No meat, nor drink will I give thee, There came two serpents out of hell, Nor bestow upon the poor. His soul therein to guide.

Then Lazarus laid him down and down, Rise up! rise up! brother Diverus, All under Divès’ wall: And come along with me; Some meat, some drink, brother There is a place provided in hell Diverus, For hunger starve I shall. For wicked men like thee.

Thou’rt none of my brothers, Lazarus, Then Divès looked up with his eyes That liest begging at my gate; And saw poor Lazarus blest; No meat, no drink will I give thee, Give me one drop of water, brother For Jesus Christ His sake. Lazarus,To quench my flaming thirst.

Then Divès sent out his hungry dogs, O, was I now but alive again To bite him as he lay; The space of one half hour! They hadn’t the power to bite one bite, O, that I had my peace again But licked his sores away. Then the devil should have no power

Then Divès sent to his merry men, To worry poor Lazarus away; They’d not the power to strike one stroke, But flung their whips away.

Source: Brian Coffill, “Ralph Vaughan Williams: English Folk Song Suite.” Program Notes.

34

Ralph Vaughan Williams uses two melodies as his folk tunes in the Intermezzo.

The form is ABA using My Bonny Boy for the outer sections and Green Bushes for the middle scherzando section. In his program notes, Williams states that “My Bonny Boy is taken from English County Songs by kind permission of Miss L.E Broadwood.”45

Interesting enough, he does not give her credit for Green Bushes a melody that is identical to The Lost Lady Found also found in Percy Grainger’s Lincolnshire Posy.

Grainger attributed the source of this melody to Miss Broadwood who transcribed it from a rendition sung to her by a nurse in 1893.46 The melody to my My Bonny Boy is introduced is an oboe solo in measure 3 as shown in figure 3.4.

Figure 3.4 English Folk Song Suite, Intermezzo, “My Bonny Boy,” mm. 3–15

At measure 43 the folk tune “Green Bushes” is presented as a solo piccolo in a faster scherzando style, making a drastic contrast to the outer layers of this piece. This section sits best when conducted in one, in order to capture the quickness of the meter.

“Green Bushes” can be seen in Figure 3.5.

45. Ralph Vaughan Williams, English Folk Song Suite, Program notes. 46. Percy Grainger, Lincolnshire Posy, Program notes.

35 Figure 3.5 English Folk Song Suite, Intermezzo, “Green Bushes,” mm. 43–58

The texts to both folk tunes embody emotions of lost love, hopeless love. In order to fully capture the yearning feeling of this movement one should take a close look at the texts of the melodies seen on Table 3.4 and Table 3.5.

36 Table 3.4 Texts to “My Bonny Boy”

“My Bonny Boy”

I once loved a boy and a bonny bonny boy, I loved him I vow and protest, I loved him so well, there's no tongue can tell, Till I built him a berth on my breast.

'Twas up the wild forest and through the green groves Like one that was troubled in mind, I hallooed, I whooped and I blew on my flute But no bonny boy could I find.

I looked up high and I looked down low The weather being wonderful warm; And who should I spy but my own bonny boy Locked fast in another girl's arms.

He took me upon his assembled knees And looked me quite hard in the face, He gave unto me one sweet smile and a kiss But his heart's in another girl's breast.

Now my bonny, bonny boy is across the salt seas And I hope he will safely return; But if he loves another girl better than me Let him take her, and why should I mourn?

Now the girl that enjoys my own bonny boy, She is not to be blamed, I am sure, For many's the long night he have robbed me of my rest But he never shall do it no more.

Source: Brian Coffill, “Ralph Vaughan Williams: English Folk Song Suite,” Program Notes.

37 Table 3.5 Texts to “Green Bushes”

“Green Bushes”

As I was a walking one morning in Spring, For to hear the birds whistle and the nightingales sing, I saw a young damsel, so sweetly sang she: Down by the Green Bushes he thinks to meet me.

I stepped up to her and thus I did say: Why wait you my fair one, so long by the way? My true Love, my true Love, so sweetly sang she, Down by the Green Bushes he thinks to meet me.

I'll buy you fine beavers and a fine silken gownd, I will buy you fine petticoats with the flounce to the ground, If you will prove loyal and constant to me And forsake you own true Love, I'll be married to thee.

I want none of your petticoats and your fine silken shows: I never was so poor as to marry for clothes; But if you will prove loyal and constant to me I'll forsake my own true Love and get married to thee.

Come let us be going, kind sir, if you please; Come let us be going from beneath the green trees. For my true Love is coming down yonder I see, Down by the Green Bushes, where he thinks to meet me.

And when he came there and he found she was gone, He stood like some lambkin, forever undone; She has gone with some other, and forsaken me, So adieu to Green Bushes forever, cried he.

Source: Brian Coffill, “Ralph Vaughan Williams: English Folk Song Suite,” Program Notes.

38 The final movement of the suite is also a March in ABA form and makes use of four folk songs from Somerset: “Morning Dew,” “High Germany,” “The Tree So High” and “John Barleycorn.” Vaughan Williams gives credit to Cecil Sharp for introducing them and for allowing him to use in this composition.

The “Morning Dew” melody is scored as a call and response between the solo trumpet and ensemble in the key of B♭ Major. It should be light and playful in order to capture the essence of the tune as shown in Figure 3.6.

Figure 3.6 English Folk Song Suite, March, “Morning Dew,” mm. 5–19

“High Germany” is introduced in the trombone, euphonium and alto saxophone sections in the key of G minor/aeolian mode as shown in Figure 3.7. This statement should be separated and marcatto in style in contrast to the light statement of the first melody. A statement of the first melody follows this second theme.

39 Figure 3.7 English Folk Song Suite, March, “High Germany,” mm. 29–44

“The Tree So High” is introduced in the B section of the composition by the upper woodwinds in C minor/Aeolian mode in a light and staccato 6/8 feel. This melody can be seen in Figure 3.8.

Figure 3.8 English Folk Song Suite, March, “The Tree So High,” mm. 73–88

40 “John Barleycorn” is presented in the subdominant key of E♭ in the low brass in a marcatto style. This serves as a huge contrast before the A section is repeated into the al fine. Figure 3.9 shows the melody of “John Barleycorn.”

Figure 3.9 English Folk Song Suite, March, “John Barleycorn,” mm. 89–112

Once again, in order for students to fully capture the essence of these folk melodies it is important to review the original texts. The full texts to these folk songs can be seen in Table 3.6, Table 3.7, and Table 3.8, and Table 3.9.

41 Table 3.6. Texts to “Blow Away the Morning Dew”

“Blow Away the Morning Dew”

There was a farmer's son, He mounted on a milk white steed Kept sheep all on the hill; And she upon another; And he walk'd out one May morning And then they rode along the lane To see what he could kill. Like sister and like brother.

And sing blow away the morning dew As they were riding on alone, The dew, and the dew. They saw some pooks of hay. Blow away the morning dew, O is not this a very pretty place How sweet the winds do blow. For girls and boys to play?

He looked high, he looked low, But when they came to her father's gate, He cast an under look; So nimble she popped in: And there he saw a fair pretty maid And said: There is a fool without Beside the wat'ry brook. And here's a maid within.

Cast over me my mantle fair We have a flower in our garden, And pin it o'er my gown; We call it Marigold: And, if you will, take hold my hand, And if you will not when you may, And I will be your own. You shall not when you wolde.

If you come down to my father's house Which is walled all around, And, you shall have a kiss from me And twenty thousand pound.

Source: Brian Coffill, “Ralph Vaughan Williams: English Folk Song Suite,” Program Notes.

42

Table 3.7. Texts to “High Germany”

“High Germany”

O Polly dear, O Polly dear, I'll buy you a horse, my Love, The rout has now begun And on it you shall ride, And we must march away And all of my delight shall be At the beating of the drum: Riding by your side; Go dress yourself all in your best We'll call at ev'ry ale house, And come along with me, And drink when we are dry, I'll take you to the cruel wars So quickly on the road, my Love, In High Germany. We'll marry by and by.

O Harry, dear Harry, O cursed were the cruel wars You mind what I do say, That ever they should rise My feet they are so tender And out of merry England I cannot march away, Press many a lad likewise! And besides, my dearest Harry, They press'd young Harry from me, Although I'm in love with thee. Likewise my brothers three, I am not fit for cruel wars And sent them to the cruel wars In High Germany. In High Germany.

Source: Brian Coffill, “Ralph Vaughan Williams: English Folk Song Suite,” Program Notes.

43 Table 3.8. “The Tree So High”

"The Tree So High”

The trees they grow high, One day I was looking o'er my father's castle wall the leaves they do grow green I spied all the boys a-playing at the ball Many is the time my true love I've seen My own true love was the flower of them all Many an hour I have watched him all alone He's young, but he's daily growing. He's young, but he's daily growing. And so early in the morning at the dawning of the day Father, dear father, They went out into the hayfield you've done me great wrong to have some sport and play; You have married me to a boy who is too And what they did there, young I'm twice twelve and he is but fourteen she never would declare He's young, but he's daily growing. But she never more complained of his growing.

Daughter, dear daughter, At the age of fourteen, he was a married man I've done you no wrong At the age of fifteen, the father of a son I have married you to a great lord's son At the age of sixteen, his grave it was green He'll be a man for you when I am dead and Have gone, to be wasted in battle. gone He's young, but he's daily growing. And death had put an end to his growing.

Father, dear father, if you see fit I'll buy my love some flannel We'll send him to college for another year yet and I will make a shroud I'll tie blue ribbons all around his head With every stitch I put in it, To let the maidens know that he's married. the tears they will pour down With every stitch I put in it, how the tears will flow Cruel fate has put an end to his growing.

Source: Brian Coffill, “Ralph Vaughan Williams: English Folk Song Suite,” Program Notes.

44 Table 3.9. Texts to “John Barleycorn”

“John Barleycorn”

There was three men came out of the west, They wheeled him round and round the field Their fortunes for to try, Till they came unto a barn, And these three men made a solemn vow, And there they made a solemn mow John Barleycorn should die. of poor John Barleycorn. They ploughed, they sowed, they harrowed They hired men with the crab-tree sticks him in,Throwed clods upon his head, To cut him skin from bone, And these three man made a solemn vow, And the miller he served him worse than that, John Barleycorn was dead. For he ground him between two stones

Then they let him lie for a very long time Till the rain from heaven did fall, Then little Sir John sprung up his head, Here's little Sir John in a nut- brown bowl, And soon amazed them all. And brandy in a glass; They let him stand till midsummer And little Sir John in the nut-brown bowl Till he looked both pale and wan, Proved the stronger man at last. And little Sir John he growed a long beard And the huntsman he can't hunt the fox, Nor so loudly blow his horn, And so became a man. And the tinker he can't mend kettles or pots They hired men with the scythes so sharp Without a little of Barleycorn. To cut him off at the knee, They rolled him and tied him by the waist, And served him most barbarously. They hired men with the sharp pitchforks Who pricked him to the heart, And the loader he served him worse than that, For he bound him to the cart.

Source: Brian Coffill, “Ralph Vaughan Williams: English Folk Song Suite,” Program Notes.

45 KOZHEVNIKOV: THIRD MOVEMENT FROM SYMPHONY NO.3

Composer Background

Boris Kozhevnikov is a Russian composer who wrote many works for military band. He composed five symphonies for band; Symphony No. 3 is possibly his most popular in the modern wind band repertoire. Many of his works make use of Russian folk songs, which serve as a reflection of the political and cultural atmosphere in which he lived.

Historical Perspective

Soviet composers were restricted when it came to what music they were allowed to compose. The Communist regime played a huge role in controlling every aspect of human life, and music was no exception. In Laura Olson’s Folk Revival and Russian identity she says that

Many aspects of folk performance were drawn directly from nineteenth century productions that musicians consciously constructed to appeal to the tastes of elite and/or middle-class audiences and to further Slavophile and populist agendas. Musical producers not only sought to engender ‘Russian character’ through their performances, but aimed to define and evoke ‘authenticity’ through their manipulation of potent symbols of untouched folk nature.47

Folk music played a powerful role in controlling the nationalistic views of their country, as is a vital component of the social cultural existence during this time. Creativity in the life of composers that lived during this regime could become dangerous if they did not abide by what was expected of them according to the ideologies of the communist

47. Olson, Laura. Performing Russia : Folk Revival and Russian Identity, Taylor & Francis Group, 2004.

46 regime. In “Music in the Soviet Union”, Cecil Parott states that Vladimir Lenin “used to say that Soviet literature must be partiinaya” a term translated into “a true communist” point of view. Lenin wanted to propound the notion that there can be no art for art’s sake and that music cannot be separated from the struggle for Communism.48 Furthermore, this music should give a positive picture of the Soviet citizen and draw its inspiration from the people and its folk music.

There are two types of contrasting works common in the Soviet Union. The first as described by Michael Goldstein in “Censorship of Music” is aktualny, which means relevant; works consisted of communist programmatic music. This body of music included music for the masses, operas, and instrumental works based on revolutionary or folk themes. Neaktualny, or irrelevant; included music that did not adequately promote the Communist ideals.49 By default, much of the instrumental music tended to be used as a tool to inspire and inform the masses of their daily values and political agenda.

Music written for military band adhered to the governmental requirements and its ideals. One of the most prolific composers of music for military band was Nikolai

Rimsky-Korsakov. Rimsky-Kosakov was appointed Inspector of Navy Bands in 1873 and held the position for more than ten years.50 During this appointment he expanded their repertoire and made many transcriptions for the ensemble. He had complete authority over the musicians’ instruments, music, and education; during this time he also wrote numerous compositions and arranged dozens of pieces. Included among his

48. Cecil Parrott, “Music in the Soviet Union,” 14.

49. Michael Goldstein, “Censorship of Music,” 93.

50. David Whitwell, The Nineteenth-Century Wind Band and Wind Ensemble, 85.

47 compositions during this period are three concertos: the Concerto for Trombone (1877),

Concerto for Clarinet (1878), and Variations for Oboe (1878) all written for military band and soloist. Boris Kozhevnikov composed in the true Soviet style. Having a historical understanding of the political and cultural experience gives us an insight as to why the

Third Symphony makes use of folk melodies.

Composition

Kozhevnikov’s Third Symphony is subtitled “Slavyanskaya,” was probably named after the public square in Moscow with the same name.51 Throughout the symphony,

Kozhevnikov uses folk tunes from his native city of Novgorod as the sources of his melodic material. The work was premiered by the Exemplary Orchestra of the Defense

Ministry of the USSR and subsequently became a popular work.

Although the piece was composed in 1950, it didn’t reach Western audiences until the late 1900s. The fall of the Berlin Wall in 1989 marked the end of the Cold War and a large amount of Russian music flooded the west. Commander John R. Bourgeois from the United States Marine Band orchestrated this symphony in an American-style symphonic band orchestration. The traditional Soviet Era military band does not make use of saxophones. In fact, during one of his visits to the Soviet Union Patrick Murphy from the University of Portland states that they “didn’t like saxophones… in the repressive Communist era, it was a bourgeois jazz instrument. In the 1940s, they called up all the saxophone players and destroyed their instruments. Sergei the sax player

51. Andy Pease, “Symphony No.3 Slavyanskaya by Boris Kozhevnikov,” in A Conductor’s Perspective.

48 became Sergei the violinist overnight.”52 The American symphonic sound and transcriptions are therefore true in character to the music, but different in instrumentation.

Nevertheless the repertoire is still valuable and fully represents the sound and music of this culture and time.

The third movement of the symphony is a scherzo in rondo form. The piccolo introduces the first folk melody in a fast paced, playful, lighthearted feel as seen in Figure

4.1.

Figure 4.1 Symphony No. 3, III, mm. 1–4

The melody presented in the B section orchestration is broken down between the oboe and clarinet. This melody is lyrical in character and antiphonal with the call and response between voices. The melody is alternated between solo oboe and solo clarinet as seen in figure and should be performed smooth and slightly slower in tempo in order to capture the Meno mosso feel indicated. The second theme used is seen in figure 4.2.

52. Tom Vogt, “Symphonic Journey Into the Soviet Era,” 2.

49 Figure 4.2 Symphony No. 3, III, mm. 25–28

The melody presented in the C section of the movement is presented in the low brass section. This melody is the only melody not introduced in the woodwinds and is marcatto in style in D minor. This melody should be punchy in the accompaniment and separate and detached in the low brass with some Russian edge in its performance. This melody can be seen in Figure 4.3.

Figure 4.3 Symphony No. 3, III, mm. 67–70

50 Table 11 shows the form and analysis description of the entire third movement.

Table 11. Form and Analysis for Symphony No. 3, III.

Section Measures Descriptors A1 1-8 First statement of the refrain, with solo piccolo, eb clarinet and woodwind accompaniment. (F major)

A2 9-16 Melody in the clarinet section with brass accompaniment. (F minor)

A3 17-22 Melody in piccolo, flutes, clarinets and cornets. Full ensemble plays accompaniment. (F minor)

Transition 23-24 Two measure transition to set up the new key and style.

B1 25-32 The smooth and lyrical contrasting theme in a slightly slower tempo(Meno mosso) is alternated between solo oboe and solo clarinet in a hocket like orchestration. (C minor)

B2 33-40 Theme alternated between the flutes/oboes/cornet/ and the clarinet/alto saxophones. (C minor)

Transition 41-42 Trill in upper woodwinds, C minor serving as the dominant.

A 43-50 Full ensemble in Tempo primo.

C1 51-58 Low Brass has melody in marcatto style. With accented syncopated accompaniment. (D minor)

C2 59-66 Melody in Oboe and Bassoon in a lyrical cantabile style. (A minor)

C3 67-72 Melody in Low brass, horns, and low woodwinds. Full band in marcatto style. (D minor)

A 73-84 Refrain (F minor)

CODA 85-97 Uses elements from both A and C themes.

Soviet folk songs play an important role in the life of the masses because they represent the nation’s political agenda. During World War II, The Red Army Wind

Orchestra performed as many as one thousand concerts each year and the repertoire

51 consisted entirely of Russian Music.53 Its mission was to provide a nationalistic and heroic style of musical performance and composition that would represent their political agenda.54 All in all, composers such as Kozhevnikov felt a duty and a responsibility to make use of folk songs, songs of war and programmatic works designed to adhere to the

Socialist agenda.

53. Patrick Christopher Murphy, “Sociocultural Perspectives On the Wind Orchestra Music Of Boris Kozhevnikov With An American Edition Of The Fourth Symphony,” 41.

54. Ibid., 83.

52 CHAVEZ: MARCHA PROVINCIANA FROM CHAPULTEPEC

Composer Background

Carlos Chávez was a Mexican composer, leading conductor and musical academic during his time. Coming of age at the close of the Mexican Revolution in 1910 and during a time of renewed cultural nationalism, Chávez's music reflects elements of indigenous Indian cultures, native folk songs, and dance forms. His most famous works include Sinfonía de Antígona, Sinfonia India, and La Hija de Cólquide.

Historical Perspective

Marcha Provinciana, an arrangement of Zacatecas march is a Mexican patriotic song of war, also considered the Anthem of the State of Zacatecas. Genaro Codina has had a long history of collecting folk songs in Mexico. Codina found himself imprisoned in Zacatecas and even there “entertained fellow prisoners and collected folk melodies for future compositions.”55 This march came to live when Genaro Codina and Fernando

Villalpando made a bet on who could write a better march. Both composers submitted their compositions to a jury of friends, and Codina won the bet. The original title of the march was Marcha Aréchiga, to be dedicated to governor Arechiga of Zacatecas, but

Arechiga suggested that the title be changed to Zacatecas March. The march was premiered in the Hidalgo garden by the Municipal Band, which was directed by

Villalpando. 56 The Zacatecas march is original music created by Codina. Although it is not a folk song in its traditional form, over the years has become a symbol of culture and

55 Joseph W. Hermann, Teaching Music Through Performing Marches, 444. 56. Ibid., 445.

53 unity in Zacatecas and in the nation of Mexico as a whole. This can be seen as an example of folk music that is composed and then passed on down for generations.

Salvador Sifuentez is attributed the lyrics to the march which speaks about going out to war and winning or dying with pride, valor and honor.

Composition

Chapultepec for Band (1963) is his wind band arrangement of Obertura

Republicana, a politically motivated piece for orchestra written in 1935. Chapultepec

Park is in the historic heart of Mexico City. Its name in the local language, Náhuatl, means Cricket Mountain. The piece is specifically based off of Mexico’s Indian heritage intended as a popular concert piece. The piece involves an arrangement of Genaro

Codina’s traditional military march titled Zacatecas, the famous salon waltz, Club Verde

Rodolfo Campodónico and the revolutionary piece, La Adelita.

The form of Marcha provinciana is a Mexican style march with a 7-measure introduction that starts with a traditional bugle call in the trumpet section. The melody of the first strain is staccatissimo in character with light accompaniment in a call and response manner. The second strain shifts to the dominant key of G major and the melody is much more lyrical. The first strain is then repeated followed by a third strain in C major with a marcatto melody in the low brass. There is fanfare interruption that announces a change in direction, which brings us to the trio at measure 111. The trio is in the key of F Major, soon to be interrupted by the brass fanfare taking us back again to the first strain at measure 150. The piece concludes with a Coda which begins with the brass

54 fanfare which brings the march to an end. See table 12 for a full analysis of the form for

Marcha Provinciana.

Table 12.

Section Measures Description (Introduction) 1-7 Fanfare bugle call introduction.

A 8-39 First Strain C Major.

B 40-55 Second Strain G Major.

A 56-87 First Strain repeated C Major.

C 88-101 Third Strain C Major.

(Interruption) 102-108 Bugle call closing the section.

D (Trio) 111-142 Trio in F major

(Interruption) 143 Bugle call fanfare

A 150-179 First Strain C Major

Coda 180-202 Coda begins with Bugle fanfare.

Performing this march creates various learning opportunities and lesson plans which can include the learning of culture and history of Mexico as a country who has fought for its independence. Understanding that this music and its message through the texts represents the struggles of not only Zacatecas, but an entire nation truly brings the music to life and creates much more emotion when being performed.

55 CONCLUSION

Bennett Reimer states that “cultures give specificity to the universal human capacity for music, and to the universal requirement for that capacity to be nurtured both for present and succeeding generations-the universal need for music education.”57 Music truly should be about expressing the music, the beauty, the good which is an essential aspect of the human experience. It should be nurtured for its beauty. Understanding music in relation to culture is only humane and natural in its own way. There is always a reason and a purpose as to why a piece of music was composed. By having an understanding of the context of the music, one can make further connections.

As a modern day conductor and educator, the repertoire we select should be of high caliber. Further more the music educator “will have above all, a deep awareness of that which is culturally valid, musically worthwhile, and educationally sound. Careful planning, a balanced program and selection at every stage are needed, for the task is not only to enhance understanding, but also to foster the enjoyment of good music.58 The compositions chosen for this Thesis and recital are only a handful from a huge body of repertoire that can be used in order to explore the study of history, culture and style through music performance.

It is important to make it known that some of this culturally diverse music may not be authentic in a primitive way, since it is presented in a western art form with western instruments with the Wind Band ensemble as the method of delivery. Instead of trying to make it authentic, performing the music with an understanding and connection

57. Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 171.

58. Kwabena J. H. Nketia, “The Place of Authentic Folk Music in Education,” 40-42.

56 to the values, beliefs, and ideals held by those this music represents will naturally make the performance much more valid in style, purpose and merit. The end goal being making music for music’s sake and incorporating life learning experiences valuable to the educational growth of one’s music students.

57 Bibliography

“Front Matter.” Journal of the Folk-Song Society 2, no.6, (1905): i-viii.

“National Standards of Music.” NAFME, 2014. https://nafme.org/wp content/files/2014/11/2014-Music-Standards-Ensemble-Strand.pdf

“Report of the Annual General Meeting June 1904,” Journal of the Folk-Song Society 2, no. 6, (1905): xii.

Abrahams, Frank and Ryan John. Planning Instruction in Music: Writing Objectives, Assessments, and Lesson Plans to Engage Artistic Process. Chicago: GIA Publications, 2015.

Balough, Teresa. A complete Catalogue of the Works of Percy Grainger. Music Monograph 2. Nedlands, W.A.: University of Western Australia Dept. of Music, 1975.

Bang-Song, Song. Korean Music: Historical and Other Aspects. Korean Studies, Series no. 13. Somerset, NJ: Jimoondang International, 2000.

Battisti, Frank L. The Winds of Change: The Evolution of the Contemporary American Wind Band/Ensemble and its Conductor. Galesville, MD: Meredith Music Publications, 2002.

Battisti, Frank L., and Robert Garofalo. Guide to Score Study for the Wind Band Conductor. Galesville, MD: Meredith Music Publications, 1990.

Bird, John. Percy Grainger. London: Elek Books Limited, 1976.

Carson, William S. “Grainger’s Spoon River for Band.” Hoard House News from the Grainger Museum, no. 8 (June 2008).

Coffill, Brian, “Ralph Vaughan Williams: English Folk Song Suite,” Program Notes. https://www.umwindorchestra.com/single-post/2017/09/01/Ralph-Vaughan Williams-English-Folk-Song-Suite

Curnow, James. Korean Folk Rhapsody. Program notes. Milwaukee, WI: Jenson Publications, 1998.

Dean-Smith, Margaret. “Letters to Lucy Broadwood: A Selection From the Broadwood Papers at Cecil Sharp House.” Journal of the English Folk Dance and Song Society 9, no. 5, (1964): 233-268.

58 Freeman, Graham. “It Wants All the Creases Ironing Out: Percy Grainger, The Folk Song Society, and The Ideology of the Archive,” Music and Letters 92, no. 3, 410-436.

Gardner, Howard. Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Books, 1983.

Goldstein, Michael “Censorship of Music,” Studies on the Soviet Union 11, no. 2 (1971): 93

Green, Elizabeth A. H. Mark Gibson. The Modern Conductor. 7th ed. Upper Saddle River, NJ: Pearson Education, 2004.

Grainger, Kay. Percy Dreyfus. The Farthest North of Humanness: Letters of Percy Grainger 1901-14. Edited by Kay Dreyfus. Saint Louis, MO: Magnamusic-Baton, 1985.

Grainger, Percy. “Collecting with the Phonograph”, Journal of the Folk Song Society 3 no. 12 (1908): 147-162.

. Spoon River, Orchestral Program notes. Milwaukee, WI: G. Schirmer, 1929.

. Lincolnshire Posy, Program notes. S & Co, 1940.

. Spoon River, Program notes. Milwaukee, WI: G. Schirmer, 1967.

Howard, Keith. Bands, Songs, and Shamanistic Rituals: Folk Music in Korean Society. Seoul: Royal Asiatic Society, 1990.

Ivashkin, Alexander. “Letter from Moscow Post October Soviet Art: Canon and Symbol,” The Musical Quarterly 74 (1990): 305.

Jorgensen, Estelle R. The Art of Teaching Music. Blooington: Indiana University Press, 2008.

Killick, Andrew P. “Musical Instruments of Korea.” In Garland Encyclopedia of World Music. Volume 7, Edited by Robert C. Provine, Yosihiko Tokumaru, and Lawrence J. Witzleben. Routledge: Taylor & Francis Group, 2001.

Kwon, Donna L. Music in Korea: Experiencing Music, Expressing Culture. New York: Oxford University Press, 2012.

Latham, Allison. “Rhapsody” in The Oxford Companion to Music, Oxford University Press, Accessed March 13, 2018.

59 Miles, Richard B., Larry Blocher, Eugene Corporon, Jack Stamp, Robert J. Ambrose, John R. Bourgeois, Mallory Thompson, and Lowell E. Graham. Teaching Music Through Performance in Band. Chicago: GIA Publications, 1997.

Murphy, Patrick C. “Social Cultural Perspectives On The Wind Orchestra Music Of Boris Kozhevnikov, With An American Edition Of The Fourth Symphony,” (Dissertation, The University of Arizona, 2008.

Joseph W. Hermann, “Zacatecas Mexican March,” in Teaching Music Through Performing Marches. Chicago: GIA Publications, 2003.

Nketia, J. H. Kwabena. “The Place of Authentic Folk Music in Education” Music Educators Journal 54, no. 3 (November 1967): pp. 40-42.

Olson, Laura. “Folk Revival and Russian Identity.” Performing Russia, Taylor & Francis Group, 2004.

Pease, Andy. “Symphony No.3 Slavyanskaya by Boris Kozhevnikov,” in A Conductor’s Perspective. http://windliterature.org/2012/04/18/symphony-no-3-slavyanskaya by-boris-kozhevnikov/

Park, Young T. “Three Local Arirang Songs as Models for Teaching Korean Music in the Classroom.” Music Educators Journal 100, no. 2 (Dec 2013): 45-51.

Parrott, Cecil, “Music in the Soviet Union.” The Musical Times 100, no. 1391 (January 1959): 14.

Quantz, Johann J. On Playing The Flute. Second Edition. Translated by Edward R. Reilly. New York, NY: Schrimer, 1985.

Reimer, Bennett. A Philosophy of Music Education: Advancing the Vision. Third Edition. Upper Saddle River, NJ: Pearson Education, 2003.

Slattery, Thomas C. Percy Grainger: The Inveterate Innovator. Evanston, IL: The Instrumentalist, 1974.

Vargyas, Lajios. “The Folk Song as a Work of Art.” St. Musicologia 6, (1964): 196-205.

Vogt, Tom. “Symphonic Journey Into the Soviet Era.” The Colombian June 26, (2016): D.1.

Whitwell, David. The Nineteenth-Century Wind Band and Wind Ensemble. Vol. 5, of The History and Literature of the Wind Band and Wind Ensemble, edited by Craig Dabelstein. Austin, Texas: Whitwell Publishing, 2012.

60 Williams, Ralph Vaughan and Cecil J. Sharp, Folk Songs from the Eastern Counties Collected and Set With an Accompaniment. London: Novello & Co, 1908.

Williams, Ralph Vaughan. English Folk Song Suite, Program notes. Boosey & Hawkes, 1924.

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61 APPENDIX A: RECITAL PROGRAM

California State University, Northridge Mike Curb College of Arts, Media, and Communication Department of Music

Presents

Claudio D. Alcántar, Conductor

In his Master of Music Recital*

A student of Dr. Lawrence Stoffel

Sunday, April 8th, 2018, 4:30PM

Cypress Recital Hall

*In partial fulfillment of the Master of Music Degree in Band/Wind Ensemble Conducting

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PROGRAM

Symphony No. 3 “Slavyanskaya” (1950)…………………………………..…..Boris Kozhevnikov (1906-1985) Edited by Bourgeois III. Scherzo

English Folk Song Suite (1923)……………………………...…………...Ralph Vaughan Williams (1872-1958) 1. March- “Seventeen Come Sunday” 2. Intermezzo- “My Bonny Boy” 3. March- “Folk Songs from Somerset”

Korean Folk Rhapsody (1988)……………………………………..…….………….James Curnow (1943)

Spoon River (1967)………………………………………………..………………...Percy Grainger (1882-1961) Arranged by Bainum

A Bike Ride in the City of Angels (World Premier)...... …..Jeremy Stacey (1987)

Marcha Provinciana from “Chapultepec” (1963)……...... …....Carlos Chávez

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Program Notes

Symphony No.3 is one of five symphonies written by the Russian composer Boris Kozhevnikov. The Symphony itself is subtitled “Slavyanskaya” probably after the public square in Moscow with the same name. Throughout the symphony, Kozhevnikov uses folk tunes from his native city of Novgorod as the sources of his melodic material. Although the piece was composed in 1950, it didn’t reach Western audiences until the late 1900’s. The fall of the Berlin Wall in 1989 marked the end of the Cold War and a large amount of Russian music flooded the west. Commander John R. Bourgeois from the United States Marine Band got a hold of this symphony and orchestrated it for a more American-style symphonic band. The third movement, performed today is a fast paced rondo opening with a piccolo solo at a lightning speed.

English Folk Song Suite is a cornerstone of the wind band repertoire. Ralph Vaughan Williams wrote the composition in 1923 and premiered at Kneller Hall, home of Britain’s finest military music academy. Vaughan Williams was heavily involved in the preservation of folk music and made an effort to collect, transcribe and publish songs that were passed down in the oral tradition. English Folk Song Suite uses as its source material several English folks songs taken from his personal collection and from both Lucy Broadwood and Cecil Sharp who were active folk song collectors. The suite is cast in 3 movements: a March subtitled “Seventeen Come Sunday”; an Intermezzo on “My Bonny Boy”; and another March subtitled “Folk Songs from Somerset”.

James Curnow wrote Korean Folk Rhapsody in 1988. The piece is based on the Korean folk song Arirang that is often times considered the second national anthem of Korea. The texts to Arirang change depending on the region and location by which they derive from but the texts most commonly associated with the folk song are:

Arirang, Arirang, Aririo As you proceed along the Aririang pass, Blue the sky with its myriad stars, so Sadness fills my heart with its myriad woes.

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The Arirang pass symbolizes the nation as a whole. These texts serve to unify the nation and represent the joys and sorrows of Korea’s past and its struggle for independence under Japan.

Percy Grainger’s band version of Spoon River incorporates an American reel, or fiddle tune. According to Grainger’s program notes, Captain Charles H. Robinson heard the tune played by a rustic fiddler at a country dance at Bradford, Illinois in 1857. The publication of Edgar Lee Masters’ ‘Spoon River Anthology’, in 1915, prompted Robinson, by then 90-years-old, to send the tune to Masters. In 1919, Masters forwarded it to Grainger, who completed his orchestral version in 1929. Grainger describes the tune as archaic in character; typically American, yet akin to certain Scottish and English dance-tune types. Percy Grainger did create his own band arrangement, which was premiered by the Goldman band during the 1933 summer season, but the arrangement was never published and the parts were nowhere to be found. Glenn Cliffe Bainum arranged this classic band version of Spoon River in1967. This setting aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence portraying Spoon River in Illinois.

A Bike Ride in the City of Angels, will receive its world premier today! Jeremy Stacey, an up and coming composer for film, television and video games as well as a long time friend of mine, took on this project and finished the ultimate product just in time for performance. The composition tells the story of a bike ride experience in Los Angeles. Throughout the trip, the young and aspiring millennial travels through various neighborhoods in Los Angeles. We are able to hear various cultures as he travels through Olvera Street, China Town, Little Tokyo, all the way down to Hollywood. Hollywood is the ultimate place of arrival, and serves as symbolism for the many musicians, actors, and composers who try to make it in the business. The sounds of heavy traffic serve as an obstacle, which symbolizes the struggles young people go through to have a successful career in melting pot of talent and cultures. When listening to this piece, picture a wind band soundtrack to the unfolding story!

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Carlos Chávez’s was a Mexican composer, leading conductor and musical academic during his time. Chapultepec for band (1963) is his wind band arrangement of his Obertura Republicana, a politically motivated piece for orchestra written in 1935. Chapultepec Park is in the historic heart of Mexico City. Its name in the local language, Náhuatl, means Cricket Mountain. The piece is specifically based off of Mexico’s Indian heritage intended as a popular concert piece. The piece involves an arrangement of Genaro Codina’s traditional military march titled Zacatecas, the famous salon waltz, Club Verde Rodolfo Campodónico and the revolutionary piece, La Adelita. Marcha Provinciana, an arrangement of Zacatecas march is a Mexican patriotic song of war, also considered the Anthem of the State of Zacatecas. This march came to live when Genaro Codina and Fernando Villalpando made a bet on who could write a better march. Both composers submitted their compositions to a jury of friends and Codina won the bet. The original title of the march was Marcha Aréchiga, to be dedicated to governor Arechiga of Zacatecas, but Arechiga suggested that the title be changed to Zacatecas March. The march was premiered in the Hidalgo garden by the Municipal Band, which was directed by Villalpando.

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Recital Wind Ensemble

Mr. Claudio D. Alcántar, conductor Mr. Ethan Lux, concert master

Flute & Piccolo Alto & Soprano Saxophone Euphonium Alice Park* Jason Samuels* Evan Ilic* Jess Griffin Gillian Richman David Ramirez Tuba Shahid Osuna Tenor Saxophone Sergio Cabrera* Anna Martone Joseph Stratemeier Juan Carlos Aparicio

Baritone Saxophone String Bass Oboe & English Horn Evan Block Isaac Green Jason Kennedy* Alyssa Peck Trumpet Piano Cameron Wilkins* Richie Kallen Meyer Bassoon Francisco Ed York* Ivan Lopez Percussion Caleb Andrews Grover Castro Tiburcio Genevieve Hilburn* Alejandro Paz Grant Bubar Parker Dickson Clarinet French Horn Alex Hamilton Ethan Lux* Daniel Ward* Maria Ortega Demetrio Escobar Caitlynn Sandberg Nancy Crisostomo Ramon Villanueva Ernesto Cruz Megan Legget Anthony Villa Shawn Kolb Trombone Natalie Saralou* *Principal Bass Clarinet Brigett LaPorte Johann Palo James Flores

Contrabass Clarinet Bass Trombone Martin Torres Charles Brunson

67

SPECIAL THANKS

Mom, Dad, Zaira, Diana, Crystal, and Ashly- Thank you so much for being an amazing and supportive family! Your continuous support and encouragement has truly helped me pursue this musical career.

Dr. Stoffel- There aren’t enough words in this world to express my gratitude towards you and your guidance over these last two years. My outlook on music education, on conducting, on rehearsing has been deeply influenced by your mentorship. Thank you!

Gary Pratt- Your love and dedication to the students at Cal State Northridge and the greater Los Angeles community is truly inspirational. Your versatility as an educator and your ability to wear multiple hats in music amazes me. Thank you for bringing out the best out of everyone including myself.

Recital Wind Ensemble Musicians- Thank you for the hours of rehearsals you have all put into making this recital possible!

A special thank you to the members of my graduate committee. Dr. Stoffel, Gary Pratt, and Mary Schliff.

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Thank you for joining me!

Please join me in CY101 for a reception following the performance.

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APPENDIX B: CURRICULUM VITAE

Claudio D. Alcántar 6501 Shirley Ave Apt 7 Reseda, CA 91335 (213) 220-5219 [email protected]

EDUCATION: B.M. Saxophone Performance - California State University, Northridge, 2011 A.A. Pasadena City College, 2008

TEACHING EXPERIENCE: Graduate Conducting Assistant, California State University, Northridge 2016-2018 Responsible for administrative and managerial tasks for the wind/band classes as well as acting as the graduate assistant for the undergraduate conducting courses.

Music Director, The Saturday Conservatory of Music, San Gabriel, CA 2011-Present Orchestra conductor, Jazz band director, Supervisor for Woodwind/Brass/Percussion/Piano Departments, curriculum and events coordinator, and Teacher representative for the board of directors.

Clinician, Notre Dame High School, Sherman Oaks, CA 2011-Present Provide small classroom instruction for the woodwind section for concert band, symphony band, and marching band.

Music Teacher, Stephen S. Wise School, Bel Air, CA 2014-2016 Jazz band and Orchestra teacher. Private lesson instructor for woodwind instruments.

Awards Graduated Cum Laude, California State University, Northridge, 2011 CSUN Arts Council Scholarship, 2010 Ted Gould Memorial Scholarship, 2010 Marie Louise Navarro-Monreal Memorial Scholarship, 2008 Kathryn Teresa Thomas Memorial Music Scholarship, 2007 Paul H. Kilian Music Scholarship, 2007 Sheldon Mehr Music Scholarship, 2005

Affiliations Member of National Association for Music Education (NAfME) Member of California Music Educators Association (CMEA) Member of Southern California School Band and Orchestra Association (SCSBOA)

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