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Appalachian Folksongs in the Choral Setting: Regional History, Traditional Performance Practice, and Guidelines for Arranging and Performance Amy Kotsonis

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Appalachian Folksongs in the Choral Setting: Regional History, Traditional Performance Practice, and Guidelines for Arranging and Performance Amy Kotsonis Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Appalachian Folksongs in the Choral Setting: Regional History, Traditional Performance Practice, and Guidelines for Arranging and Performance Amy Kotsonis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC APPALACHIAN FOLKSONGS IN THE CHORAL SETTING: REGIONAL HISTORY, TRADITIONAL PERFORMANCE PRACTICE, AND GUIDELINES FOR ARRANGING AND PERFORMANCE By AMY KOTSONIS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Amy Kotsonis defended this dissertation on April 17, 2014. The members of the supervisory committee were: André Thomas Professor Directing Dissertation Frank Gunderson University Representative Judy Bowers Committee Member Kevin Fenton Committee Member John Geringer Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii “The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.” - Leonard Bernstein I dedicate this to all the great artists and teachers in my life, who have inspired, pushed, supported, demonstrated excellence, have shown that there is always more that can be done, and through their actions have shown true dedication and caring. Thank you for showing me what is possible, and giving me something to constantly strive for. And to two of the most important teachers in my life, my parents, I give my indebted gratitude. I would not be who I am today without you. iii ACKNOWLEDGMENTS I wish to thank a number of people, without whose knowledge and generosity this document would not have been possible. My sincerest thanks and appreciation for all the musicians and collectors who documented this incredible legacy of music from the Appalachian region, who inspired me in every day of my research with their stories and songs, and whose performances touched my heart and made me fall in love with their music. My thanks to Todd Harvey, and staff, at the American Folklife Center at the United States Library of Congress in Washington, DC, for all the research assistance. Without his knowledge and generosity of time, I would never have encountered many of my resources. My thanks to Tom Buchanan, Margaret Pendelton, and the rest of the staff at Beethoven and Company for their help in obtaining the choral octavos for this document. Especially to Shawn Puller for the many hours he spent following up with orders. My thanks to my friends who gave generously of their limited time to aid in the editing of this document: Cara Bernard, Justin Giroux, Jenilee Hallam, Ryan Luhrs, Lisa Hart Olson, and Adam Potter. My thanks to my doctoral committee, whose guidance and teaching have been invaluable over the last three years. Frank Gunderson, who served as university representative, and whose teachings continually aided me in my research; John Geringer, for always being willing to share his thoughts and time, both academically and personally; Judy Bowers, for the unending support, advice, and teaching; Kevin Fenton, for the witty conversations and laughter, the endless encouragement and guidance, and for leading by example; and André Thomas, for his unending availability and dedication in directing this dissertation, his guidance and laughter, and for an incredible wealth of knowledge and opportunities throughout my time at Florida State. My thanks to my friends and mentors who have helped me throughout my career: my aunt, Gail Adams Shunk, who was my first piano teacher and continues to be one of my most cherished “colleagues;” to Jenni Cook and Larry Gerber, who helped me find my real voice; to Andy Boysen and especially Bill Kempster for their conducting mentorship and friendship; to Francisco Núñez, Elizabeth Núñez and Sophia Miller, whose endless support, laughter and inspiration for four years made them family; and to Clifford Madsen, who influences my teaching every day. To my chosen family from all the avenues of my life, I would not be where I am, or sane, without your friendship, laughter, support and love. You all know who you are. To my FSU family, both past and present, I have cherished our time together, and you have helped make this experience one of the most incredible of my life. To Tucker Biddlecombe, James Brown, Michael Hanawalt, Justine Sasanfar, and especially Jeffrey Benson, I would not have made it through this third year without your guidance and support. To my Fab Five: Frances Fonza, Greg LeFils, Erynn Millard and especially Lesley Maxwell Mann—you make me better every day, keep me grounded in times of stress, and I am grateful to have taken this journey with you. To my family, I would not be here without you. To Brooke and Peter Kotsonis, your iv encouragement and enthusiasm are ever-present and so appreciated; to Sylvie and Charles Kotsonis, your smiling faces and joy that you inspire got me through many stressful days. To my parents, Bob and Nancy Kotsonis, I could not ask for more support, understanding or caring. Thank you for always believing in me, never thinking I was completely crazy for taking these leaps, and for continually inspiring me with your strength, perseverance, laughter and love. v TABLE OF CONTENTS List of Tables ...................................................................................................................................................... ix List of Figures ................................................................................................................................................... xii Abstract ............................................................................................................................................................. xiv 1. INTRODUCTION: PURPOSES AND PROCEDURES ............................................................... 1 Problem Statement ................................................................................................................................... 1 Research Questions .................................................................................................................................. 1 Definition of Terms .................................................................................................................................. 2 Delimitations ............................................................................................................................................. 2 Need for the Study .................................................................................................................................... 3 Purpose of the Study ................................................................................................................................ 4 Procedures .................................................................................................................................................. 5 Organization of the Study ....................................................................................................................... 5 2. APPALACHIA: A HISTORY OF THE LAND AND PEOPLE .................................................. 7 The Appalachian Region .......................................................................................................................... 7 The People ............................................................................................................................................... 11 Native Americans and Early Frontiersmen ............................................................................. 11 The Settlers ................................................................................................................................... 14 Government Involvement .......................................................................................................... 16 A Land of the People ............................................................................................................................. 18 Appalachian Stereotypes ........................................................................................................................ 20 Literacy and Labor .................................................................................................................................. 21 3. APPALACHIAN FOLKSONG COLLECTORS ............................................................................ 24 A Brief History ........................................................................................................................................ 24 Francis James Child ................................................................................................................................ 27 Olive Dame Campbell ............................................................................................................................ 29 Cecil James Sharp .................................................................................................................................... 32 Maud Karpeles ........................................................................................................................................
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