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JS Bach and the High School Choir James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2012 J. S. Bach and the high school choir: A resource guide for teachers of intermediate and advanced level high school choirs Lynn G. Atkins Jr. James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Commons Recommended Citation Atkins, Lynn G. Jr., "J. S. Bach and the high school choir: A resource guide for teachers of intermediate and advanced level high school choirs" (2012). Dissertations. 87. https://commons.lib.jmu.edu/diss201019/87 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. J. S. Bach and the High School Choir: A Resource Guide for Teachers of Intermediate and Advanced Level High School Choirs Lynn Gary Atkins, Jr. A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music August 2012 Dedication To Grace C. and Joseph Atkins, who picked up the torch and helped to mold me into the musician I am today. To Rochelle Ellis, Faith Esham, Lillian Livingston, James Jordan, J. A. Kawarsky, Ken MacLean, Marj Mottola, Rodney Somerville, Carrie Stevens, Al Wright, and Kris Zook, who gave me the knowledge to access my wildest dreams. To Rita M. Bland and Lynn G. Atkins, Sr., thank you for your gift of life…I pray I make you proud. With my love. ii Acknowledgements Throughout my time at James Madison University, key people, both on and off campus, have been involved in helping me create this document. I gratefully acknowledge the support of my dear friends Ronald G. Baltimore, and Ascenza Montalbano-Pla, who listened to me with careful ears and helped me to formulate my first ideas, and stood by me every step of the way though this process. I extend my deepest thanks to Joy Hensley George, for her expert editing, advice, and support in the creation of this document. I extend my gratitude to Dr. Patrick Walders, who offered me the opportunity to expand my knowledge and experience with doctoral study at James Madison University. His vast knowledge of choral music served me greatly. Dr. W. Bryce Hayes and Dr. Pedro Aponte have served as invaluable mentors throughout my course of study. I thank each of them for serving on my committee, and carefully helping me throughout my writing process. No amount of thanks would be enough to give to Dr. Jo-Anne van der Vat- Chromy, my advisor and committee chairperson, for her unwavering support, sincere dedication towards helping me build my “inner doctorate”, as well as her detailed editorial eye and tremendous knowledge which has guided this document from start to finish. Finally, my thanks and appreciation to the students of the JMU Choral Activities area from 2008 through 2012, who have helped me become a better teacher, conductor and thinker. iii Table of Contents Dedication............................................................................................................................ii Acknowledgements............................................................................................................iii List of Tables......................................................................................................................v List of Figures....................................................................................................................xi Abstract.............................................................................................................................xiv I. Introduction..............................................................................................................1 II. J. S. Bach: A Biography for High School Students...............................................17 III. Magnificat in D Major, BWV 243..........................................................................29 IV. Mass in B Minor, BWV 232...................................................................................42 V. Christmas Oratorio, BWV 248...............................................................................66 VI. St. John Passion, BWV 245..................................................................................101 VII. St. Matthew Passion, BWV 244............................................................................134 VIII. Conclusion...........................................................................................................165 Appendixes......................................................................................................................169 Appendix I: Summary Chart of Investigated Movements...................................169 Appendix II: Text Translations of Investigated Movements, in Score Order......171 Appendix III: Bach Timeline...............................................................................195 Bibliography....................................................................................................................196 iv List of Tables 1.1 Approximate passagio ranges for all voices............................................................6 1.2 Suggested ranges and average tessitura of all voice types.......................................7 1.3 Criterion for selecting appropriate repertoire..........................................................8 1.4 Parameters for creating a vision statement for choirs..............................................9 1.5 Study categories, criterion, and parameters...........................................................11 3.1 Division of the movements in Magnificat, BWV 243............................................32 3.2 Text translation Suscepit Israel..............................................................................34 3.3 Vocal ranges for Suscepit Israel ...........................................................................34 3.4 Structural organization of Suscepit Israel .............................................................35 3.5 Altered solfege syllables (la-based minor) used in Suscepit Israel ......................37 3.6 Text translation Sicut locutus est...........................................................................38 3.7 Vocal ranges for Sicut locutus est .........................................................................39 4.1 Text translation Kyrie eleison................................................................................49 4.2 Vocal ranges for Kyrie eleison ..............................................................................49 4.3 Altered solfege syllables (la-based minor) used in Kyrie eleison..........................50 4.4 Structural organization of Kyrie eleison ...............................................................50 4.5 Tritone occurrences and corresponding altered solfege syllables in Kyrie eleison...........................................................................52 4.6 Text translation Gratias agimus tibi......................................................................53 4.7 Vocal ranges for Gratias agimus tibi/Dona nobis pacem .....................................53 4.8 Altered solfege syllables used in Gratias agimus tibi/Dona nobis pacem............54 4.9 Structural organization of Gratias agimus tibi/Dona nobis pacem ......................56 v 4.10 Text translation Dona nobis pacem.......................................................................58 4.11 Text translation Qui tollis......................................................................................58 4.12 Vocal ranges for Qui tollis ....................................................................................58 4.13 Text translation Crucifixus.....................................................................................61 4.14 Vocal ranges for Crucifixus ..................................................................................62 4.15 Altered solfege syllables (la-based minor) used in Crucifixus..............................62 4.16 Structural organization of Crucifixus ....................................................................63 5.1 Text translation Wie soll ich dich empfangen........................................................74 5.2 Vocal ranges for Wie soll ich dich empfangen ......................................................75 5.3 Altered solfege syllables (la-based minor) used in Wie soll ich dich empfangen..................................................................................................76 5.4 Text translation Nun seid ihr wohl gerochen.........................................................77 5.5 Vocal ranges for Nun seid ihr wohl gerochen ......................................................77 5.6 Text translation Er ist auf Erden kommen arm......................................................80 5.7 Vocal range for Er ist auf Erden kommen arm .....................................................80 5.8 Text translation Dies hat er alles uns getan...........................................................82 5.9 Vocal ranges for Dies hat er alles uns getan ........................................................82 5.10 Altered solfege syllables used in Dies hat er alles uns getan ...............................83 5.11 Text translation Ach, mein herzliebes Jesulein......................................................84
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