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University Microfilms, a XEROX Company, Ann Arbor, Michigan 71- 12,599 MOORE, Gerald Lynn, 1939- A MUSICAL ANALYSIS OF SELECTED CHORAL COMPOSITIONS OF JEAN BERGER. The University of Oklahoma, D.Mus.Ed.. 1970 Music University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A MUSICAL ANALYSIS OF SELECTED CHORAL COMPOSITIONS OF JEAN BERGER A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSIC EDUCATION BY GERALD LYNN MOORE Norman, Oklahoma 1970 A MUSICAL ANALYSIS OF SELECTED CHORAL COMPOSITIONS OF JEAN BERGER APPROVED BY DISSERTATION COMMITTEE ACKNOWLEDGEMENTS Sincere gratitude is expressed to Dr. Gail Boyd deStwolinski for her personal and professional guidance which she continually granted during the preparation of this study. Appreciation is extended to Dr. William A. Hunt and Dr. Woodrow C. James for the advice they rendered during various stages of this dissertation. Gratitude is also expressed to Dr. Margaret S. Haynes and Dr. Robert B. Glidden for their assistance with the preparation of the final manuscript. To Dr. Jean Berger, appreciation is expressed for the quality of his choral literature, for it was acquaintance with his music which created the initial interest in this study. Appreciation is also extended for his assistance with the selection of the specific choral works which are included in this analysis. A special debt of gratitude is expressed to my wife, Barbara, and my sons, Barry and Scott, whose understanding and affection provided the sustaining encouragement necessary during this period of academic pursuit. G.L.M. iii TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS............................... vl Chapter I. PURPOSE OF THE STUDY........................ 1 II. SCOPE OF THE STUDY.......................... h Material Selected Treatment of Material Selected III. PROCEDURES OF ANALYSIS...................... 9 Tonality Harmony Form IV. BRAZILIAN PSALM ........................... 30 Harmonic Abstract Alternate Harmonic Analysis Formal Analysis Compositional Techniques Rehearsal Problems (With Some Sug­ gested Solutions) V. THE EYES OF ALL WAIT UPON THEE.............. 8] Harmonic Abstract Alternate Harmonic Analysis Formal Analysis Compositional Techniques Rehearsal Problems (With Some Sug­ gested Solutions) IV Chapter Page VI. A ROSE TOUCHED BY THE SUN'S WARM RAYS......... 98 Harmonic Abstract Alternate Harmonic Analysis Formal Analysis Compositional Techniques Rehearsal Problems (With Some Sug­ gested Solutions) VII. PATER--NOSTER...................................... 109 Harmonic Abstract Alternate Harmonic Analysis Formal Analysis Compositional Techniques Rehearsal Problems (With Some Sug­ gested Solutions) VIII. DE PROFUNDIS C L A M A V I ............................. I3 I Harmonic Abstract Alternate Harmonic Analysis Formal Analysis Compositional Techniques Rehearsal Problems (With Some Sug­ gested Solutions) IX. THE FIERY FURNACE............................... 15^+ Harmonic Abstract Alternate Harmonic Analysis Formal Analysis Compositional Techniques Rehearsal Problems (With Some Sug­ gested Solutions) X. SUMMARY.............................................233 Harmony Melody Counterpoint Unity and Variety Tension and Release Total Balance Summation: Strongest Traits BIBLIOGRAPHY ............................................ 2^3 APPENDIX ................................................ 2kh LIST OF ILLUSTRATIONS Figure Page 1 . Chord with Added Second ......................... 1^ 2. Chord with Added Sixth........................... 15 3. Chords with Added Seconds, Fourths, and Sixths.......................................... 15 h. Diminished Triad with Added Diminished Octave.......................................... 16 5. Chord with Mixed Thirds ......................... 16 6. Polychords........................................ 17 7. Chords Constructed in Fourths and Fifths. 17 8. Monophonic Line with Implied Harmony........... 19 9. Perfect Authentic Cadence ....................... 22 10. Imperfect Authentic Cadence....... .............. 22 11. Perfect Authentic Cadence with a Dominant Substitute..................................... 23 12. Imperfect Authentic Cadence with a Dominant Substitute..................................... 23 13. Authentic Half Cadence with a Dominant Substitute..................................... 2)+ 1*+. Perfect Plagal Cadence with a Subdominant Substitute..................................... 2h 1 5- Imperfect Plagal Cadence......................... 25 16. Plagal Half Cadence ............................. 25 17 ' Deceptive Cadence ............................... 26 vi Figure Page 18 . Alternate Harmonic Analysis for "Brazilian Psalm, " , Measures 1, 3 , and 5 ............... 37 19 . Alternate Harmonic Analysis for "Brazilian Psalm," Measure 13 . ................. 37 20. Alternate Harmonic Analysis for "Brazilian Psalm, " Measure 5 5 ......................... 38 21. Alternate Harmonic Analysis for "Brazilian Psalm," Measures 56 and 5 7 ................. 39 22. Alternate Harmonic Analysis for "Brazilian Psalm," Measures 60 and 6 1 ................. *+0 23 . Alternate Harmonic Analysis for "Brazilian Psalm," Measure 122.......................... ^2 2h. Alternate Harmonic Analysis for "Thee Eyes of All Wait Upon Thee," Measures ^ and 5 • • 85 25. Chords with a Nontertian Effect................ 88 26 . Alternate Harmonic Analysis for "A Rose Touched by the Sun's Warm Rays," Measures 2 and 3 ............................. 99 2 7 . Alternate Harmonic Analysis for "A Rose Touched by the Sun's Warm Rays," Measure .................................... 99 28 . Alternate Harmonic Analysis for "A Rose Touched by the Sun's Warm Rays," Measures 9 and 10........................... "100 29 . Alternate Harmonic Analysis for "A Rose Touched by the Sun's Warm Rays," Measure 1 0 ................................... 101 3 0 . Alternate Harmonic Analysis for "A Rose Touched by the Sun's Warm Rays," Measure 1 1 ................................... 101 3 1 . Alternate Harmonic Analysis for "Pater Noster," Measures 78-8O. ................. 112 32. Two Similar Chords in "De profundis clamavi," Measures 33 and 6 5 ............... 138 V I 1 Figure Page 33. Alternate Harmonic Analysis for "The Fiery Furnace," Measure h . 17!) 3^. Alternate Harmonic Analysis for "The Fiery Furnace," Measure 132 . 175 35. Alternate Harmonic Analysis for "The Fiery Furnace," Measures 203 and 20^-........... 176 36. Alternate Harmonic Analysis for "The Fiery Furnace," Measures 224- and 225........... 177 37. Alternate Harmonic Analysis for "The Fiery Furnace," Measure ^83 . 177 38. Alternate Harmonic Analysis for "The Fiery Furnace," Measure 64-5 . 178 39. Alternate Harmonic Analysis for "The Fiery Furnace," Measure 64-6 . 178 Vlll A MUSICAL ANALYSIS OF SELECTED CHORAL COMPOSITIONS OF JEAN BERGER CHAPTER I PURPOSE OF THE STUDY The purpose of this study is to present a musical analysis of selected choral compositions of Jean Berger on the premise that this analysis can influence the rehearsal and performance techniques of the music. This study is confined to six compositions for mixed voices, each of which is analyzed harmonically, structurally, melodically, and rhythmically. These elements are treated individually and collectively, and the theoretical data is then applied in a practical manner. Jean Berger studied musicology at the universities of Heidelberg and Vienna, received the Ph.D. degree from Heidelberg University, and studied composition privately with Louis Aubert in Paris. He has served on the faculties of four colleges and universities in the United States and Brazil and presently is on the faculty at Temple Buell Col­ lege in Denver, Colorado. 1 2 Dr. Berger has served as guest composer and con­ ductor at several universities and has frequently served as clinician and conductor of all-city and all-state choruses. He has conducted research on choral music in Italy, edited choral works for publication, and written articles on music history for The Musical Quarterly and Journal of the American Musicological Society. He has also spoken to music educators at clinics and conventions and to church organizations dealing with worship and music. Over 200 of his choral compositions are in print in the United States at this time. It is expected that this study will provide new data which can aid choral conductors with the .preparation and performance of Berger's music— the specific examples in­ cluded in this study and, to some extent, all of his works. Most musicians believe that there is a direct cor­ relation between the understanding of a piece of music and the ability to perform it effectively. Assuming this to be true, any theoretical information about a composition should contribute to this end even though, in many instances, no overt relationship between the understanding and the per­ formance can be observed. However, there are some direct ways in which formal, melodic and harmonic analyses can aid musical performance. A conductor's knowledge of the formal structure of a composition will aid in several ways. Perhaps the most direct 3 result of this knowledge is an overview of the complete composition which can organize memorization. Within this formal overview of a composition, the conductor will have identified the relationships of phrases and other formal subdivisions from which can emerge a sense of the unifying and contrasting structural elements. An understanding of the melodic organization is especially
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