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Analysis of a Musical Meditation Courtney Bryan

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Analysis of a Musical Meditation Courtney Bryan A Time for Everything, for chorus: Analysis of a Musical Meditation Courtney Bryan Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Courtney Bryan All rights reserved ABSTRACT A Time for Everything, for chorus: Analysis of a Musical Meditation Courtney Bryan This dissertation consists of two parts, an essay and a four-part cycle of choral works, including four full scores of A Time for Everything (meditation on Ecclesiastes 3), Come Away, My Beloved (meditation on Song of Songs), Intercession (meditation on Romans 8), and Faith, Hope, and Love (meditation on 1 Corinthians 13). The essay includes an introduction presenting an overview of A Time for Everything for chorus, a description of my creative process, and my ideas of music and spirituality that inform the composition. It also includes an in-depth analysis of each of the four choral works. A Time for Everything for chorus was conceived as a series of musical meditations, and composed for the vocal ensemble Ekmeles. The four pieces were premiered at Roulette Intermedium, and Issue Project Room in New York, and at Nassau Presbyterian Church in Princeton, New Jersey between 2012-2013. Scores and recordings of these works make up the second part of the dissertation. TABLE OF CONTENTS List of Examples……………………………………………………………. ii Acknowledgements…………………………………………………………. iii I. A Time for Everything, for chorus Introduction…………………………………………………………. 1 Music and Transformation………………………………………….. 2 Analysis 11 A Time for Everything (meditation on Ecclesiastes 3)……… 15 Come Away, My Beloved (meditation on Song of Songs)…… 34 Intercession (meditation on Romans 8)……………………... 46 Faith, Hope, and Love (meditation on 1 Corinthians 13)…… 56 Conclusion………………………………………………………….. 83 References…………………………………………………………………… 85 II. Musical Scores A Time for Everything (meditation on Ecclesiastes 3)……………… 87 Come Away, My Beloved (meditation on Song of Songs)…………… 124 Intercession (meditation on Romans 8)…………………………….. 144 Faith, Hope, and Love (meditation on 1 Corinthians 13)…………… 162 ! "! LIST OF EXAMPLES Example 1.1: A Time for Everything – “a time to” rhythm and central pitch 20 Example 1.2: A Time for Everything – “Peace” harmony 20 Example 1.3: A Time for Everything – “Peace” harmony condensed 21 Figure 1: Guarapachangueo Rumba rhythms 28 Example 1.4: A Time for Everything – Rumba section 29 Example 2.1: Come Away, My Beloved – “Longing” chord progression 39 Example 2.2: Come Away, My Beloved – Rhythm of speech 40 Example 2.3: Come Away, My Beloved – Rhythm for texture 41 Example 3: Intercession – Descending harmonic progression 53 Example 4.1: Faith, Hope, and Love – Triangle, creative process 59 Example 4.2: Faith, Hope, and Love – Interval triangles 61 Example 4.3: Faith, Hope, and Love – Grouping triangles 63 Example 4.4: Faith, Hope, and Love – Combined triangles 64 Example 4.5: Faith, Hope, and Love – Triangle, melody 67 Example 4.6: Faith, Hope, and Love – Triangles in score 70 Example 4.7: Faith, Hope, and Love – Interval triangles in score 71 Example 4.8: Faith, Hope, and Love – Text, foreground and background 73 Example 4.9: Faith, Hope, and Love – Double triangles in score, symmetry 74 Example 4.10: Faith, Hope, and Love – Contour triangles in score 79 ! ""! ACKNOWLEDGEMENTS I would like to express sincere gratitude to my advisor, George Lewis, for introducing me to new and exciting possibilities, always believing in me, and encouraging me to express myself with honesty, clarity, and freedom. I thank him for teaching me research skills, how to leave all the details on the score, and for being a mentor, counselor, and friend. I would like to thank Fred Lerdahl for being so supportive and encouraging of me over the years. I thank him for being pedagogical with me in my writing and encouraging my love of American music. I would like to thank Geri Allen for being an example for which to aspire since I was a girl, and for encouraging and supporting me. I am grateful to Vijay Iyer for his steady support and for inspiring me with his example. I thank Georg Haas for sharing his wisdom and offering advice on my music. I would like to especially thank Jeffrey Gavett and his ensemble, Ekmeles, for actualizing my music with such intention and love. It was an honor to work and fellowship with such an amazing ensemble of performers. I sincerely thank Columbia Composers and the Callaloo Literary Conference for making performances of these works possible. I thank all of the professors of the music department at Columbia for supporting my work, especially Brad Garton, Terry Pender, and Douglas Repetto for supporting my music and encouraging me to workshop my ideas at the Computer Music Center; Susan Boynton for encouraging and advising my research of music and spirit; Ellie Hisama for advising me and supporting me in my work; Walter Frisch and Chris Washburne for the experience of being their teaching assistant; and Aaron Fox, John Szwed, and Joe Dubiel for encouraging me. I would like to thank Anne Gefell, Gabriela Kumar Sharma, and Johanna Martinez for their patience and support through the years. I am grateful for Elizabeth Davis and Nick Patterson for being helpful and providing a place for research. ! """! I am grateful for the steady support of professors Farah Griffin and Robert O’Meally, and Josef Sorett and Marion Guck, who have all inspired and encouraged me. I thank all the members of the Jazz Studies Group, who have been an important part of my intellectual growth. I especially thank the Center for Jazz Studies, the Institute for Research in African-American Studies, and the Institute for Religion, Culture, and Public Life for inviting me to plan and participate in events based on my research, with special thanks to Melissa Van, Marcia Sells, Shawn Mendoza, and to Yulanda Grant and Sharon Harris, who I would like to especially thank for their personal words of uplift and encouragement. I want to especially thank my colleague Matthew Morrison for being a constant support as my intellectual companion and collaborator. Our discussions and collaborative inquiries have been a great inspiration to me. I thank all of my colleagues at Columbia University, and my online community for our discussions about music. I would like to express my sincere appreciation to my pastor, M William Howard, for encouraging me to explore my spirituality through my music, practice my faith like improvisation, and to take risks. I appreciate him giving me a platform to express my ideas and for being a patient and caring mentor. I thank Barbara Howard for regular words of inspiration and for being an example of loving kindness. I want to thank Lillian Whitaker for inspiring me with her integrity and dedication, and for nurturing me over the years. I thank Rodney Smith and the choir for influencing my development, Dorthaan Kirk for mentoring me, Eric Talley and Bill Lee for being friends and collaborators, and the community of Bethany Baptist Church of Newark, NJ for loving me as I am and supporting me in all I do. I thank all of my church family from St. Luke’s Episcopal Church of New Orleans, La, Monroe Township Methodist Church of Monroe, NJ, and Rust Methodist Church of Oberlin, OH, who have nurtured my music ministry and continue to pray for me and cheer me on. ! "#! I would like to acknowledge support from my academic and artistic community, especially from Greg Tate, Diedra Harris-Kelley, Kara Lynch, and Guthrie Ramsey for their constant support and encouragement. I thank Daphne Brooks, Brent Hayes Edwards, Ifa Bayeza, Danny Dawson, Maxine Gordon, Obery Hendricks, Alondra Nelson, Carla Shedd, Rich Blint, Antoinette Ellis-Williams, and Meredith Gadsby for their encouragement, and James and Bettye Forbes for inspiring me. I would like to acknowledge the support and inspiration from Randy Weston, Muhal Richard Abrams, Alvin Singleton, Paul Chihara, Anne LeBaron, James Newton, and everyone from the Jazz Composers Orchestra Institute, including the American Composers Orchestra; Edward “Kidd” Jordan, Jackie Harris, Roger Dickerson, Brian Quezerque, the late Phoebe Jacobs, and everyone from the New Orleans Louis “Satchmo” Armstrong Camp; Morris Rosenweig and the late Moses Hogan; Jeffrey Mumford, Stanley Cowell, Marcus Belgrave, and all of my professors from Oberlin and Rutgers. I am indebted to the mentorship of the late Clyde Kerr, Jr. and the late Wendell Logan; I thank them for all they taught me. I am grateful to a community of composers and performers who have been particularly supportive, including Imani Uzuri, Brandee Younger, MR Daniel, Major Scurlock, Zosha DiCastri, David Adamcyk, Ashley Nail, Andile Khumalo, Bryan Jacobs, Ryan Pratt, Tyshawn Sorey, Will Mason, Kate Heidemann, Steve Lehman, Kate Soper, Linda Oh, Damión Reid, Sam Pluta, Aaron Johnson, Tim Mangin, Sean Jones, Christian Atunde Adjuah, Louis Fouché, TreZure Taylor, Paloma McGregor, Jawole Zollar, Kathy Randels, Troi Bechet, and Jason and Alicia Moran. I would like to thank my colleagues who have been particularly supportive, including Tyehimba Jess, Sharifa Rhodes Pitts, Nijah Cunningham, Jarvis McInnis, James Roane, Huewayne Watson, Brittney Taylor, Abdi Ega, Alex Alston, Lucie Vágnerová, David Gutkin, Nurfadzilah Yahaya, Onur Ozgode, Mike Woldemariam, Sara Ansari Taylor, and Christina and Logan Schmid. ! #! I am sincerely grateful to my friends for encouraging me during my struggles, celebrating me in my achievements, and sharing their wisdom. I appreciate them comforting me and helping me to find balance. I especially thank Imani Owens and Michelle Langfield for inspiring me with their honesty, integrity, generosity, dedication, and compassion, and for helping me to accept my feelings, express myself, and practice self-care. I sincerely thank Douglas and JoAnn Blauschild for their warm support. I thank Mendi and Keith Obadike for always inspiring and encouraging me, Patricia Scott for offering me moral support and explaining to me the importance of enjoying the journey, and Nathilee Caldiera, Diedre Anglin, and Addette Williams for helping me find the pathways.
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