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Interpretative Analysis of Fifty Contemporary Songs for Solo Voices University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1955 Interpretative analysis of fifty contemporary songs for solo voices Muriel Ruth Maxwell The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Maxwell, Muriel Ruth, "Interpretative analysis of fifty contemporary songs for solo voices" (1955). Graduate Student Theses, Dissertations, & Professional Papers. 2728. https://scholarworks.umt.edu/etd/2728 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. AN INTERPRETATIVE ANALYSIS OF FIFTY CONTEMPORARY SONGS FOR SOLO VOICES by MURIEL MAXWELL B. A. Pomona College, 1944 Presented in partial fulfillment of the requirements for the degree of Master of Music Education MONTANA STATE UNIVERSITY 1955 Approved Chain Board of ers lean, Graduate School Date, UMI Number: EP35329 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI* PIWMWam PubWiing UMI EP35329 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code uest* ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 FOREWORD Whereas much of the information in this paper is factual and can be verified, the major portion of it is of a creative, interpretative nature. The personal pronoun has been used in order to express the creative thought as applied to the interpretation of songs. M. -11- ACKNOWLEDGEMENTS The author is especially indebted to Mr. Lloyd Oakland for his counsel in beginning this project and to Dean Luther Richman, Professors John Lester and James Short, and Miss Fay Buchholz for their helpful suggestions and critical reading of it. -Ill- TABLE OF CONTENTS CHABTER PAGE I . T1IE: JUKI) i)Einarnri()N cwp "rioa&Ks iJsiEi).............. i The P r o b l e m ...................................... 1 Statement of the Problem ....................... 1 Importance of the S t u d y ......................... 1 Definition of terms u s e d ......................... 2 Compass ........................................ 2 Tessitura ...................................... 3 Type of V o i c e ................................... 3 II. REVn^OF MŒLITmUJURE ........................... 4 Literature of sources of Contemporary American S o n g s .......................................... 4 Literature of biographical material ............... 5 III. THE COMPOSERS AND INTERPRETATIVE ANALYSES............ 6 Bacon, Ernst ..... ........................... 6 From Five Poems by Emily Dickinson 1. It's all I have to br i n g .................. 6 2. So B a s h f u l .............................. 7 3. Adam and E v e ............................ 8 4. The Lonesome G r o v e ................ 9 Barber, Samuel .................................. 10 5. The D a i s i e s .............................. 10 6. A Nun Takes the Ve i l ...................... 11 -iv- PAGE %. Rain Has F a l l e n .......................... 12 8. I Hear an A r m y .......................... 12 Eauer, M a r i o n .................................... 13 9. I Love the N i g h t ........................ 15 10. Red Man's Requiem ........................ 16 Bergsma, ’Wi l l i a m ................................. 17 11. It May Not Always Be S o ................... 17 Bernstein, Leonard ............................... 18 12. I Hate M u s i c ............................ 19 13. I Just Found Out T o d a y ................... 20 14. Recipe for Plum Pudding.................... 21 Chanler, Theodore................. 22 15. Grandma.................... 22 16. Once Upon a T i m e ........................ 23 17. The R o s e ................................ 24 18. The Ship of R i o .......................... 24 Copland, Aaron ................................... 25 19. Nature, the Gentlest M o t h e r ........... 26 20. Why Do They Shut Me Out of He a v e n ? ........ 27 21. The World Feels D u s t y ..................... 28 22. Heart, we will Forget H i m ................. 28 23. Dear March, Come In . ................. 29 24. When They Come B a c k ...................... 30 25. I've Heard an Organ Talk S o m e t i m e s ....... 31 26. Going to Heaven ....... ............. 31 27. The Chariot.............................. 32 -V— PAGE Crest on, P a u l ..................................... 33 28. Psalm XXIII .............................. 34 29. The Bird of the W i l d e r n e s s ............... 35 Dello Joio, Norman ..................... ..... 35 30. New B o r n ................................ 36 31. There is a Lady Sweet and K i n d ............ 37 Diamond, David ................................... 38 32. Be Music, N i g h t .......................... 39 33. Even Though the World Keeps Changing .... 40 Griffes, Charles T. ..................... 41 34. Thy Dark Eyes to M i n e ..................... 41 Harris, Boy ..... ............................ 42 35. F o g ...................................... 43 Howe, M a r y ..................... 44 36. Let Us Walk in the White S n o w ............. 45 Ives, C h a r l e s ..................................... 46 37. Afterglow................................ 47 38. Canon ................................ 48 39. From "Paracelsus"......... ............... 49 40. Luck and Work ..................... 50 41. The Greatest M a n ......................... 50 42. The Innate .............................. 51 43. The Light that is F e l t ................... 52 44. The R a i n b o w .................... 53 45. When Stars Are in the Quiet Sk i e s ........... 53 -vi- CHAPTER PAGE James, Philip ....................................... 54 46. Uncertainty............................... 55 Moore, Douglas ..................................... 56 47. Old S o n g ................................. 57 Schuman, William ...................... 58 48. Holiday S o n g ............................. 60 Sowerby, Leo ................................... 60 49. How Long Wilt Thou Forget M e .............. 62 50. 0 God of L i g h t ........................... 63 IV. CONCLUSIONS.......................................... 65 BIBLIOGRAPHY AND PUBLISHERS ............................... 67 -vix- CHAPTER I THE PROBLEM AND DEFINITION OF TERMS USED t I. THE PROBLEM Statement of the problem. The purposes of this study were: (l) to develop criteria relative to the interpretation of contem­ porary songs: (2) to select fifty songs from the works of contem­ porary American composers which might be interpreted by students of singing; and (3) to compile relative information concerning each song giving the title, composer, author of poem, available keys, compass, tessitura, type of voice most suitable to performance, pub­ lisher, and a suggested interpretation. Importance of the study. Published interpretative analyses of songs, specifically songs by contemporary American composers, are limited. Before a student may project an interpretation of any song much thought must he given to the text and to the music which it has inspired. The value of this thesis to teachers of singing and students of singing will be twofold. First, it may serve as a reference to songs which may be unknown to them, and second, it will be an inter­ pretative analysis which it is hoped will energize the imagination of the student and encourage him to begin to further develop his own imagination. The peculiar or distinctive character of tone which a singer produces is determined to some extent by the concentrated imaginative thought of that singer and the atmosphere peculiar to - 1 - -2- each song requires a specific attitude or mood brought to life by imagination. Through a realization of the meaning of the poem will come understanding of what the composer has intended to say, and through blending words and music the singer will enable the whole song to be understood and interpreted. II. DEFINITION OF TERMS USED Compass. The range of notes required in each song is the compass. The following system is used to indicate the pitches: a JCL - e C — B c — b cl — bl c2 — b2 c3 — f 3 Thus, for example, a compass of Gl-fl would mean: A compass of D — b 1: And a compass c l — d3: In cases where the composer has indicated optional notes such notes are indicated in parenthesis. For example, the compass (a) c3-g2 (c3) is a-c3, but both a and c3 are optional notes. Tessitura. This is the term which refers to the general "lie" of a vocal part. It does not take into account a few isolated notes of very high or low pitch. The tessitura can be given only approximately, since it would be nearly impossible to establish the tessitura of any vocal piece with complete accuracy. (H) or (m ) or -3- (L) added to pitches of the tessitura indicate that it was impossible to establish the original key of the song in question and either a high copy (H), medium
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