Choral Theatre
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The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2016 Choral Theatre Albert Joseph Wolfe Jr. University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Caribbean Languages and Societies Commons, Civic and Community Engagement Commons, Dance Commons, Ethnic Studies Commons, Ethnomusicology Commons, Musicology Commons, Music Performance Commons, Music Practice Commons, Other International and Area Studies Commons, Other Political Science Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, Place and Environment Commons, Politics and Social Change Commons, Race and Ethnicity Commons, and the Social Policy Commons Recommended Citation Wolfe, Albert Joseph Jr., "Choral Theatre" (2016). Dissertations. 314. https://aquila.usm.edu/dissertations/314 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. CHORAL THEATRE by Albert Joseph Wolfe Jr. A Dissertation Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: ________________________________________________ Dr. Gregory A. Fuller, Committee Chair Professor, School of Music ________________________________________________ Dr. Christopher J. Goertzen, Committee Member Professor, School of Music ________________________________________________ Dr. Joseph L. Brumbeloe, Committee Member Associate Professor, School of Music ________________________________________________ Dr. Jack L. Dean, Committee Member Professor, School of Music ________________________________________________ Dr. Webb Parker, Committee Member Assistant Professor, School of Music ________________________________________________ Dr. Karen S. Coats Dean of the Graduate School May 2016 COPYRIGHT BY ALBERT JOSEPH WOLFE JR. 2016 ABSTRACT CHORAL THEATRE by Albert Joseph Wolfe Jr. May 2016 Jamaica gained its independence from Great Britain in 1962, after some 300 years of colonization. Prior to Independence, the standard arts education curriculum was decidedly British and Western European. That which was labeled Caribbean or Jamaican “folk” by the British was deemed inferior and was not taught, demonstrated, or performed in formal settings. Thus, generations of Jamaicans never observed or imagined a Caribbean aesthetic in the visual and performing arts. Instead, pre-Independence Jamaicans were taught British and Western European music and performed it the “British” way. Today, Jamaicans boast a number of artistic developments that are instantly recognized across the globe as being “Jamaican.” One such development in choral music is choral theatre, the performance style of The University Singers of The University of the West Indies in Kingston, Jamaica. Through its choral theatre performances, The University Singers has established itself as a cultural ambassador for Jamaica and the entire Caribbean region. This performance practice incorporates the use of lighting, instrumentation, staging, costuming, and gesture. The University Singers presents its diverse repertoire—including choral standards from Western Europe and choral arrangements of Caribbean and Jamaican popular music—in the choral theatre style during its annual concert season in its campus home, the Philip Sherlock Centre for the Creative Arts. ii DEDICATION This work is dedicated to my wife, Karen, as it concerns a choir in Jamaica, which is Karen’s native country. Had I not met her, I would not have met her father. Had I not met her father, a former member of the choir, I would not have known about The University Singers. Had I not known about The University Singers, I would not have known about choral theatre. It all begins with Karen. She and I met and fell in love just before I started doctoral work, and we married just one semester into the process. She has been on this journey as long as I have— walking alongside me, encouraging me, prodding me (which was certainly necessary), and taking care of me. She has extended to me considerable grace and immeasurable patience, enduring many nights and weekend afternoons alone while I have read, researched, and written. Her support and belief in me have provided needed energy and motivation, particularly on days when I have been tempted to do anything but write. The space of this page is insufficient for expressing to her my unending love and gratitude. These humble words will have to suffice, for now: Karen, I love you and thank you. This is for you. Our parents also deserve mention. Though not college professors, Joe and Dianna Wolfe—my parents—have been my most important teachers. From the day of my birth to the present, they have stood behind me, never letting me quit or be less than my potential. In fact, the word can’t is not in my vocabulary because of my father and his fondness for making my brother and me do push-ups whenever we used it. Neither of my parents attended college, but they saw the value of it and insisted their children would earn college degrees. As a testament to their belief in education and iii learning and to their sacrifices for their children, I record today, for the sake of posterity, that the completion of this degree marks the seventh higher education degree earned, in total, by their children. Additionally, all three of their children by marriage have a combined six more higher education degrees. That is a total of thirteen degrees between the children of Joe and Dianna Wolfe and their spouses. Undoubtedly, future generations of Wolfes from this family will climb higher heights because my parents envisioned new and different experiences and lives for their children. I know I speak for my brother and sister when I express my deepest thanks and respect for our parents. There has never been a day—not a single hour—that we have ever doubted their love, even though our lives look very different from theirs. I love you, Dad and Mom. Known by her daughters and her sons-in-law with love and respect as “Mummy,” Norma Cooper, my mother-in-law, has been a prayer warrior throughout this process. In the nearly six years that I have known her, she has been sacrificially generous. Her house has always been home base when my wife and I spend time in Jamaica, and that has been enormously helpful throughout this research process. Mummy, I love you. My father-in-law, Howard Cooper (“Pops”), and his wife, Karine (“Moms”) have also been incredibly supportive and helpful throughout this research process. They have demonstrated their love and care in countless gestures—fetching a permission letter, introducing me to key people associated with The University Singers, loaning their spare car to me so that I could move freely about Kingston to conduct research, and taking me to hear observe choral theatre in action for the first time. Consummate hosts and guides, iv Pops and Moms have provided a wealth of information about all things Jamaica. Pops and Moms, I love you. Soli Deo Gloria. Joey Wolfe January 20, 2016 v ACKNOWLEDGMENTS Many people helped shape and guide my thinking about this work, and I acknowledge them with sincere appreciation. Without the following people, this dissertation would not have been possible: Dr. Greg Fuller has been a mentor, teacher, counselor, confidant, and friend. He is, in my humble estimation, one of the finest conducting pedagogues in the country. It has been a privilege to learn from him about conducting and operating a successful collegiate choral program. If, at the end of my career, I have been a quarter of the conductor and musician that he is, I will have had a rich and rewarding career indeed. His investment in my life can never be measured. Dr. Fuller, thank you. Likewise, Dr. John Flanery has been a teacher, sounding board, and encourager. At a time in my life when I doubted whether or not a career in choral conducting was feasible for me, Dr. Flanery was there with words of reassurance that I needed to hear— words that helped keep me on this path. Observing Dr. Flanery balance his full career with his devotion to his family has been an inspiration. Dr. Flanery, thank you. Dr. Chris Goertzen, Dr. Joe Brumbeloe, Dr. Jay Dean, and Dr. Webb Parker all served on my doctoral committee along with Dr. Fuller. At each step along the way, they provided sound guidance. They challenged and affirmed me, and I am all the better for both. Additionally, Dr. Goertzen, Dr. Brumbeloe, and Dr. Dean taught me in various courses; and my understanding of music and my skills have been sharpened by them. Dr. Goertzen, thank you. Dr. Brumbeloe, thank you. Dr. Dean, thank you. Dr. Parker, thank you. vi It has been an honor to get to know Noel Dexter, the former musical director of The University Singers, through this project. In Jamaica, he truly is a living legend. His contributions to the cultural life of his beloved country are considerable. I hold him in high regard and am indebted to him for all of his help. Mr. Dexter, it has been a sincere pleasure working with you. You have my humble gratitude. An unexpected surprise in researching choral theatre was meeting Lilieth Nelson, the former musical director of The University Singers who helmed the choir before Noel Dexter. “Auntie LilNel,” as I have come to know her, is a formidable scholar-musician whose enthusiastic pride in The University Singers is immediately evident when she begins talking about the choir. She is currently working on a book that details the history of the choir, and I look forward to reading it. Thank you, Auntie LilNel. Franklin Halliburton is the current conductor of The University Singers. He was hand-selected by Noel Dexter to be his replacement, and there is no question that Mr.