INFORMATION TO USERS
This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted.
The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction.
1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity.
2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame.
3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete.
4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced.
5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received.
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 7619616 JOTHFN. MICHAEL JON THE DEVELOPMENT AND UTILIZATION OF GUIDELINES FOR USE AS AN AID IN COMPOSING CHORAL MUSIC FOR e l e m e n t a r y s c h o o l age c h o i r s ,
THE OHIO STATE UNIVERSITY, PH,D,# 1978
© Copyright by
Michael Jon Jothen
1978 THE DEVELOPMENT AND UTILIZATION OF GUIDELINES FOR USE
AS AN AID IN COMPOSING CHORAL MUSIC FOR
ELEMENTARY SCHOOL AGE CHOIRS
DISSERTATION
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Philosophy in the Graduate
School of The Ohio State University
By
Michael Jon Jothen, B.A., M.A
* * * * -k
The Ohio State University
1978
Reading Committee: Approved by
Marshall Barnes
A. Peter Costanza
James Major Adviser School of Music ACKNOWLEDGEMENTS
The writer wishes to thank all who assisted in the completion of this study. He is particularly grateful to his adviser, Dr. A. Peter Costanza, and the members of his committee, Drs. Marshall Barnes and James Major, for their criticism, guidance, support and encouragement.
Additional thanks are extended to all persons who contributed material to the study. In particular,
Drs. H. Wayne Ramsey of The Ohio State University, Mary E.
Hoffman of the University of Illinois, Champaign-Urbana, and
Bruce Wilson, Curator of the Music Educators National
Conference Historical Library, College Park, Maryland.
Acknowledgement must be made of friends who, although not professional musicians, contributed to this study. In sights provided by Drs. John Belland, Department of Curriculum and Foundations, and James Kittelson, Department of History,
The Ohio State University, offered both new directions and comforting aid.
Appreciation must be extended to my wife, Gail, for her never-ending support and strength throughout not only this study, but the entire graduate school process. VITA
January 11, 1944 . . . Born: Philadelphia, Pennsylvania
1967 ...... B.A., St. Olaf College Northfield, Minnesota
1967 - 1969 ...... Instructor of Vocal Music Newaygo Public Schools Newaygo, Michigan
1969 - 1974...... Instructor of Vocal Music Ashland City Schools Ashland, Ohio
1972 ...... M.A., Case Western Reserve University Cleveland, Ohio
1974 - 1977 ...... Teaching Associate School of Music The Ohio State University Columbus, Ohio
1977 - 1978 Lecturer in Music The Ohio State University Newark, Ohio
1978 - ...... Assistant Professor of Music University of Northern Colorado Greeley, Colorado
PUBLICATIONS
On Teaching Junior High School Music. "Enhancing Public School Performance Group Experiences,11 in the Ohio Music Education Journal Triad. May, 1975, p. 29+; reprinted in the Connecticut Music Educator’s Association the C.M.E.A. News. February 1976, p. 20.
All Come Sing Alleluia, two part, flute, string bass, piano, Beckenhorst Press, Columbus, Ohio, 1977.
God Made Me, unison, flute, piano, Beckenhorst Press, Columbus, Ohio, 1975. iii He is Risen, two part, handbells, Choristers Guild, Dallas, Texa“ I975.
I Am So Glad, unison, flute, piano, handbells, Beckenhorst bress, Columbus, Ohio, 1976.
I Was Glad, SATB/divisi, a cappella, Beckenhorst Press, Columbus, Ohio, 1976.
Little Babe, SATB, piano, Beckenhorst Press, Columbus, Ohio, TTTF. ------
0 Lord of Love, SATB, a cappella, Beckenhorst Press, Columbus,’Ohio, 1977.
Praise the Lord for Everything, two part, flute, piano, beckenhorst Press, Columbus, Ohio, 1978.
Rejoice, Give Thanks and Sine, unison, piano, Beckenhorst tress, iolumbus, Ohio, 1976.
Sine Hosanna, five parts, string bass, flute, guitar, piano, Beckenhorst Press, Columbus, Ohio, 1977: reprinted in the Journal of Church Music, December, 1977.
Sing Ye Nowell, SATB, a cappella, Beckenhorst Press, Columbus, Ohio, 1975.
HONORARY AND PROFESSIONAL MEMBERSHIPS
Phi Delta Kappa, Pi Lambda Theta, American Choral Directors Association, Music Educators National Conference, Ohio Music Education Association, Choristers Guild, American Guild of Organists.
FIELDS OF STUDY
Major Field: Music Education
Professors Henry Cady, A. Peter Costanza, H. Wayne Ramsey.
Minor Fields:
Art Education: Professors Robert Arnold, Terry Barrett, Nancy MacGregor, Kenneth Marantz. Church Music: Professors Wilbur Held, Keith Mixter. Composition: Professor Marshall Barnes Conducting and Voice: Professors Maurice Casey, Helen Swank iv TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ...... ii
VITA ...... iii
LIST OF TABLES ...... vii
LIST OF FIGURES ...... x
Chapter
I. INTRODUCTION AND PROBLEM STATEMENT .... 1
The Purpose of This S t u d y ...... 6 Area of Investigation...... 6 Rationale ...... 7 Definitions ...... 9 Assumptions ...... 10 Delimitations ...... 11
II. RELATED LITERATURE ...... 13
The Musical Characteristics of Con temporary Choral Music ...... 13 The Current State of Contemporary Choral Music for Elementary School Age C h o i r s ...... 20 Composing for Children ...... 22 Pedagogical Factors ...... 26 The Child’s Voice and Vocal Capabilities ...... 32 Analysis of Choral Music ...... 35
III. PROCEDURES ...... 38
Identifying Elementary School Age C h o i r s ...... 38 Identifying and Securing Choral M u s i c ...... A3 Analyzing Choral Music ...... 48 Developing Guidelines ...... 58 Utilizing the Guidelines ...... 59
v Page
IV. RESULTS OF THE ANALYSIS OF CHORAL MUSIC . . . 61
General Characteristic ...... 64 Rhythmic Characteristic ...... 72 Melodic Characteristic ...... 77 Harmonic Characteristic ...... 88 Form in M u s i c ...... 98 Forms of M u s i c ...... 99 Tempo Characteristic...... 101 Dynamic Characteristic ...... 105 Tone Color Characteristic ...... 108
V. SUMMARY, PRESENTATION OF GUIDELINES, UTILIZING THE GUIDELINES, AND RECOMMENDATIONS...... 110
S u m m a r y ...... 110 Presentation of Guidelines ...... 112 General Characteristics ...... 113 Specific Characteristics ...... 116 Utilization of the Guidelines ...... 134 Recommendations ...... 138
VI. COMPOSITIONS ...... 139
APPENDIXES
A. Classification Levels of Non-Descriptive Titled Choral Organizations Appearing at Conventions 1967 through 1976 ...... 158
B0 Compositions Presented by Elementary School Age Choirs at Conventions, 1967 through 1976 ...... 162
C. Analyzation Forms Containing Data Secured During Analyzation of Choral Compositions ...... 172
BIBLIOGRAPHY...... 219 LIST OF TABLES
Table Page
1. Listing of Elementary School Age Choirs Appearing at Conventions ...... 41
2. Listing of Choral Compositions by Living, American Composers Which Were Identified For Analysis. Compositions Marked by * Were Secured for Analysis ...... 44
3. Listing of Choral Compositions for Analyzation ...... 49
4. Number of Compositions Containing Single and Multiple Movements ...... 64
5. Voicings Employed in Total Movements .... 65
6. Nature and Source of T e x t ...... 67
7. Language of Text ...... 68
8. Presence and Number of Accompanying Instruments ...... 69
9. Length of Total M o v e m e n t s ...... 70
10. Meter Classification of Total Movements . . 72
11. Pulse Classification of Total Movements . . 73
12. Occurrence of Similar Rhythmic Patterns in Vocal M u s i c ...... 74
13. Rhythmic Relationship of Non-Melodic Part(s) To Soprano I/Part I ...... 76
14. Nature of Text Sett i n g ...... 77
15. Intervallic Nature of Melodies in Total M o v e m e n t s ...... 78
16. Length of Melodic Phrases in Total M o v e m e n t s ...... 79
v• n • Table Page
17. Largest Occurring Melodic Skip or Leap in Total Mov e m e n t ...... 81
18. Top Voice Range of Parts in Total Movements...... 83
19. Bottom Voice Range of Parts in Total Movements...... 84
20. Classification of Total Movements According to M o d e ...... 88
21. Presence of Chromatic Alteration in Total Movements...... 89
22. Rate of Harmonic Change Within Total Movements...... 90
23. Type of Harmonic Movement Within Total Movements...... 91
24. Intervallic Relationship Between Soprano 1/ Part I and Other Vocal Part in Two Part M u s i c ...... 92
25. Intervallic Relationships Between Soprano I/Part I and Other Vocal Parts in Three Part M u s i c ...... 94
26. Intervallic Relationships Between Soprano I/Part I and Other Vocal Parts in Four or More Part M u s i c ...... 96
27. Presence of Voice Parts in Accompaniment . 97
28. Presence of Canon, Imitation, Ostinato, Melodic Repetition and Melodic Sequence in Total Movements ...... 98
29. Compositional Forms Present in Total Movements...... 99
30. Presence of Codas, Interludes or Transi tions, Introductions and Refrains in Total Movements...... 100
31. Nature of Tempo Markings Present in Total Movements...... 101
viii Table Page
32. Nature of Numerical Tempo Markings Present in Total Movements Containing Numerical T e r m ...... 103
33. Presence of Steady or Changing Tempo in Total Movements...... 104
34. Range of Dynamic Markings Present in Total M o v e m e n t s ...... 105
35. Variability of Dynamic Markings Found in Total Movements...... 106
36. Rate of Dynamic Change Within Each Total Movement ...... 107
37. Vocal Tone Color Characteristics Employed in Total Mov ements...... 108
38. Accompaniment Tone Colors Employed in Total Movements ...... 109
ix LIST OF FIGURES
Figure Page
1. Graphic representation of the Soprano 1/ Part I range ...... 82
2. Graphic Representation of the Soprano I f Part II range ...... 85
3. Graphic representation of the Alto 1/ part III range ...... 86
x CHAPTER I
INTRODUCTION AND PROBLEM STATEMENT
The psychologist Jean Piaget has evolved a theory of
cognitive development based upon the principle that every
individual goes through a series of ordered stages of mental
structures.1 During early childhood, one is involved in perceiving, reacting to and storing stimuli from the
immediate environment. As the developmental process con
tinues the "stored" perceptions gradually, through such activities as manipulation, sorting, labeling, and defining, result in the formation of concepts.
An important factor in the formation of concepts is the nature of the encountered environment. The psychologist
Asahel Woodruff stresses that the conceptual patterns possessed by an individual are literal reflections of the properties of the environment with which that individual has interacted.^ in other words, the degree to which an adult
■^■For an examination of those aspects of Piaget's theory appropriate for this study see Pedagogical Factors, p. 26 below. ^Asahel Woodruff, "How Music Concepts Are Developed," Music Educators Journal 56 (February 1970): 52.
1 can think conceptually is highly dependent upon the nature of
the environmental encounters experienced during childhood.
By limiting at present the scope of environmental encounters,
both quantitatively and qualitatively, one in effect limits
the degree of onefs future conceptual development.
With the publication of The Study of Music in the
Elementary School— A Conceptual Approach,1 the field of
music education recognized the developmental nature of
learning in general and of music learning in particular.
Like other educational disciplines, music education began
to reorganize its educational practices around certain basic
concepts.
In developing the ability to think about music con
ceptually, the elementary school music teacher plays a
significant role. The function of a teacher in general
changes according to the cognitive developmental stage
reached by the children with which they are working. The
skillful, knowledgeable, and sensitive teacher must be aware
of the developmental differences between age levels as well
as between individuals within age levels. Having recognized
these differences, however, a teacher's role is essentially
the same regardless of the stage of development, namely
^■Charles L. Gary, ed., The Study of Music in the Elementary School— A Conceptual Approach (Washington. D.C.: Music Educators National Conference, 1$67). selecting from the world those situations or potential
encounters which are likely to be of greatest use to the
student.*
Since it is during the elementary school years that
the child is developing a "storehouse" of experiences, it is during these years that the music teacher should provide numerous opportunities for hearing, singing, playing, moving to, listening to, composing, and interacting with as wide a variety of musical styles as possible. Interacting with music through these types of activities assists students in developing musical concepts. Combined with skillful teacher guidance, these activities provide a foundation for the learning of musical styles and forms in subsequent elementary and secondary programs.^
Unfortunately, most elementary school music programs fail to provide a wide range of musical experiences. As
Robert Neidlinger states:
For the most part, music educators in the mid twentieth century have been teaching music concepts that are not universally applicable. In the lower grades, students have been exposed only to music of the coramon-practice period (music as it was produced in Western Europe from about 1600 to 1900) . . . music teachers have so conditioned students to the
*Alice Yardley, Senses and Sensitivity (New York: Citation Press, 1973), p. 45.
^Robert Neidlinger, "Dimensions of Sound and Silence: The Basis of A Liberal Education in Music," Music Educators Journal 59 (April 1973): 27. musical styles of the common-practice period that they think of these styles (Baroque, Rococo, Classic, and Romantic) as the nozrms against which all other musics are to be judged.1
James Carlsen expresses basically the same observation when he says:
The largest body of music we have made available to (students) consists of performances by choruses, orchestras, and bands of either eighteenth and nine teenth-century Western European art music or imitations thereof. It would not be fair to imply that schools today are limiting their students entirely to exper iences with eighteenth and nineteenth-century Western European art music, but I dare say that kind of music gets the largest share of attention.2
This condition should be of major concern for the music educator. Since conceptualization develops from and is molded, shaped, modified and refined as the result of experiences, by limiting a child's scope of experience to music of the common-practice period, the music teacher limits the depth and breadth to which concepts can develop.
Furthermore, such conceptual restraints limit an individual's ability to respond to music, thus weakening one of the major purposes of music education.
The upper elementary school years, grades four through six, mark the developmental stage during which the child is growing and developing the ability to think and
1Ibid., p. 25
^James Carlsen, "Concept Learning, It Starts With A Concent of Music," Music Educators Journal 60 (November 1973) 99. reason conceptually.^ It also marks an age when many
elementary children become involved in a more formal musical
setting than the elementary classroom, namely elementary
school age choirs. In the writer*s experience, these choral
organizations continue a similar musical emphasis to that found in the classroom.
In a study completed in 1968, Perry Jones found that
the majority of music being performed by today’s high school and college choirs was of Austro-Germanic origin and pre twentieth century in nature.2 An examination of past programs of choral music presented by elementary school age choirs at the Music Educators National Conference National and North Central Division Conventions during the years 1967 through 1976 also supports this contention. At the same conventions, however, numerous high school and college level choirs were performing Contemporary choral music. Why, when a wide range of musical experiences is so crucial to future conceptual development in music, were elementary school age choirs not performing Contemporary music?
^■Marilyn P. Zimmerman, Musical Characteristics of Children. Music Educators National Conference series From Research to the Music Classroom, no. 1 (Washington, D.C.: Music Educators National Conference, 1971), p. 16.
2Perry Otis Jones, "The Choral Literature Performed by the High Schools of Iowa and the Colleges of Iowa and Surrounding States During the Period of Time 1962 to 1967" (Ph.D. dissertation, University of Iowa, 1968), p. 87. In part, an answer to this question appears related to the lack of Contemporary choral music available for use with elementary school age choirs. Generally, the avail ability, and hence, the performance of Contemporary choral music, has been limited. Assuming a larger quantity of
Contemporary choral literature were available, it is reason able to conclude that it would be used. However, since its lack functions as a limiting variable, an effort should be made to assist in making this literature available.
The Purpose of This Study
The purpose of this study is twofold: (1) to develop guidelines for use as an aid in composing choral music for elementary school age choirs, and (2) to utilize the guide lines as an aid in composing Contemporary choral compositions for elementary school age choirs.
Area of Investigation
This study will analyze choral compositions for the purpose of identifying their musical characteristics. The analysis aspect of the study will be concerned with gathering data concerning such questions as:
1. What are the vocal ranges present in the composi
tions? 2. What instruments are used to accompany the
compositions?
3. Are the compositions accompanied or a cappella?
4. What musical forms are utilized?
5. Are the compositions unison, two part, three part
or four or more parts?
Rationale
The development of guidelines based upon the musical characteristics of choral compositions performed by elemen tary school age choirs can serve as a source of information regarding the performance capabilities of such choirs. The guidelines can provide information concerning vocal ranges and number of vocal parts. By providing composers with additional information concerning elementary school age choirs, the guidelines may encourage the composition of choral music for these choirs.
It is hoped that this form of encouragement will result in a wider spectrum of choral music being made available. Since the guidelines will reflect the musical characteristics of music performed by elementary school age choirs, the use of the guidelines as an aid in the composi tional process should be reflected in the resulting composition. In terms of Contemporary choral music, this is a crucial factor. 8
The unavailability of Contemporary choral music for
elementary school age choirs ia due in part because pub
lishers are reluctant to print it, "It doesn't sell."*
Numerous factors such as: (1) the value systems of directors,
(2) peer pressure, (3) concern for the audience, (4) a director's inadequacy, and (5) the belief that Contemporary choral music is harmful to young voices or unperformable, all contribute to its lack of salability.
It is this writer's belief that Contemporary choral compositions composed while using the guidelines as an aid, can assist in weakening the concerns over Contemporary choral music being unperformable or harmful to voices. Since the guidelines are to be based upon music performed by elementary school age choirs, Contemporary choral compositions employing the guidelines should not prove harmful to young voices.
Furthermore, the music should be within elementary school age students' performance capabilities.
Publishers print what sells. The nature of the market system is such that as demand increases, more Contemporary choral music will be composed. As it becomes more readily available, other factors limiting its availability and use
^-Conversation with Donald Hinshaw, Hinshaw Music. Inc., Chapel Hill, North Carolina, June 1977. See also The Current State of Contemporary Choral Music for Elementary School age Choirs," Chapter II, below. will weaken. It is hoped that the Contemporary choral
compositions resulting from this study will be a beginning
to this process.
Definitions
Analyzation Form.— In terms of this study, a form which serves as a guide for analyzation purposes and which will be used to record findings concerning the musical characteristics of choral music performed by elementary
school age choirs.
Choral Music.— In terms of this study, music composed for and/or sung by or recited by a group of elementary
school age children's voices.
Contemporary Choral Music/Literature/Composition.—
In terms of this study, referring to a musical composition which contains musical characteristics unique to the present time.
Elementary Child's Voice.--For the purpose of this study, the natural voice of the young female and the pre pubertal unchanged voice of the male.
Elementary School Age Choir.— For the purpose of this study, a group of elementary children's voices from or representing a particular school, school system or geographi cal area and consisting of students in the fourth through sixth grades. 10
Guidelines.--In terms of this study, descriptions which may be referred to as a source of information regarding the composing of choral music for elementary school age choirs.
Musical Characteristics.— For the purpose of this study, those internal and external components of a musical composition (such as harmony, melody, number of parts, or length) which collectively constitute an entire composition.
Pitch Definition.— For the purpose of this study, pitches will be referred to in terms of the following ranges:
BV r ,
Q
& Vq .
Total Movement (TM).— For the purpose of this study, a musical composition or a complete section within a multi movement composition.
Assumptions
In this study, the assumptions are made that the compositions to be analyzed are representative of the 11 literature being performed by elementary school age choirs and sufficient in number for the purpose of this study. It is also assumed that the musical characteristics identified in the analysis process will be adequate for the development of guidelines. Furthermore, this study recognizes that the compositional process is one of interaction between a composer and art object; therefore, the Contemporary choral composi tions composed in this study will utilize the guidelines as an informational aid to the process rather than a determiner of the process. It is expected that the guidelines will continue to function in such a manner.
Delimitations
This study will limit the music analyzed to specific choral compositions performed by elementary school age choirs at music conventions during specified years. No value judgments will be made or assumed about this music.
In addition, the musical characteristics identified in these compositions will form the sole basis for the guidelines.
When developed, the guidelines will be limited to use as an informational source for aiding in the process of composing choral music for elementary school age choirs.
Under no circumstances are they to be viewed as limitations to which a composer must adhere. 12
The Contemporary choral compositions resulting from this study should be viewed as examples of such literature appropriate for use with elementary school age choirs.
Necessary guidelines and Contemporary musical characteristics will be utilized by the writer in their composition. No attempt will be made to utilize all of the guidelines. CHAPTER II
RELATED LITERATURE
This writer was unable to find direct research
concerned with developing guidelines for use as an aid in
composing choral music for elementary school age choirs. In
the search process, however, numerous articles, publications
and dissertations were found which related to the topic.
A review of this material will be organized into the
following areas: The Musical Characteristics of Contemporary
Choral Music, The Current State of Contemporary Choral Music
for Elementary School Age Choirs, Composing for Children,
Pedagogical Factors, The Child’s Voice and Vocal Capabilities, and Analysis of Choral Music.
The Musical Characteristics of Contemporary Choral Music
The music of the past four or five hundred years has generally been categorized in terms of its exhibiting similar musical characteristics; i.e., "motoric" rhythm, little use of rubato, strong cadences, and/or homophonic texture. Con temporary music is also capable of being categorized in these terms. Contemporary music is commonly defined as
13 14 having abandoned many of the general characteristics of
Western music in the last three centuries. Three of the most noticeable qualities are those of being metrically regular, tonally centered, and triadically oriented.!
Traditionally music has contained regularly recurring beats organized into units or measures having two or three beats or multiples thereof. These traditional approaches towards rhythm have been utilized by Contemporary composers.
At the same time, Contemporary composers have expanded the rhythmic possibilities available to them to include non- traditional approaches towards rhythm. Among these are using rhythms grouped in twos and threes but occurring in changing and irregular patterns;2 being "indefinite" rather than "definite" about the length a performer should hold a particular pitchand creating rhythmic movement by instruc ting performers to sing or play at a rapid pace, but to avoid synchronizing with another part or person.^ In general,
^Office of Education, U.S. Department of Health, Education and Welfare, Music in Our Schools: A Search for Improvement, by Claude V~. Pali sea, Bulletin 28 (Washington, D.C.: U.S. Government Printing Office, 1964), p. 2.
2John Corrigliano, Christmas at the Cloisters (New York: G. Schirmer, Inc., 1968).
^Krzystztof Penderecki, Dies Irae (Krakow: Polskie Wydawnictwo Muzyczene, 1967).
^Knut Nystedt, Praise to God (New York: Associated Music Publishers, Inc., 1^72). many of the changes occurring in the rhythmic aspects of
Contemporary choral music have resulted from composers
searching out and attempting new ways of creating effects.
Frequently this has resulted in composers providing general
rhythmic guidelines for performers rather than precise
patterns to be executed.
Contemporary music is approaching tonality in much
the same manner as rhythm. Rather than limiting tonal
possibilities to the traditional major or minor modes, Con
temporary music has expanded to include a broad variety of
tonal possibilities. Contemporary choral music may contain
the following: (1) the absence of tonality (atonality)
(2) two or more tonalities existing at the same time (bi
tonality or polytonality);^ and (3) the use of modes other
than major or minor.^
A result of Contemporary composers' experimenting
with new and different tonalities has been an altered view
of tonality. Contemporary choral music utilizes such
harmonic practices as: (1) quartal harmony;^ (2) tone
^•Donald Erb, God Love You Now (Bryn Mawr, Pennsylvania Theodore Presser, 1971). ^Edward Miller, The Seven Last Days (Boston: E. C. Schirmer, 1969). 3Alan Hovaness, Magnificat (New York: C. F. Peters Corp., 1958). ^Marvin S. Adler, "Get Involved in the Twentieth Cen tury: Explore the Known and Unknown in Contemporary Music," Music Educators Journal 59 (February 1973) : 39. 16 clusters(3) widely varying degrees of dissonance and consonance;2 and (4) chance compositional procedures creating clashing, unrelated harmonic textures varying throughout a section of a composition.3
Harmony in general results when two or more sounds occur simultaneously. In Contemporary choral music the desire to create an emotional climate has resulted in "har mony" being comprised of more than the traditional triadically oriented major and minor chords.
Contemporary choral music exhibits other non- traditional practices besides those occurring in conjunction with meter, tonality and triadic orientation. Texture is frequently treated in a non-traditional manner.
Texture has generally been thought of in terms of being polyphonic, homophonic or a combination employing varying degrees of these two extremes. Contemporary choral music utilizes these traditional approaches. At the same time, however, composers of Contemporary choral music seem to be searching out and exploring new textural possibilities.
^•Barne Sloegedal, Antiphona de Morta (New York: Walton Music, 1969). O Leslie Bassett, Collect (Cincinnati: World Library of Sacred Music, 1965).
^Elliot Schwartz, "Directions in American Composition Since the Second World War--Part I: 1945-1960," Music Educators Journal 61 (February 1975): 31. 17
As Jack Boyd states:
Contemporary music, . . . , is highly concerned with the texture of sounds, meaning the accents, sudden dynamic changes, nonword sounds such as whistles, sighs, clicks, and finger snaps, as well as peculiar tone qualities and word fragmentations.1
Contemporary choral music, like traditional choral music, contains texture(s) resulting from the simultaneous occurrence of sound. Unlike traditional choral music,
Contemporary choral music frequently has widely divergent or Mnon-musical" sounds occurring at the same time. Thus the resulting texture is one which develops from separate, unrelated sound textures interacting and intertwining over and within another.^
Contemporary choral music often contains traditional sound sources. Frequently, however, these are utilized in a non-traditional manner. Lutoslawski writes concerning the use of the voice in his Three Poems of Henri Michaux:
I have applied here various methods of producing sound with the exception of a singing voice. However, all these methods of using the human voice are, so it seems to me, quite natural. They consist of different ways of speaking, from a quiet whisper to a violent emission of phrases, including calls, cries and screams. All these ways of articulation are, of course, closely connected with the text itself and
Ijack Boyd, Rehearsal Guide for the Choral Director (West Nyack, New YorlT: Parker Publishing Co., Inc., 1970), p. 170.
^Schwartz, "Directions,11 p. 31. 18
represent an endeavor to find its most adequate interpretation.1
In general, Contemporary choral music has expanded the tone color resources available to the composer to include numerous vocal sounds which traditionally have been considered non-musical. Among these sounds are: (1) sliding pitches;^ (2) moaning;^ (3) nonverbal sounds such as those resulting from snapping the fingers or stomping the feet;^
(4) altering various sounds by means of electronic and/or manual manipulation;5 and (5) using consonants as expressive devices in and of themselves.^
Form, as such, is at times of little concern to the composer of Contemporary choral music.? As mentioned above,
Contemporary choral music is frequently concerned with creating an effect or impression. To be locked into a set form such as AB, ABA, or ABACA might serve to hinder a
^Hugh Sanders, "Sprechstimme in Choral Music," The Choral Journal 11 (October 1970): 10.
^Knut Nystedt, De Profundis (New York: Associated Music Publishers, 1966).
^Joseph Flummerfelt, "Passion According to St. Luke- Penderecki," The Choral Journal 12 (April 1973): 8.
^Erb, God.
^Harriet Simmons, "The Demise of the Text in M o d e m Choral Music," The Choral Journal 13 (December 1972): 8.
p. 13. 7Brock McElheran, "Beginners Guide to the Avant- Garde," The Choral Journal 13 (April 1973): 23. 19
composer's intent. Out of a searching, exploring process aimed at creating effects, have developed forms which allow
Contemporary composers structure and at the same time the
freedom they may desire. Two of these forms, open-ended^- and changeable,2 are found, along with traditional forms, to be some of the formal characteristics of Contemporary choral music.
One of the most noticeable differences between Con temporary choral music and traditional choral music is the nature of the musical score. Contemporary choral music is frequently less specific than traditional choral music.^
The reason is due in part to a desire on the part of the composer to involve the performer(s) to a greater degree in the overall creative process. In realizing this, Contemporary choral composers have often utilized aleatoric compositional devices.
Aleatoric^ compositional practices provide an opportunity for decision-making and hopefully creativity on the part of the performer(s). For example, within a certain section performers might be instructed to speak
1-Tom Johnson, "Teachers, Step Up to the Avant-Garde," Music Educators Journal 58 (May 1972): 31.
^McElheran, "Beginners," p. 23.
^Johnson, "Teachers," p. 30. ^Refers to elements of unpredictability entering into the composition or its performance. 20 random syllables* or to sing/play their own interpretation of various notated s y m b o l s . 2 Pictorial notation is useful here as a means of notating or representing a general "mode of thought." In this sense the pictorial notation provides for the potential expressiveness desired by a composer and creativity sought on the part of the performer(s).3
In summary, composers of Contemporary choral music have not neglected or refused to utilize traditional practices, techniques and concerns associated with choral music. They have, however, served to expand, redefine, and explore innovative and often novel procedures for musical expression through the choral medium.
The Current State of Contemporary Choral Music for Elementary School Age Choirs
A review of publishers' catalogs, advertisements in professional journals and local retail sheet music stores revealed several choral series described as being Contem porary. These are: (1) Walton Music Corporation's publication of a Contemporary Choral Series under the
*Flummerfelt, "Passion," p. 8.
2Ibid.. p. 6.
detailed presentation of new forms of musical notation is presented in Frank Pooler and Brent Pierce, New Choral Notation (New York: Walton Music Corp., 1973). 21 editorship of Frank Pooler;* (2) Associated Music Pubishers,
Inc. collection entitled, The AMP Contemporary Choral Col lection;^ (3) Agape Press' series entitled, "New Difficult
Contemporary Choral M u s i c " ; ^ (4) the Americas Boychoir
Federation publication, Selected Avant-Garde and Contemporary
Literature for the Treble Boychoir;^ (5) the Music Educators
National Conference supervised "Contemporary Music Project" resulting in a wide variety of choral music; (6) two Augsburg
Publishing House volumes entitled, Music for the Contemporary
Choir;^ and (7) C. F. Peters publication of an extensive catalog of Contemporary music.®
An analysis of this material revealed that the term
Contemporary as used by these publishers had little relation ship with the characteristics of Contemporary musical characteristics as discussed previously in this chapter (see above).^ It was also found that the majority of
^-Walton Music Corporation, New York. ^Associated Music Publishers, Inc., New York. ^Agape Press, Carol Stream, Illinois. ^Americas Boychoir Federation, Connelsville, Pa. ^Augsburg Publishing House, Minneapolis. 6c. F. Peters Corporation, New York. 7In general publishers define Contemporary in terms of (1) music composed after approximately 1900, and (2) music composed by living composers. Little concern is shown with the musical characteristics of a composition. compositions contained or cataloged in the analyzed material
were for high school or older voices. Very few of the
compositions were for elementary school age choirs.* Further,
it was discovered that the majority of compositions were for
three or more vocal parts. These included the designations
SAB, SSA, SATB, SAAB and SATBB. An additional observation
resulting from the analysis was that none of the compositions
contained within the collections nor of the appropriate
‘level listed in the catalogs exhibited musical characteris
tics which placed them clearly in the Contemporary choral
Assuming these Contemporary choral compositions and
catalogs are representative of the choral music publishing
industry as a whole, it is apparent that there is currently
very little Contemporary choral music available for elemen
tary school age choirs.
Composing For Children
Tracing the composition of music for school groups
back to the last quarter of the Seventeenth Century, one
finds that Henry Purcell’s Dido and Aeneas was composed for
and first performed at "Josias Priest's Boarding School" in
Chelsey in 1689. In initiating the public school music
*The exception being Augsburg's publications for unison and two-part voices. 23
program in Boston in 1837-1838, Lowell Mason composed
Wildwood Flowers. This composition was sung by students in
the Boston school system and, according to A. W, Brayley,
it became "the first (musical composition) ever sung in
unison by the pupils of a public school in Boston, and probably in this country."*
Early in the Twentieth Century, Paul Hindemith
composed a wide variety of music which he called Gebrauchs- musik. Loosely translated the English equivalent would be 2 Music for Amateurs. Included under this heading may be found, among others, "Music for Schools" and "Music for
Children." Included within these categories are such compo
sitions as "Music to Sing and Play" for various instrumental and vocal combinations and the three-part "Songs for Singing
Groups" and "Ploner Musiktag." Another composition which may be found is a short opera about and for children entitled
We Build a City.
Several other Twentieth Century composers have also written music for school groups. The French composer Darius
Milhaud composed "La Musique en famille et a' l'ecole" (music for home and school). Kurt Weill, a German who later lived
*A. W. Brayley, "The Inception of Public School Music in America," The Musician 10 (November 1905): 484.
^A. Cooke, "Paul Hindemith-I," Music Survey 2 (January 1949) : 10. 24 in the United States, wrote a high school opera entitled
’’Down in the Valley.” The German composer Carl Orff developed an extensive music program emphasizing expressive movement and improvisation entitled ’’Schulwerk.” Also the
American composer Aaron Copland wrote an opera for high school students entitled "The Second Hurricane.”
At least one major program and several studies have been directly concerned with composing music for American school musical organizations. In 1959 the Contemporary
Music Project (CMP) was initiated. This program, also known as the Young Composers Project (YCP), consisted of thirty-one composers being placed,over a period of three years, in secondary school systems throughout the United States. The major purpose of the program was to create a large body of musical literature specifically for young musicians in schools.* Funded initially for a three-year period, the success of the program resulted in subsequent funding being secured to allow the program to continue from 1959 through
1969. During this time period the CMP placed seventy-three composers in residence in seventy-seven selected public school systems. The project resulted in a large body of literature written exclusively for the target population.
*Halsey Stevens, "Youth and New Music," Music Educators Journal 49 (September-October 1963) : 5UI 25
Recent studies have dealt with composing music for
school music organizations. Coffman identified the voice
ranges of boys in grades four through six. Based upon the
findings, he arranged four folk songs appropriate for boys
in the upper elementary grades.* Adams’ study surveyed
composers, publishers and choral directors concerning
problems in composing music for use in high schools. Based
upon the data collected, Adams composed six choral composi- o tions appropriate for use at the high school level.
In terms of this study, the findings relating to
composing music for school musical organizations have a major problem. With the exception of Orff’s "Schulwerk"
and aspects of Hindemith’s Gebrauchmusik. the compositions are primarily appropriate for high school age or older. The
index of vocal compositions resulting from the CMP project
indicates that of the 200 compositions listed, eight (8) are o indexed for use with elementary school age choirs.
^-Wesley Surber Coffman, "A Study of the Incidence and Characteristics of Boys* Voice Change in Grades Four, Five, and Six, and Implications for School Music Materials Deriving Therefrom," (Ph.D. dissertation, Florida State University, 1968). ^Harrison Leslie Adams, "Problems of Composing Choral Music for High School Use," (Ph.D. dissertation, The Ohio State University, 1973), p. 152. ■^Vera Brodsky Lawrence, gen. ed., The Contemporary Music Project (CMP) Library, 3 vols. (Washington, D.C.: Music Educators National Conference, 1969), vol. 3: Works for Chorus and Voice, index of works (no number givenTT 26 In summary, composing and arranging for school musical organizations has a long and varied tradition. It is apparent, however, that little interest has been shown in composing music for use at the elementary level.
Pedagogical Factors
Numerous writings are relevant to this study. One publication by Zimmerman, however, stands out. In the 1971 monograph Musical Characteristics of Children.^- the author summarizes research relating to children and music. At the conclusion of sections covering perception, conceptual development, affective development, and vocal and manipula tive development, Zimmerman provides suggestions for the elementary school music teacher. Zimmerman maintains that
Piaget's theory of intelligence and conceptual development is applicable to the area of early musical education.
Based upon his research, Piaget identified four stages in the development of intelligence: (1) sensorimotor,
(2) pre-operational, (3) concrete operations, and (4) formal operations. The elementary school child falls primarily into two of these four stages, pre-operational (approximately ages eighteen months to seven years) and the concrete operations stage (approximately ages seven to eleven through twelve years). During these two stages, a child progresses
*Zimmerman, Musical. 27 at his own rate of development from a decreasing dependence upon perception to an increasing ability to deal with relationships and problems centering upon "immediate reality."^
In discussing the various stages identified by Piaget,
Zimmerman explains Piagetfs view of intelligence as developing in a sequential manner progressing through four individually unique stages.
Zimmerman then continues on by citing several studies relating to music which support Piaget's observations con cerning the developmental process. A study by Pflederer testing conservation of meter, tone, and rhythm provides evidence that five-year-old children supplied answers n consistent with that of pre-operational thought. Based upon studies by Petzold, Simon, and Williams, among others, it was concluded that the "perception of musical sounds follows a developmental s e q u e n c e . Brehmer's articles pointed out that like perception, the achievement of vocal control also follows a developmental sequence.^
Another study which supports Piaget's observations regarding the presence of a developmental sequence, one which was not included in the Zimmerman monograph, was done
3-Ibid. , p. 16.
2Ibid., p. 18.
3Ibid., p. 10.
4 Ibid., p. 24. 28 by Jones. Jones concluded that the development of concepts concerning meter occur in distinct stages.* Regarding the developmental process in general, Zimmerman concludes that conceptual development proceeds in a sequence similar to that of perception.^
Based upon the research cited in Zimmerman, various musical characteristics possessed by the elementary school age child, grades four through six, can be identified. The ability to discriminate between degrees of loudness, pitch, rhythm and harmony were all identified as being present in fourth grade students."* These findings form the basis for suggestions Zimmerman makes regarding the teaching of elementary school music. Several of these are relevant for this study. Zimmerman suggests:
1. Dynamics, especially loud-soft contrasts, need not be overly emphasized since perception of , loudness develops early and without formal training.
2. Experimental methods of representing and notating sound should be encouraged.^
^Russell L. Jones, "The Development of the Child's Conception of Meter in Music," Journal for Research in Music Education 24 (Fall 1976): 151.
^Zimmerman, Musical, p. 281.
"*Ibid., p. 28.
4Ibid., p. 11.
5Ibid., p. 20. 29
3. Music of all styles, periods, ethnic groups, and media should be used. Contemporary and avant- . garde music can be used beginning in the kindergarten.
In addition to the writings on developmental theory
numerous writings were found relating to children's vocal
music literature.
One author analyzed the melodies found in four
different fourth grade music texts. Melodies were analyzed
and the findings carefully noted. The melodies contained within the books were found to use the scale and tonic, sub
dominant, and dominant chord progressions in conjunction with
arpeggiated melodies. In addition few melodies were found in
minor tonalities or which contained chromatic alterations.
In a study by Blyler, also concerned with melody, it was
found that children preferred songs with strong melodic 3 movement.
Dittemore found that a devslopmental process occurred
in relationship to melody. He found that the first ability
to develop is that of singing in the minor mode. Next was
the capability of singing in the Major and Dorian mode. The
1Ibid., p. 22.
^Edna Meads Smiley, MA Study of the Musical Configur ations, Symbols, Terms, and Words Found in Basic Music Texts at the Fourth Grade Level," (Ph.D. dissertation, Indiana University, 1955).
•^Dorthea M. Blyler, "The Song Choices of Children in the Elementary School" (Ph.D. dissertation, University of Illinois, 1957). 30 last melodic ability to develop is that of singing non-
tonal music.^
The Dittemore study also identified a developmental
sequence occurring in relationship to rhythm. Initial
development occurs in the ability to perform duple and triple meters. The ability to perform mixed meter develops next,
followed by the final rhythmic ability to emerge, the ability
to perform "unusual" meters.2 Both Smith^ and the MENC publication^ advocate teaching rhythm in a developmental
sequence consistent with these findings.
In the Smith publication, the author stresses that the development of the ability to maintain a vocal harmony part should be an important objective of music in the upper elementary grades.-* Dittemorers study identifies a hierarchy of harmonic development which supports Smith's suggestions.
Dittemore found that the first harmonic ability to develop is that of being able to sing a round and a counter-melody or descant. Next to develop is the ability to perform
■^■Edgar Erwin Dittemore, "An Investigation of Some Musical Capabilities of Elementary School Students" (Ph.D. dissertation, University of Iowa, 1968). 2Ibid. ^Robert B. Smith, Music in the Child's Education (New York: Ronald Press Co., 1^70): 105-Ild. ^Gary, The Study. see "A Scope and Sequence Chart of Conceptual Learnings Related to the Elements of Music" (no page numbers provided). ^Smith, Music in. p. 43. 31 two-part music. This is followed by the development of the capability of performing three-part music.* Blyler*s study reported finding that from a harmonic standpoint, children preferred music containing well-defined cadences ending on the tonic.^
A variety of researchers have studied key signatures and mode as they relate to children and their vocal literature.
A study by Smiley reported finding key signatures ranging from four flats to four sharps.^ Blyler stated that children preferred the Major mode.^ Petzold reported that 88.67 per cent of the songs included in the textbook series he examined were in Major keys. The remaining songs, 11.33 percent were in minor.^ Nofziger also found that the majority of songs sung by children in the United States are in the Major m o d e . 6
Several researchers attempted to ascertain the difficulty level of music for children. Colwell suggests
^■Dittemore, "An Investigation."
2Blyler, "The Song."
■^Smiley, "A Study."
^Blyler, "The Song."
^Robert G. Petzold, "Development of Auditory Percep tion of Musical Sounds by Children in the First Six Grades," Journal for Research in Music Education 11 (Spring 1963): 38.
^Dwight Evin Nofziger, "A Study of Selected Song Literature for Children" (Ed. D. dissertation, Colorado State College, 1967). 32 that atonal music is much more difficult for a child to sing than is tonal music.^ Also, varying a rhythm pattern o was found to increase its level of difficulty.
In summary, research indicates that the musical capabilities of children develop in a sequential invariant order. Without antecedent in-depth development at a lower level, higher level development is hampered. Furthermore, studies reveal that, in general, fourth grade students possess the emerging ability to manipulate musical material.
The Child’s Voice and Vocal Capabilities
The guidelines presented in this study are based solely on the musical characteristics of the choral music analysed. However, to keep these in perspective and offer points of comparison, it is important to review the findings of researchers concerning the vocal capabilities of children.
No studies were found which identified the easiest and most difficult intervals for children to sing. However, a study by Spohn and Poland concerning this characteristic in college level students revealed a hierarchy, from the most
^-Richard Colwell, Elementary Music Achievement Tests (Chicago: Follett Publishing Co., 1967).
^C. H. Sievers, "The Measurement of Musical Develop ment: A Study of Rhythmic Performance with Special Considera tion of the Factors Involved in the Formation of a Scale for Measuring Rhythmic Ability." University of Iowa Studies in Child Welfare 7 (January 1932)1 ill-172. 33 to least difficult: minor sixth, minor seventh, tritone, minor third, Major seventh, Major sixth, Perfect fifth,
Perfect fourth, Major third, minor second, Major second and
Perfect octave.^-
In a study concerned with the range of children's voices, Jersild and Bienstock found that a wide range of
tones is possible at an early age. They reported that the range to demonstrated by two-year olds expanded to
to by age ten.^ It was also found that ninty-nine percent of the tones occurred within the range to E^.
For the child aged nine through eleven, Smith suggests that the extreme range B-flat^ or A^ to F^ be utilized to assist in the development of vocal range.3
Similarly, Nye and Nye advocate a limited range from (A to
to begin the school year followed by a rapid expansion in the intermediate grades from B-flat^ to F-*A
^Charles L. Spohn and William Poland, An Evaluation of Two Methods Using Magnetic Tape Recordings for Programmed Instruction in the Elemental Materials of Music (Columbus, Ohio: The Ohio State University Research Foundation, 1963): 13. ^Arthur Jersild and Sylvia Beinstock, "A Study of the Development of Children’s Ability to Sing,11 Journal of Educational Psychology 25 (October 1934): 492-495.
^Smith, Music in, p. 42.
4Robert E. Nye and Vemi ce T. Nye, Music in the Elementary School (Englewood Cliffs, New Jersey: Prentice- flall Inc. ,1964)': 170. 34
Studies by Adcock and Coffman provide more insight into vocal development. In a study of fourth, fifth and sixth grade boys, Coffman found that in general, the vocal music available for these singers is not consistent with their unique vocal range.* Adcock also found this to be the case and in addition identified a composite unison range from B3 to C#5. 2
In a recent study, Wassum reported a mean interval range while singing scalewise passages of a thirteenth for a fourth grade student, a fourteenth for a fifth grader, and a fifteenth for a sixth grade pupil.^ For the same age students when singing ascending or descending skips or leaps,
Wassum found that fourth grade students had a range of a fourteenth, fifth graders a fifteenth or larger and sixth grade pupils a range of a sixteenth or larger.
The Zimmerman monograph contains numerous suggestions for the teaching of elementary level music. Several of these are concerned with vocal and manipulative development
*Coffman, "A Study."
^E. J. Adcock, "A Comparative Analysis of Vocal Range in the Middle School General Music Curriculum," Council for Research in Music Education 32 (Spring 1973) : 60-671
^Sylvesta M. Wassum, "A Study of Children's Concep tualization of Tonality as Evidenced by Singing: A Pilot Study" (Macomb, Illinois: Western Illinois University Research Council, 1973): 5. 35
and are therefore of interest to this study. These
suggestions are:
1., Songs that lie within the range of a sixth from to a 4 should be used in early singing experiences. These can be followed by songs that encompass a tenth from to e 5. 2. Songs that have sections in both the lower and upper ranges should be used to develop both parts of the range and to help the children feel comfortable in using their full ranges. 3. Children should be encouraged to organize environmental sounds into patterns of sound. Sounds produced by clapping., patting, tapping, and snapping also should be used.1
Following these suggestions, Zimmerman makes the observation
that both maturational and perceptual development are
important factors in a child’s vocal development.2
In summary, a fourth through sixth grade child possesses a highly flexible voice with a range of approxi mately a fourteenth. Furthermore, a hierarchy of intervals
is beginning to emerge which by college age should be
consistent with that discovered by Spohn and Poland.
Analysis of Choral Music
Cornell developed an evaluative instrument aimed at assessing the appropriateness of vocal music by women com- O posers for use in the elementary school. Items on this
1Zimmerman, Musical, pp. 26-27. 2Ibid., p. 29. 3Helen Loftin Cornell, "An Evaluation of Vocal Music by American Women Composers as to its Appropriateness in the Elementary School" (Ph.D. dissertation, The Ohio State University, 1973): 54. 36 instrument which proved useful in this study were: (1) the
nature and presence of an accompaniment, (2) the various
musical forms employed, and (3) the melodic range(s)
utilized.
Adams devised a questionnaire concerned with Contem porary music in the high school vocal music program.^
Individuals were requested to respond to various items using the Likert scale. Of the items contained on this question naire, the following were helpful in this study: (1) the use of a sacred or secular text, (2) the length of the respective compositions, (3) the nature and presence of an accompaniment, and (4) melodic range(s).
The studies by Nofziger and Shull solicited eminent music educators and composers to submit compositions for analysis. Of interest for this study was the category on
Nofziger1s instrument concerned with musical expressiveness, specifically tempo and dynamics.^ Shull's instrument con tained two relevant categories. These categories were concerned with melodic range and rhythmic repetition.3
Blyler1s study revealed several items of significance for the present study. These were: (1) presence and range
^■Adams, "Problems," p. 238.
^Nofziger, "A Study." ^Carl N. Shull, "A Study of Children's Vocal Literature Written by Selected Distinguished Composers" (Ph.D. disserta tion, Florida State University, 1961). 37 of dynamic markings, (2) melodic range, (3) the songs being
in a Major or minor mode, (4) the presence or absence of an
accompaniment, and (5) an accompaniment which doubles or
contains the vocal parts.
A purpose of this study was to develop guidelines to aid in the composition of choral music for elementary
school age choirs. One must, therefore, acquire information regarding the musical characteristics of choral music composed by living, American composers. The studies analyzed reveal eleven areas of concern when analyzing choral music.
These areas are: (1) the presence or absence of an accompan iment, (2) the nature of accompanying instrument(s) used,
(3) melodic (vocal) range, (4) the nature of the musical forms used, (5) the presence of a sacred or secular text,
(6) compositional length, (7) tempi employed, (8) dynamic range called for, (9) the presence or absence of rhythmic repetition, (10) harmonic mode(s) used, and (11) the presence of the vocal part(s) in the accompaniment.
^Blyler, "The Song." CHAPTER III
PROCEDURES
This project consisted of five aspects: (1) identi
fying elementary school age choirs, (2) identifying and
securing choral music written by living, American composers and performed by these choirs, (3) analyzing the compositions to discern their musical characteristics, (4) developing guidelines, and (5) utilizing the guidelines as an aid in composing Contemporary choral music for elementary school age choirs. A specific description of the above activities fol lows under the general headings: Identifying Elementary School
Age Choirs. Identifying and Securing Choral Music. Analyzing
Choral Music, Developing Guidelines, and Utilizing the
Guidelines.
Identifying Elementary School Age Choirs
Various methods of identifying elementary school age choirs were considered. It was decided to utilize convention programs from Music Educators National Conference National and North Central Division Conventions as the source for identifying these choirs.
The decision to use these programs was made for a number of reasons. By utilizing both National and North
38 39
Central division programs, choirs from a vri.de geographical
area would be represented. Furthermore, since the programs
contained listings of the musical selections presented by
each organization, one could readily identify the music
performed by these choirs.
An additional reason for using these programs was
that the choirs appearing at a convention are generally
viewed as displaying excellence in choral performance. Since
this study was concerned with developing guidelines which
would be applicable to elementary school age choirs in
general, it seemed appropriate to use the desired rather
than the status quo as the basis for their development.
In addition it was decided that choirs from the
years 1967 through 1976 should be identified. This decision
was based upon two considerations: (1) numerous choirs
needed to be identified to increase the validity of the
guidelines, and (2) the majority of conventions have
relatively few elementary school age choirs on their programs.
Programs were subsequently secured for these years.
An analysis of the convention programs revealed the
titles of the performing organizations which had appeared at
a particular convention. An analysis of the descriptive
titles of these organizations indicated that the nature of
the performing organizations varied. The organizations could be classified as follows: boys choir, college, elementary 40
school, high school, junior high school, university, and
other (barbershop, community, church choir, professional
and semi-professional).
Several of the organizations contained non-descriptive
titles. To establish the classification of these choirs as
being elementary school age choirs, the musical programs were analyzed and a judgment was made based upon the nature
of the music performed. This was based upon the writer*s knowledge of choral literature used with church, public
school, and boys choirs, and a knowledge of programming practices of past elementary school age choirs at various national, state, and local conventions.^-
This classification process resulted in the identi fication of twenty-four elementary school age choirs. These are listed by title in Table 1.
*A listing by classification of choral organizations containing non-descriptive titles can be found in Appendix A, p. 158. 41
TABLE 1
LISTING OF ELEMENTARY SCHOOL AGE CHOIRS APPEARING AT CONVENTIONS
Convention Date Elementary School Age Choirs
1967 Elementary "Paired Schools" Choir Detroit Public Schools Detroit, Michigan
University of Illinois Boys Choir Urbana, Illinois
1968 Seattle Boys Choir Seattle, Washington
1969 All-City Elementary School Chorus Fargo, North Dakota
Duluth Boys Choir Duluth, Minnesota
Mennonite Children's Choir Winnipeg, Canada
Redwood Falls Elementary School Chorus Redwood Falls, Minnesota
1970 Mennonite Children's Choir Winnipeg, Canada
1971 The Cincinnati All-City Boy Choir Cincinnati, Ohio
1972 Elementary School Chorus and Dancers The Atlanta, Fulton and DeKalb County Schools Georgia
Chattanooga Boys Choir Chattanooga, Tennessee
Newark Boys Choir Newark, New Jersey TABLE 1--Continued
Convention Date Elementary School Age Choirs
1972 Swainsboro Elementary School Chorus Swainsboro, Georgia
1973 East Chicago Elementary All-City Festival Chorus East Chicago, Indiana
Elementary School Chorus Milwaukee Public Schools Milwaukee, Wisconsin
1974 Northwest Boychoir Marysville, Washington
Orange County Elementary Honors Choir Orange County, California
Sequia Elementary School Choir Westminster, California
1975 All-City Fifth and Sixth Grade Chorus Omaha, Nebraska
Broken Arrow Elementary School Chorus Lawrence, Kansas
Iowa City Boys Choir Iowa City, Iowa
Metropolitan Boys Choir Minneapolis, Minnesota
1976 East Memorial Chorus Farmingdale, New York
Metropolitan Boys Choir Minneapolis, Minnesota
Total = 24 Identifying and Securing
The musical characteristics of compositions performed by elementary school age choirs was to form the sole basis of the guidelines; therefore, having identified the elemen tary school age choirs in the target population (see
Identifying Elementary School Age Choirs, above), the next step in the study was to identify the choral music performed by these organizations which had been composed by living,
American composers.
The convention programs contained titles and composers of the music performed by the choirs at their respective convention.^ Acknowledging that some compositions may be omitted or added between the printing of the programs and a choir’s appearance at the convention, the compositions listed on a program are indicators of the music actually performed.
An analysis of the programs revealed that a total of
227 compositions had been performed by the elementary school age choirs during the years 1967 through 1976. It was decided to limit the number of compositions identified for analysis to those composed by living, American composers.
•^•A listing of the choirs and the titles of composi tions performed by a respective choir may be found in Appendix B, p. 162. 44 It was deemed necessary to secure recent information
concerning practices and procedures regarding the composing
of choral music for elementary school age choirs. Insights
into current practices of composing for these choirs could best be gained by analyzing music composed by living composers,
American composers were represented on the majority of programs presented at the conventions. Guidelines based upon data secured through the analysis of choral music com posed by living, American composers, would reflect on their practices and procedures. Therefore, it was decided to identify for potential analysis those compositions composed by living, American composers.
Various means were used to identify living, American composers. Table 2 lists seventy-eight choral compositions composed by living,American composers. Of these, fifty-five were secured for analysis (these are indicated by an * in
Table 2).
TABLE 2
LISTING OF CHORAL COMPOSITIONS BY LIVING, AMERICAN COMPOSERS WHICH WERE IDENTIFIED FOR ANALYSIS. COMPOSITIONS MARKED BY * WERE SECURED FOR ANALYSIS1
■HBBaBEaBBHBBBaaaaBBanssaaBBBaaBaHBSBBBnsaaBHH8SBBBaaBas8BBanBaaBB Composition Title Composer
*Alleluia Randall Thompson *At the River Aaron Copland Bless the Beasts and the Barry DeVorzon/ Children Perry Botkin 45 TABLE 2— Continued
Composition Title Composer
♦Child's Book of Beasts, A Jean Berger ♦Child Song Neil Diamond ♦Ching-a-Ring Chaw Aaron Copland Come With Me to My Father's House Michael Quinn ♦Day by Day from "Godspell" Stephan Schwartz
♦Dreams are made for Children Mack David/ Jerry Livingston/ Max Meth ♦Elijah Rock Jester Hairston Everybody's Gotta Song Edward Massey ♦Feed My Lambs Natalie Sleeth ♦Festival Response David Stocker
♦Gaudeamus Hodie Natalie Sleeth ♦Goin' Out of My Head Teddy Randazzo/ Bobby Weinstein ♦Gonna Get Along Without You Now Milton Kellem ♦Gotta Be Spring Ben Ludlow ♦Harmony Neil Simon/ Artie Kaplan
♦Haste Makes Waste Jean Berger Have You Ever Seen A Star Gilbert Fisher ♦Hey, Look Me Over Cy Coleman/ Carolyn Leigh ♦High Up On the Mountain Walter Rodby ♦Holiday Song William Schumann
♦I Sing of Books, Blossoms, William Maloof Birds and Bowers ♦Incantations from Marionette Tale Ned Rorem ♦It is Sometimes Better to Give Jean Berger Your Apple Away and Two Other Songs ♦It's Raining Choong-Gum Charles Smith ♦Johnny, I Hardly Knew Ye Arthur Frackenpohl
♦Joy is Like the Rain Medical Missionary Sisters ♦Let All Things Now Living Katherine Davis ♦Let There Be Peace On Earth Jill Jackson/ Cy Miller Little Bit of Melody Samual Reese 46 TABLE 2— Continued
Composition Title Composer
*Little Lamb, The Mary Caldwell *Little Miss Muffett Hal Hopson Looking-Glass River John Alden Carpenter *Lovers Love the Spring Arthur Frackenpohl Make a Joyful Noise Merla Watson
Man's Presence (a song of ecology) Leslie Adams Meadowlark, The Trinkhaus *More Nursery Rhymes Ralph Hunter *Movin * On Raymond Hannisian *My Fair Lady, selections from Alan Lerner/ Fredrick Loewe
^Mysterious Pineapple, The Philip Hagemann *New World Coming Barry Mann/ Cynthia Weil *01 d Ark's a Moverin Noble Cain 0* It's Great to be Livin' Douglas Nichol This Morning *0rpheus With His Lute William Schumann
*"1007. Chance of Rain" Walter Horsley *Pass Me By Cy Coleman/ Carolyn Leigh Pavane Louis White *Peter Piper Dolores Bruby *Pilgrim Song Medical Missionary Sisters
*Play on Numbers, A Alice Parker *River Song from "Tom Sawyer" Richard Sherman/ Robert Sherman Road to Town, The Ivor Martin *Set Down Servant Robert Shaw Short Mass John David Lamb
*Simple Gifts Aaron Copland Sing a Rainbow Steve Hamilton Sing Out Mike Stewart *Sleigh, The Jack Kountz Sometimes I Feel Like a Michael Quinn Motherless Child 47 TABLE 2— Continued
Composition Title Composer
*Step to the Rear Elemer Bernstein/ Carolyn Leigh *The Telephone Hour from Lee Adams/ Bye, Bye Birdie Charles Strouse Those Magic Changes Warren Cassey/ Jim Jacobs *Three Choral Pieces Jean Berger *Three Lenten Poems Daniel Pinkham
*Three Songs for Treble Voices Jean Berger To America With Love George Cates Twenty First Luke David Brandon Philips Two Modern Canons Ernst Bacon *Water is Wide, The Luigi Zaninelli
We Live in the City Alfred Balkin *West Side Story Leonard Bernstein *What's More American Kadish Millet With a Friend Like You Dennis Thomas *With a Little Bit of Luck Alan Lerner/ Fredrick Loewe World Goes Rolling On, The Gershon Kingsley
Total - 78
Varying factors contributing to a composition's unavailability were: (1) lack of information regarding publisher/distributor, (2) being an unpublished manuscript, (3) out of print, (4) private property, (5) part of a subscription series. 48
Analyzing Choral Music
The initial analysis of the fifty-five compositions revealed that several had been arranged by someone other than the composer. Since the intention of the analyzation process was to discern the musical characteristics utilized by composers (not arrangers), those compositions which had been arranged were deemed inappropriate for analysis. Also eliminated from consideration were compositions based upon folk melodies and not original material. Finally, several compositions were excluded because they had been composed by two or more individuals and, therefore, it was impossible to identify who had determined the musical characteristics.
In summary, of the original fifty-five compositions secured for analysis, fourteen were eliminated because they had been arranged, eleven because they were based on folk materials, and seven due to two or more individuals being involved in the compositional process. Table 3 contains a list of twenty-three compositions found appropriate for analysis. 49 TABLE 3
LISTING OF CHORAL COMPOSITIONS FOR ANALYZATION
Composition Title Composer
Alleluia Randall Thompson Child's Book of Beasts, A Jean Berger Feed My Lambs Natalie Sleeth Festival Response David Stocker Gaudeamus Hodie Natalie Sleeth
Gotta Be Spring Ben Ludlow Haste Makes Waste Jean Berger Holiday Song William Schumann I Sing of Books, Blossoms, William Maloof Birds and Bowers Incantations from Ned Rorem Marionette Tale
It Is Sometimes Better Jean Berger Little Lamb, The Mary Caldwell Little Miss Muffett Hal Hopson Lovers Love the Spring Arthur Frackenpohl More Nursery Rhymes Ralph Hunter
Movin On Raymond Hannisian Mysterious Pineapple, The Philip Hagemann f'1007o Chance of Rain ' Walter Horsley Peter Piper Dolores Hruby Play On Numbers, A Alice Parker
Three Choral Pieces Jean Berger Three Lenten Poems Daniel Pinkham Three Songs for Treble Voices Jean Berger
Total = 23 50
Further analysis of the compositions revealed that they varied from four-part a cappella to two-part speaking chorus with percussion accompaniment. Due to the variety of compositions, an analyzation form was deemed necessary to focus the analyzation process on common aspects of otherwise unrelated compositions. Two major problems arose: (1) how to design an analyzation form broad enough to include all the possibilities contained within the compositions, and
(2) how to design an analyzation form narrow enough to meet the needs of this project. Compromise between these two extremes was needed. It seemed related to the common internal elements of all the compositions.
The Study of Music in the Elementary School--A
Conceptual Approach advocates developing instructional strategies aimed at assisting students in gaining knowledge and understanding of the elements of music.^ As such, eight constituent elements of music are identified.2 It is generally believed that the eight elements (1) rhythm,
(2) melody, (3) harmony, (4) form in music, (5) forms of music, (6) tempo, (7) dynamics, and (8) tone color, are present in varying degrees and states of interaction in all musical compositions.
^•Gary, The Study.
2Ibid. 51 The publication contains a presentation concerning the nature of each of the eight elements. With regard to rhythm it states:
Concepts About Rhythm^-
1. Music always involves rhythm. 2. Music contains an endless variety of rhythm patterns, consisting of groupings of longer or shorter sounds or silences. 3. Rhythm usually has a recurring pulse or beat within it. 4. Meter provides an organization of time values within bar lines. 4.1 Meter offers a means of measuring mathematically both pulse and rhythm pattern. 4.2 Within a given metrical scheme, numerous rhythmic combinations are possible. 4.3 Changes of meter may occur within a composition. 5. Polyrhythms are created when contrasting rhythmic groupings occur simultaneously.
Concerning melody:
Concepts About Melody^
1. Melody is a linear arrangement of tones. 1.1 Melody is made up of a series of tones moving in a single (horizontal) line. 1.2 Tones in a melody may repeat or change. 1.3 When tones in a melody change they may go up or down in a regular succession of naif steps, steps, or by leaps. 1.4 When a phrase or melodic pattern is repeated at a pitch higher or lower than that of its first appearance, it is identified as a melodic sequence (see: Form in Music 1.4), 2. Musical notation is a set of visual symbols that show relationships that can exist among tones.
1Ibid., p. 11.
2Ibid.. p. 51. 52
3. The movement of a melody is not only linear but rhythmic (see: Rhythm 2). 3.1 The rhythm of a melody is determined by the relatively longer and shorter time values of its tones. 3.2 The character of a melody is changed when its rhythm is changed. 4. The structure of some melodies is harmonic (see: Harmony 3.1). 5. Two or more lines of melody may move together simultaneously, thereby creating a polyphonic (con trapuntal) texture (see: Harmony 4.2). 6. When tones are arranged in a particular scale- wise fashion distinctive melody and harmonic idioms may result (see: Harmony 7). 7. When a melody includes all of the 12 tones of a chromatic scale, not in consecutive order, before any one of the tones is repeated, the melody is unrelated to any tonal center.
The study later states about harmony:
Concepts About Harmony*
1. Harmony is a vertical organization of three or more tones. 2. Harmony may be an accompaniment to melody. 3. Harmony and melody are closely related. 3.1 When tones of a chord are heard in succession they take on melodic structure. 3.2 When a succession of chordal tones appears in a melody, that chord is a fitting accompaniment. 3.3 When the structure of a melody changes, the harmonic structure changes accordingly. 3.4 A given melody may be harmonized in several ways. 4. Melodies having the same harmonic structure may be combined. 4.1 When the nature of a melody is such that it can be performed in two or more parts starting at different points, it is a canon or round. 4.2 When several melodies of individual design are performed simultaneously, polyphonic or contrapuntal music results. 5. Chords are constructed and used according to plan.
llbid., P. 67. 53
6. Composers experiment with combinations of tones, resulting in different musical effects. 7. The harmonic nature of music is influenced by the ethnic group from which it originates.
Dealing with form in music the study says:
Concepts About Form in Music*
1. The organization of the constituent elements in a musical composition creates its own design-forra in music. 1.1 The relationship of the parts to the whole is more obviously evident among phrases than within phrases. 1.2 When one or more of the elements of music are repeated identically while at the same time one or more are altered, both unity and contrast are created within the composition. 1.3 When sets of melodic and/or rhythmic groupings are repeated within one or more phrases, they become identifiable patterns that give unity to a composition. 1.4 When a phrase or melodic pattern is repeated at a pitch higher or lower than that of its first appearance, it is identifiable as a melodic sequence.
Discussing forms of music the study says: O Concepts About Forms of Music
1. Each musical composition has a unique structure of its own. 1.1 When a composition contains two basic ideas and the composition ends with the second idea, the form is identified as binary. 1.2 When a composition contains two basic ideas ending with a repetition of the first idea, its form is identified as ternary. 1.3 When a composition contains several different parts and when the first part repeats alternately with other parts, the form may be identified as a rondo.
*Ibid., p. 85.
^Ibid., p. 99. 54
1.4 When a composition presents a given melody (theme), followed by repetition of it with alterations, either in the melody itself or in its accompaniment, the form may be identified as Theme with Variations. 1.5 Melodies having the same harmonic structure may be combined. a. When melodies are heard or performed simultaneously, polyphonic or contrapuntal music results. b. When an identical melody is presented by several voices or instruments entering at different points in time, a canon is created. c. When one voice or instrument states a theme, then continues with another melody while a second voice or instrument restates the first theme a fifth higher or a fourth lower, and when this procedure continues through two or more entrances of the original theme (subject), a fugue may be created. 1.6 When the first section of an extended com position in ternary form includes two themes having certain key relationships to each other, and when the second section consists of a development of the themes from the first section, and when the third section repeats the first with certain relation ships of key, a Sonata Allegro form results. 1.7 When a composition contains various move ments or parts, each of which may have an identi fiable form, a compound form is created. 2. Other arts contain similar principles of design and structure.
The study discusses tempo, saying:
Concepts About Terapo^
1. Tempo is relative rather than absolute. 2. The choice of an appropriate tempo is a critical factor in the realization of the expressive intent of a musical composition. 3. Within a composition, the tempo may change for a variety of expressive purposes.
Relative to dynamics the study states:
1Ibid., p. 113. 55
Concepts About Dynamics^
1. Every musical sound possesses some degree of loudness and softness (dynamics). 2. Dynamic contrasts provide a source of variety and expressive meaning in a composition. 3. Subtle relationships exist between changes of dynamics and changes of tempo and/or melodic direction.
Referring to tone color:
Concepts About Tone Color2
1. Characteristic qualities of sounds are determined by the types of voices or instruments which produce them. 2. When instruments are played in different ways they produce different sounds. 3. When individual instruments are combined, new effects of tone color are created. 4. When formal structures call for repetition of themes, variety may be achieved by use of contrasting tone colors. The eight elements identified and illuminated in the
MENC publication were useful for this study. The elements were defined broadly enough to allow for the variety of musical characteristics possible within the twenty-three
compositions to be analyzed. The elements were defined narrowly enough to effectively focus thinking throughout
the analyzation process. Pages 56 and 57 present an analyzation form drawn up using the eight elements of music as a basis for its construction.
The analyzation process employed in the study used the definitions of the elements contained in the MENC
■^Ibid., p. 123.
2Ibid., p. 135. 56
TITLEi______PROGRAM PAGE //1______COMPOSER i______PERFORMING ORGANISATION; PUBLISHER j______. ______
COPYRIGHT!______DIRECTOR: CONVENTION Dr.TE :______CONVENTION CONVENTION LOCATIONi
GEN ERA L CHARA CTSR IS T ICS
VOICING i______
n a t u r e ! LENGTH i______1'lEn.SURES
SPECIFIC CHARACTERISTICS COMMENTS RHYTHM i______
MELODYi
HARMONY: 57
FORK IN MUSIC»
FORKS OF MUSICi 6
2
TEMPO:
DYNAMICS:
TONE COLOR: 58 publication and the areas of concern shown by previous writers in examining choral music* as guides throughout the analyzation process. The data secured regarding the musical characteristic of each of the twenty-three compositions was recorded on separate analyzation forms.2 The results of the analysis of the choral literature is presented in Chapter IV.
Developing Guidelines
Having gathered the data regarding the musical characteristics of the compositions, another aspect of the study was to develop guidelines which would prove useful in aiding in the composing of choral music for elementary school age choirs. The data are presented using tables and figures.
The development of guidelines based upon the data involved interpreting the findings and then formulating observations into a statement which might prove useful in aiding a composer.
In several cases, data from two or more tables and/ or figures were combined to formulate a guideline. Other tables contain information pertinent to the compositions but not necessarily relevant to developing a guideline based on it. The guidelines and reference to the table(s) and/or
-1-See Chapter II, "Analysis of Choral Music." ^Appendix C, p. 172, contains the completed indi vidual analyzation forms for each of the twenty-three analyzed compositions. 59
figure(s) from which each is developed are presented in
Chapter V, pages 112 to 133.
Utilizing the Guidelines
Having developed guidelines based upon the relevant musical
characteristics, the final step in the study involved using
the guidelines as an aid in composing Contemporary choral
music for elementary school age choirs.
As discussed above, the availability of Contemporary
choral music for elementary school age choirs is limited
(see Chapter II, "The Current State of Contemporary Choral
Music for Elementary School Age Choirs"). Of the twenty-
three compositions analyzed in this study, one composition,
Gotta be Spring, exhibited musical characteristics consistent
with that of Contemporary choral music. This lack clarifies
a major limiting factor in making a wide range of musical
experiences available to a member of an elementary school
age choir.
The Contemporary choral compositions composed for
this study attempt to help fill the need for such literature
for elementary school age choirs. They exist not as examples
of "right" or "wrong," or "good" or "bad" Contemporary choral music, but as examples of choral music for elementary school
age choirs containing musical characteristics found within
Contemporary choral music (see Chapter II, "The Musical 60
Characteristics of Contemporary Choral Music"). It is the intention of the writer to provide additional Contemporary choral literature suitable for elementary school age choirs.
Chapter VI contains the compositions resulting from this study. Each composition is accompanied by a list of the guidelines utilized and the Contemporary musical charac teristics it contains. CHAPTER IV
RESULTS OF THE ANALYSIS OF CHORAL MUSIC
This chapter presents the results of the analysis of the compositions performed by elementary school age choirs.
The findings are presented using tables and figures. These are organized under the two main categories, General Charac teristics and Specific Characteristics.
Throughout the analyzation process, focus was provided by the statements of the nature of the eight elements as presented in The Study of Music in the Elementary
School— A Conceptual Approach.^ Tables 4, 5, 6, 7, 8 and 9 present data regarding the General Characteristics of the
Total Movements. The term "General" is used to indicate characteristics observed in an overview of the Total
Movements. Direction was provided in this analysis by concerns identified in the Review of Related Literature
(see Chapter II, Examining Choral Music). These concerns were: (1) the presence of a sacred or secular text, (2) the presence of an accompaniment, and (3) compositional length.
Tables 10, 11, 12 and 13 contain data concerning the rhythmic characteristics of the Total Movements. Rhythm as
1-Gary, The Study. 61 62 defined in The Study (see Chapter III, page 51) served as a criterion for the analysis. An additional criterion identified in the Review of Related Literature (see Chap ter II, Examining Choral Music), was that of the presence or absence of rhythmic repetition.
Tables 14, 15, 16, 17, 18, 19 and Figures 1, 2 and 3 present data relevant to the melodic characteristics of the
Total Movements. The definition of melody in The Study (see
Chapter III, page 51) served as one criterion for the analysis. The Review of Related Literature identified vocal range as an additional criterion for analysis (see Chapter II,
Examining Choral Music).
Tables 20, 21, 22, 23, 24, 25, 26 and 27 exhibit data regarding the harmonic characteristics of the Total Movements.
The definition of harmony in The Study (see Chapter III, page 52) served as one of several criteria for the analysis.
Additional criteria were identified in the Review of Related
Literature (see Chapter II, Examining Choral Music). These were: (1) harmonic mode(s) utilized, and (2) presence of the vocal part(s) in the accompaniment.
Table 28 presents information concerning the charac teristics of form in music. The definition of form in music (see The Study. Chapter III, page 53) served as the criterion for analysis.
Tables 29 and 30 present data regarding the charac teristic forms of music. The definition of forms of music 63 contained in The Study (see Chapter III, page 53) functioned as one criterion for the analysis. An additional criterion was identified in the Review of Related Literature (see
Chapter II, Examining Choral Music). This was the nature of the musical forms used.
Tables 31, 32 and 33 contain data relevant to the tempo characteristics of the Total Movements. Tempo as defined in The Study (see Chapter III, 54) served as one criterion for the analysis. Tempos employed, as found in the Review of Related Literature (see Chapter II, Examining
Choral Music), also functioned in this manner.
Tables 34, 35 and 36 present information relevant to the dynamic characteristics of the Total Movements. The definition of dynamics found in The Study (see Chapter III,
55) served as one criterion for analysis. Another criterion was identified in the Review of Related Literature (see
Chapter II, Examining Choral Music). This was dynamic range called for.
Tables 37 and 38 exhibit data regarding the tone color characteristics of the Total Movements. The definition of tone color contained in The Study (see Chapter III, page 55) functioned as the criterion for analysis. 64 General Characteristic
Table 4 presents data identifying the number of
compositions containing single and multiple movements.
TABLE 4
NUMBER OF COMPOSITIONS CONTAINING SINGLE AND MULTIPLE MOVEMENTS
Number of Movements F % TM1
Single Movement 14 61 14 Two Movements 0 0 0 Three Movements 6 27 18 Four Movements 1 4 4 Five Movements 0 0 0 Six Movements 1 4 6 Seven Movements 1 4 7
Total 23 100 49
*Total Movements (TM-number of movements x F).
Twenty-three compositions were analyzed to discern
their nature as being single or multiple movement composi
tions. Fourteen of the compositions (sixty-ohe percent)
were single movement compositions. Nine of the compositions were in multiple movements. Because of the multi-movement
nature of these compositions, it was decided in subsequent
analyzations to refer to the total number of movements with
in all compositions rather than the separate twenty-three
compositions. This decision allowed for each of the in dependently complete Total Movements (TM) to be treated
separately. It resulted in a choral composition sample of forty-nine TM. 65
General Characteristic
Data regarding the voicings employed in the Total
Movements is presented in Table 5.
TABLE 5
VOICINGS EMPLOYED IN TOTAL MOVEMENTS
Voicing FTM 7o
Unison 12 26 SA 13 28 SSA 10 21 SSAA 4 8 SSSAAA 1 2 Two Parts 6 13 Three Parts 1 2
Total 471 100
^Total is less than maximum TM(49) shown in Table 4 due to only two movements of a four-movement composition having been performed. Throughout the analysis, maximum analyzable TM ■ 47.
All TM were analyzed to identify the voicings em
ployed. Voicing directions were presented in two ways: (1)
alphabetical abbreviations for part designations, SA, SSA,
SSSAAA: and (2) descriptive terms, unison, two-part and three-part. Although a technical difference appears between 66 the SA, SSA and two-part, three-part designations,^ given the nature of the elementary child's voice, SA and SSA are essentially the same as two-part and three-part. The majority of individual Total Movements were in three/SSA or less parts. The largest single designation of voicing was that of two-part/SA. The next largest was unison followed by three-part/SSA.
*The abbreviation A stands for Alto. The indication is for a specific voice quality having gone through the vocal change. The description two part/three part indicates no particular differentiation between the voice character istics of the parts. The latter description would be more appropriate for music for elementary school age choirs. General Characteristic
The nature and source of texts are shown in Table 6.
TABLE 6
NATURE AND SOURCE OF TEXT
Description FTM %
Sacred 15 32 Poets Text (4) (27) Composers Text (10) (67) Other*- (1) (6)
(Total Sacred) (15) (100)
Secular 32 68 Poets Text (15) (47) Composers Text (3) (9) Other^ (14) (44)
(Total Secular) (32) (100)
Total 47 100
^Category includes Biblical and anonymous texts.
^Category includes nursery rhymes, traditional and anonymous texts.
Forty-seven Total Movements were analyzed to discern the nature and source of the texts. The majority of TM con
tained secular texts. Almost one-half of the secular texts
were written by someone other than the composer. Two-thirds
of the sacred texts were written by composers. 68
General Characteristics
Table 7 contains information concerning the language
of the texts.
TABLE 7
LANGUAGE OF TEXT
Language FTM %
English 45 96 Other 2 4 Latin (1) (50} English/Latin (1) (50)
Total 47 100
Forty-seven Total Movements were analyzed to discern the nature of the language of the text. The majority of texts were in English. Only two texts were in Latin and one of these consisted entirely of the word "Alleluia.” The other
Latin text was included as an alternative to an English text. 69
General Characteristic
The presence and number of accompanying instruments
are shown in Table 8.
TABLE 8
PRESENCE AND NUMBER OF ACCOMPANYING INSTRUMENTS
Description FTM 7» (FTM) (7.)
A cappella 4 9
Accompanied 43 91 1 Instrument (25) (58) 2 Instruments ( 4) ( 9) 3 Instruments ( 2) ( 5) 4 Instruments ( 8) (19) 5 Instruments ( 4) ( 9)
Total 47 100 (43) (100)
Forty-seven Total Movements were analyzed for presence, and nature of the accompaniment. The majority of TM contained an accompaniment. The majority of accompanied TM employed one accompanying instrument. 70
General Characteristic
Data identifying the length of the Total Movements is presented in Table 9.
TABLE 9
LENGTH OF TOTAL MOVEMENTS
Length in Measures FTM %
0 - 10 0 0 11 - 20 5 11 21 - 30 6 13 31 - 40 5 11 41 - 50 7 15 51 - 60 8 17 61 - 70 6 13 71 - 80 4 9 81 - 90 3 7 91 - 100 1 2 101 - 110 0 0 111 - 120 1 2
Total 461 100
lOne Total Movement was not included as it was not measured. X-46 - 55 measures Md - 50.5 measures Mode ■ 51 - 60 measures Range ■ 101 (14 - 115 measures)
Due to one Total Movement being unmeasured, forty-six
TM were analyzed for length in measures. A length between fifty-one and sixty measures was found in the largest FTM.
Next frequent was between forty-one and fifty measures. 71
The mean length was identified as being between forty-six and fifty-five measures. The median was identified as fifty and five-tenths measures. The shortest TM was fourteen measures with the longest 115 measures. The range was established as 101 measures. 72
Rhythmic Characteristic
Table 10 presents data relevant to the meter classifica tions of the Total Movements.
TABLE 10
METER CLASSIFICATION OF TOTAL MOVEMENTS
Classification FTM 7c
Duple 27 57 Triple 10 22 Mixed 9 19 Other^ 1 2
Total 47 100
^No time signature given
Forty-seven Total Movements were analyzed for the pur pose of identifying their meter as being duple, triple, mixed, or other. The majority of TM (twenty-seven) were in duple meter. The remainder were almost equally divided between triple or mixed meter. Traditional duple or triple meter was found in thirty-seven (79 percent) of the TM analyzed. 73
Rhythmic Characteristic
Data concerning the pulse classifications of the
Total Movements is presented in Table 11.
TABLE 11
PULSE CLASSIFICATION OF TOTAL MOVEMENTS
Classification FTM 7.
Strong Pulse^ 37 79 Weak Pulse^ 7 15 Combination of Both 3 6
Total 47 100
•^Relative term denoting generally regular harmonic and/or melodic movement occurring in conjunction with a regularly recurring pulse.
^Relative term denoting generally irregular harmonic and/or melodic movement occurring in conjunction with a regularly recurring pulse.
Forty-seven Total Movements were analyzed for the purpose of classifying the pulse as strong, weak, or a com bination of both. Thirty-seven TM contained a strong rhythmic pulse. Of the remaining TM, seven utilized a weak pulse and three contained a combination of both a strong and weak pulse. The majority of Total Movements (79 percent) exhibited a strong rhythmic pulse. 74
Rhythmic Characteristic
Table 12 contains information concerned with the
occurrence of similar rhythmic patterns in the vocal parts.
TABLE 12
OCCURRENCE OF SIMILAR RHYTHMIC PATTERNS IN VOCAL MUSIC
Description FTM 7c
Little Rhythmic Repetition 9 19 (0 - 107.)
Some Rhythmic Repetition 13 28 (11 - 2570)
Much Rhythmic Repetition 25 53 (267. - above)
Total 47 100
1-Expressed in a percentage of total melodic measures exhibiting rhythmic repetition either within or between measures.
Forty-seven Total Movements were analyzed. The majority contained similar rhythmic patterns. Of the
remaining TM, thirteen exhibited some rhythmic repetition and nine had little rhythmic repetition. 75
The Total Movements were analyzed to identify the rhythmic relationship between the Soprano I/part I vocal part and the other parts in two or more part music. The findings are presented in Table 13.
Soprano ll/part II.--The rhythmic relationship of the second part to that of the Soprano I/part I part was found to be evenly divided between the same and a combination of both.
Soprano III.— Only one TM with a Soprano III part was contained in the sample. Although an analysis was done, the findings were relevant only for this TM. Consequently, no attempt was made at generating any rhythmic relationship between the two parts.
Alto I/part III.--The majority of rhythmic relation ships between this part and the Soprano I f part I part were found to be the same.
Alto II.--Limited data revealed that a combination of same and different was found to be the most frequent rhythmic relationship between this part and Soprano I/part I.
Alto III.--Only one TM with an Alto III part was contained in the sample. An analysis was completed but no attempt was made to generate any rhythmic relationship due to insufficient data. TABLE 13
RHYTHMIC RELATIONSHIP OF NON-MELODIC PART(S) TO SOPRANO I/PART I
Part Soprano 11/ Alto 1/ Part II Soprano III Part III Alto II Alto III
Relationship FTM 7„ FTM % FTM % FTM % FTM %
Sarae^- 10 45 0 0 19 78 0 0 0 0 htmc Characteristic Rhythmic
Different^ 2 10 0 0 1 3 1 20 0 0
Combination of Both^ 10 45 1 100 9 29 4 80 1 100
Total 22 100 1 100 29 100 5 100 1 100
^Refers to non-melodic part having the same rhythm as Soprano I/part I.
^Refers to non-melodic part generally having a different rhythm than Soprano I/part I.
^Refers to no clear differentiation between Same and Different.
CT> 77
Melodic Characteristic
Table 14 presents data identifying the nature of
the text settings.
TABLE 14
NATURE OF TEXT SETTING
Description* FTM
Primarily Syllabic 42 89 (51% - above)
Primarily Melismatic 1 2 (51% - above)
Combination 4 9 (no definitive majority)
Total 47 100
^Percent of melodic measures containing text setting.
Forty-seven TM were analyzed to discern if the text
settings were syllabic, melismatic, or a combination. The
data indicates a majority of TM contained texts set to music in a syllabic manner. Very few TM contained textual
settings which were both syllabic and melismatic, and one
contained a textual setting which was melismatic. 78
Melodic Characteristic
Table 15 contains data showing the intervallic
nature of the melodies in the Total Movements.
TABLE 15
INTERVALLIC NATURE OF MELODIES IN TOTAL MOVEMENTS
Description* FTM
Primarily Stepwise Movement 24 53
Primarily Skips and Leaps2 21 47
Total 453 100
^Categories based upon 51 percent or more of melodic measures containing intervallic characteristic.
^Skips - Mm 3rd, p4th; Leaps * P5th, Mm6th, Mm7th, 8va or larger.
■^Two were for speaking chorus only.
Forty-five Total Movements were analyzed to discern
the intervallic nature of their melodies. The TM were
fairly evenly divided between having melodies which were primarily stepwise and primarily skips and leaps. However, a slight preference was found towards stepwise melodies. 79
Melodic Characteristic
Table 16 presents data concerning the length of melodic phrases found in the Total Movements.
TABLE 16
LENGTH OF MELODIC PHRASES IN TOTAL MOVEMENTS
Phrase Lengths* FTM 7c
1 0 0 2 0 0 3 1 2 4 10 23 5 0 0 6 0 0 7 2 4
1 _ 2 1 2 1 - 3 1 2 1 - 4 2 4 1 - 5 3 7 1 - 6 2 4 1 - 7 0 0 1 - 8 1 2
2 3 1 2 2 - 4 16 36 2 - 5 2 4 2 - 6 1 2 2 - 7 0 0 2 - 8 1 2
4 6 1 2 4 - 7 0 0 4 • 8 0 0 4 - 9 1 2 Total 462 100
*In measures. Where more than one phrase length was found, shortest and longest were recorded.
2Total less than TM(47) due to one TM notated with out measure lines. 80
Forty-six Total Movements were analyzed to establish the length of melodic phrases. The most common single phrase length was found to be four measures. However, phrase lengths of 2 - 4 measures were found in the largest frequency of Total Movements. 81
Melodic Characteristic
Table 17 presents data indicating the largest
occurring melodic skip or leap in the Total Movements.
TABLE 17
LARGEST OCCURRING MELODIC SKIP OR LEAP IN TOTAL MOVEMENT
Interval^- FTM %
Mm 3rd 2 5
P 4th 8 18
dm 5 th 1 2
P 5th 14 31
Mm 6th 10 22
Mm 7th 6 13
P 8th 3 7
Mm 9th 1 2
Total 45 100
*Skip = Mm 3rd, P 4th; Leap m P 5th or larger.
Two Total Movements were for speaking chorus only and did not contain notated skips or leaps.
Forty-five Total Movements containing melodies were analyzed to isolate the largest interval skipped or leaped.
The interval of a Perfect fifth was found to occur most often, followed by the Major/minor sixth and Perfect fourth. 82
The Total Movements were analyzed to determine the top and bottom voice range limits in the respective parts.
The findings of this analysis are presented in Tables 18 and
19.
Soprano I/part I.— Forty-five Total Movements were analyzed. A top limit of was found most frequently.
Next came followed by D^. A bottom limit of occurred most frequently. Next frequent was followed by lA. A graphic representation of the findings is presented in
Figure 1. A representative range between E^ and E^ was identified for the Soprano I/part I voice part.
Bottom Limit Top Limit
5 E F T T H T Pitches CT D E F A4 C5 D5 £ ? F5 G5 A 5 B5
Figure 1.--Graphic representation of the Soprano 1/ Part I range. TABLE 18
TOP VOICE RANGE OF PARTS IN TOTAL MOVEMENTS
Part Soprano 1/ Soprano 11/ Alto 1/ Part I Part II Soprano III Part III Alto II Alto III
FTM 70 FTM % FTM % FTM 70 FTM 70 FTM Vo
b 5 1 2 0 0 0 0 0 0 0 0 0 0 T1 A5 0 0 0 0 1 2 0 0 0 0 0 0 Characteristic Melodic 0 G i 3 7 1 5 0 0 0 0 0 0 0 0 P F' 9 20 1 5 0 0 0 0 0 0 0 0 e 5 16 36 A 20 1 100 2 7 0 0 0 0 L _ 7 15 2 10 0 0 3 10 1 20 0 0 M1 °5C? A 9 8 AO 0 0 6 21 3 60 0 0 I B4 3 7 1 5 0 0 7 2A 1 20 1 100 T A4 1 2 2 10 0 0 8 28 0 0 0 0 G4 0 0 1 5 0 0 2 7 0 0 0 0
F4 0 0 0 0 0 0 1 3 0 0 0 0
Total 452 100 20 3 100 1 100 29 100 5 100 1 100
^Middle C » C4 2 Two Total Movements were for speaking chorus only and contained no notated pitches. 3Total is two less than total TM(22) having two parts due to two of the Total Movements being for speaking chorus only.
00 to TABLE 19
BOTTOM VOICE RANGE OF PARTS IN TOTAL MOVEMENTS
Part Soprano I f Soprano 11/ Alto 1/ Part I Part II Soprano III Part III Alto II Alto III
FTM % FTM 7. FTM 7, FTM 7. FTM 7, FTM 7o
B1 o . Characteristic Melodic T F4 2 4 0 0 0 0 0 0 0 0 0 0 T E4 16 36 1 5 0 0 1 3 0 0 0 0 0 D4 10 22 5 25 0 0 2 7 0 0 0 0 M C4 14 31 8 40 1 100 9 31 0 0 0 0 B3 3 7 4 20 0 0 9 31 0 0 0 0
I A 3 0 0 2 10 0 0 6 21 3 60 0 0 M G3 0 0 0 0 0 0 2 7 1 20 0 0 I F3 0 0 0 0 0 0 0 0 1 20 1 100 T
Total 452 100 20 3 100 1 100 29 100 5 100 1 100
1Middle C - C4
2Tw o Total Movements were for speaking chorus only and contained no notated pitches. 3Total is two less than total (TM(22) having two parts due to two of the Total Movements being for speaking chorus only.
oo ■O 85
Soprano ll/part II.— Twenty-two Total Movements were analyzed. A top limit of was found to occur most fre quently. Next frequent was followed by and A^. A bottom limit pitch of was found most frequently. Next frequent was followed by and A^. A graphic representa tion of the findings is presented in Figure 2. A representative range between C-* and was identified for the Soprano IT/part II voice part.
Bottom Limit Top Limit
—U-:— * - ii (ft- ■-, . ==.:v=ri 1* ■ * ' • ..... : i . J S
5 5 5 5 5 Pitches A B C D E GABCDEFG
Figure 2.— Graphic Representation of the Soprano II/ part II range.
Soprano III.— One Total Movement contained a Soprano
III part. A range of E-* - was identified. The lack of sufficient data deemed it inadvisable to identify this 86
range as a representative vocal range for the Soprano III
voice part.
Alto I/part III.— Twenty-nine Total Movements were
analyzed. A top limit pitch of A^ occurred most frequently.
This was followed by and respectively. A bottom limit
pitch of and was found most frequently. Next common
was A^. a graphic representation of the Alto I/part III
range may be found in Figure 3. A representative range
between A^ and c£ or b 3 was identified for the Alto I/part III
vocal range.
Bottom Limit Top Limit
3 3 3 4 if 4 4 *»■ 4 4 A 5 5 5 Pitches G A B C D E F F G A B C D E
Figure 3.— Graphic representation of the Alto I/ part III range. 87
Alto II.— Five Total Movements contained an Alto II part. Analyzation of these revealed three TM with a top limit of C5 and a bottom limit of A^. The low number of
TM limited the identification of a representative vocal range.
Alto III. One Total Movement contained an Alto III part. An analysis revealed a range from - F^. The lack of a sufficient number of TM with an Alto III part prohibited developing a representative vocal range. 88
Harmonic Characteristic
Table 20 presents data classifying the Total
Movements according to mode.
TABLE 20
CLASSIFICATION OF TOTAL MOVEMENTS ACCORDING TO MODE
Mode FTM 7o
Major 21 47 Minor 11 24 Both! 1 2 Other^ 12 27
Total 453 100
^•One Total Movement modulated from Major to minor.
^Category includes pentatonic, modal and other non-Major or minor modes.
3Total is less than TM(47) due to two Total Movements being for speaking chorus only.
Forty-five Total Movements were analyzed. The largest frequency occurred in the mode: Major. The next largest occurrence was in the mode: other. Only one TM changed mode in the course of the composition. 89
Harmonic Characteristic
Table 21 contains data regarding the use of chromatic alterations in the Total Movements.
TABLE 21
PRESENCE OF CHROMATIC ALTERATION IN TOTAL MOVEMENTS
Presence FTM 7o
Little or No Chromatic Alteration* 30 67
Some Chromatic Alteration 5 11
Much Chromatic Alteration 10 22
Total 452 100
^Categories based upon percentage of total measures containing chromatic alterations: Little or no ■ 0 - 307®, Some • 31 - 807., Much ■ 81 - 1007®.
2Total is less than TM(47) due to two Total Move ments being for speaking chorus only.
Forty-five Total Movements were analyzed. The majority of TM contained little or no chromatic alterations.
Twenty-two percent contained much chromatic alteration and eleven percent contained some chromatic alteration. In general, limited modulation occurred. 90
Harmonic Characteristic
Table 22 presents data regarding the rate of
harmonic change within the Total Movements.
TABLE 22
RATE OF HARMONIC CHANGE WITHIN TOTAL MOVEMENTS
Rate of Harmonic Change^ FTM 70
Very Slow 9 20
Slow 22 49
Fast 14 31
Total 452 100
Categories based upon chords per measure: Very slow “ approximately one chord per two measures. Slow ■ approximately one chord per measure. Fast ■ approxi mately two or more chords per measure.
2Total is less than TM(47) due to two Total Movements being for speaking chorus only.
Forty-five Total Movements were analyzed. A slow rate of harmonic change was present in the largest frequency of TM. A fast rate of harmonic change was the next most
frequent. In general, very few TM contained harmony changing at a very slow rate. 91
Harmonic Characteristic
Table 23 contains data relevant to the type of harmonic movement occurring within the Total Movements.
TABLE 23
TYPE OF HARMONIC MOVEMENT WITHIN TOTAL MOVEMENTS
Type of Harmonic Movement FTM
Traditional* 37 82
Non-traditional^ 8 18
Total 453 100
^•Category refers to general functional tonal harmony.
^Category refers to harmonic movement as differen tiated from Traditional.
3Total is less than TM(47) due to two Total Movements being for speaking chorus only.
Of the forty-five Total Movements analyzed, the majority contained traditional harmonic movement. Very few TM contained harmonic movement of a non-traditional nature. 92
Harmonic Characteristic
Table 24 contains data concerning the intervallic
relationships between the Soprano I/part I part and the
second vocal part in two-part music.
TABLE 24
INTERVALLIC RELATIONSHIP BETWEEN SOPRANO I/PART I AND OTHER VOCAL PART IN TWO PART MUSIC
Part Relating to Soprano I/part I Interval MF1 7o
Soprano ll/part II Unison 86 16 (TM - 19) Mm 2nd 42 8 Mm 3rd 202 38 P 4th 48 9 P 5th 41 7 Mm 6th 65 12 Mm 7th 9 2 Octave 39 7 Mm 9th 4 1
Total 536 100
^•Measure Frequency “ number of measures found to contain said interval between respective vocal parts at the beginning of the measure when both parts sound simultaneously.
Nineteen Total Movements were in two parts. These were analyzed to identify the intervals occurring between the two vocal parts. The Major/minor third was found most frequently. Next frequent was the unison followed by the
Major/minor sixth. 93
Eleven Total Movements were in three parts.
These were analyzed to identify the intervals occurring between the first part and the second and third parts respectively. The findings are presented in Table 25.
Second Part.--The second part related most frequently at the interval of a Major/minor third. Next frequent was the unison followed by the Perfect fourth.
Third Part.--The third part related most frequently at the Perfect fifth. Next frequent was the octave, followed in decreasing frequency by unison, Major/minor third and Major/minor sixth. 94
Harmonic Characteristic
TABLE 25
INTERVALLIC RELATIONSHIPS BETWEEN SOPRANO I/PART I AND OTHER VOCAL PARTS IN THREE PART MUSIC
Part Relating to Soprano I/Part I Interval MF1 7o
Soprano II/Part II Unison 70 30 (TM - 11) Mm 2nd 2 1 Mm 3rd 100 42 P 4th 27 11 P 5th 15 6 Mm 6th 17 7 Mm 7 th 0 0 Octave 6 3
Total 237 100
Alto I/Part III Unison 34 15 (TM - 11) Mm 2nd 2 1 Mm 3rd 32 14 P 4th 6 3 P 5th 59 26 Mm 6th 28 13 Mm 7th 4 2 Octave 56 25 Mm 9th 0 0 Mm 10th 3 1
Total 224 100
^■Measure Frequency ■ number of measures found to contain said interval between respective vocal parts at the beginning of the measure when said part sounds simultaneously with Soprano I/Part I. 95
Five Total Movements were in four or more parts.
These were analyzed to identify the intervals occurring
between the first part and the second, third, fourth, fifth,
and sixth parts respectively. This data is presented in
Table 26.
Soprano II.— This part was found most frequently in
unison with the first part. The next frequent interval was
that of a Major/minor third.
Soprano III.— Analysis of one TM revealed the most
frequent interval to be a Major/minor third.
Alto I.— A Major/minor sixth was found most fre
quently between this part and the first part. This was
followed, in decreasing order of frequency, by the Major/ minor third. Perfect fourth, Perfect fifth, octave and unison.
Alto II.— This part was found most frequently at the interval of a Major/minor tenth. This was followed by the
intervals, in decreasing frequencies, of an octave, Major/ minor third and Major/minor sixth.
Alto III.— An analysis of one TM revealed a Perfect twelfth to be the most frequent interval between this part and the first part. TABLE 26 INTERVALLIC RELATIONSHIPS BETWEEN SOPRANO I/PART I AND OTHER VOCAL PARTS IN FOUR OR MORE PART MUSIC
Part Relating to Soprano II Soprano III Alto I Alto II Alto III Soprano I/Part I (TM » 5) (TM = 1) (TM - 5) (TM “ 5) (TM - 1)
MF1 7, MF % MF 7. MF 7. MF 7,
Unison 60 32 2 1 17 10 17 9 0 0 Characteristics Harmonic I Mm 2nd 6 3 2 7 4 2 4 2 0 0 Mu 3rd 54 29 0 28 15 25 14 2 7 N P 4th 34 18 2 1 25 14 11 6 3 9 P 5th 14 8 7 27 22 12 8 4 0 0 T Mm 6th 10 5 2 7 46 25 22 12 1 3 E Mm 7th 3 2 10 38 9 5 13 7 4 12 Octave 6 3 2 7 20 11 26 14 3 9 R Mm 9th 0 0 0 0 2 1 4 2 3 9 Mm 10th 0 0 0 0 9 5 34 18 3 9 V P 11th 0 0 0 0 0 0 5 3 0 0 A P 12 th 0 0 0 0 0 0 15 8 7 21 Mm 13th 0 0 0 0 0 0 0 0 0 0 L Mm 14th 0 0 0 0 0 0 0 0 0 0 Octave 0 0 0 0 0 0 0 0 4 12 Mm 16th 0 0 0 0 0 0 0 0 3 9 Total 187 100 27 100 182 100 184 100 33 100 ^Measure Frequency ■ number of measures found to contain said interval between respective vocal parts at the beginning of the measure when said part sounds simul taneously with Soprano I/Part I. \D o> 97
Harmonic Characteristic
Table 27 contains information regarding the presence of the vocal parts in the accompaniment.
TABLE 27
PRESENCE OF VOICE PARTS IN ACCOMPANIMENT
Relationship FTM %
Accompaniment does not include vocal part(s) 20 49
Accompaniment includes vocal part(s) 12 29
Accompaniment varies between both of the above 9 22
Total 411 100
1Total less than TM(47) due to two Total Movements being for speaking chorus only and four being a cappella.
Forty-one Total Movements were analyzed. Almost one-half of the TM did not contain the vocal part(s) in the accompaniment. The remaining TM tended to include the vocal part slightly more frequently than vary the presence of the vocal part in the accompaniment. 98
Form in Music
Table 28 shows the number of Total Movements con taining canon, imitation, ostinato, repetition and sequence.
TABLE 28
PRESENCE OF CANON, IMITATION, OSTINATO, MELODIC REPETITION AND MELODIC SEQUENCE IN TOTAL MOVEMENTS
Description FTM1 702
Canon 7 15
Imitation 10 21
Ostinato 18 38
Repetition 32 68
Sequence 18 40
^TM ■ 47 for all items with the exception of Sequence. Two TM were for speaking chorus only, hence TM - 45.
■‘•Percentage based upon 1007o per item.
Forty-seven Total Movements were analyzed for the presence of canon, imitation, ostinato and melodic repetition. Forty-five TM for the presence of melodic sequence. The majority did not contain canon, imitation, ostinato patterns or melodic sequences. Melodic repetition was found in the majority of TM. 99
Forms of Music
Table 29 contains information indicating the
compositional forms found in the Total Movements.
TABLE 29
COMPOSITIONAL FORMS PRESENT IN TOTAL MOVEMENTS
Form FTM%
One Part 8 17
Two Part (AB) 11 24
Three Part (ABA) 7 15
Three Part (ABC) 3 6
Four Part (ABCD) 3 6
Canon 1 2
Rondo (ABACA) 3 6
Strophic 11 24
Total 47 100
Forty-seven Total Movements were analyzed to identify their compositional form. Strophic and two-part forms were found to be the most frequent. Next most common was a one-part form. In general, simple forms were the most frequent. 100
Forms of Music
Table 30 presents data regarding the presence of
codas, interludes or transitions, introductions and refrains
in the Total Movements.
TABLE 30
PRESENCE OF CODAS, INTERLUDES OR TRANSITIONS, INTRODUCTIONS AND REFRAINS IN TOTAL MOVEMENTS
Description FTM1 7o2
Introduction 35 74
Interludes/Transitions 6 13
Refrains A 9
Coda 34 72
■^Maximum TM - 47 for all items.
^Percentage based upon 1007. per item.
Forty-seven Total Movements were analyzed to identify the presence of introductions, interludes/transitions, refrains and codas. The majority contained introductions and codas. They did not contain interludes/transitions or codas. 101
Tempo Characteristic
Data concerning the tempo markings present in the
Total Movements is presented in Table 31.
TABLE 31
NATURE OF TEMPO MARKINGS PRESENT IN TOTAL MOVEMENTS
Tempo Markings FTM 70
No Tempo Markings 7 15
Descriptive Term* 7 15
Numerical Term^ 33 70
Total 47 100
■^Allegro, Moderato, etc.
2 J * 120, etc.
Of the forty-seven Total Movements analyzed, the majority contained tempo markings. The majority of these were stated in numerical terms. Seven TM contained no tempo markings. 102
Thirty-three Total Movements contained tempo markings stated in numerical terms. These TM were analyzed
to identify the specific tempo marking indicated. The
findings are presented in Table 32. The largest frequency was found to be J =92. Several terms were discovered to have the same frequency. These were: J = 72, J = 96, and J = 116. Numerous tempos were indicated. These ranged from J = 54 to 168, J* = 40 to 160, and J = 44 to 92. A clustering effect was noticed between tempos J = 92 to 116. 103
Tempo Characteristic
TABLE 32
NATURE OF NUMERICAL TEMPO MARKINGS PRESENT IN TOTAL MOVEMENTS CONTAINING NUMERICAL TERM
Numerical Tempo Marking FTM 70
54 1 3 60 1 3 69 1 3 1 : 72 2 6 76 1 3
80 1 3 •1“ V 84 1 3 • r 88 1 3 ♦i * 92 3 9 r ** 96 2 6
100 1 3 116 2 6 120 1 3 152 1 3 i = 160 1 3
168 1 3 40 1 3 5 - 56 1 3 72 1 3 84 1 3 \ f1 a 160 1 3 V 44 1 3 □ 60 1 3 a" 66 1 3 fir a 76 1 3
80 1 3 i- 84 - 88 1 3 cf= 92 1 3
Total 33 100 104
Tempo Characteristic
Data relevant to the presence of a steady or changing tempo is presented in Table 33.
TABLE 33
PRESENCE OF STEADY OR CHANGING TEMPO IN TOTAL MOVEMENTS
Tempo FTM 7.
Steady 37 79
Changing^- 10 21
Total 47 100
■^-Category includes those Total Movements employing Rail., Rit., Poco Rall.,/7\, etc.
Forty-seven Total Movements were analyzed to identify indications of tempo changes. The majority of TM maintained a steady tempo throughout with only ten containing indications of tempo changes. 105
Dynamic Characteristic
Table 34 presents data regarding the range of
dynamic markings present in the Total Movements.
TABLE 34
RANGE OF DYNAMIC MARKINGS PRESENT IN TOTAL MOVEMENTS
Ranged FTM %
PPP - FFF 1 2 PPP - FF 1 2 PP - FF 6 14 PP - F 4 9 PP - MF 2 4
P - FF 3 6 P - F 10 22 P - MF 2 4 MP - FFF 1 2 MP - F 4 9
MP - MF 2 4 MP 2 4 MF 3 6 F 3 6 None Given 3 6
Total 47 100
^Range = lowest dynamic marking to highest.
Forty-seven Total Movements were analyzed to identify the dynamic ranges called for. The largest frequency was found between the dynamic range P - F. Eight TM indicated only one dynamic level. Three TM contained no dynamic markings. 106
Dynamic Characteristic
Data contained in Table 35 shows the variability of
dynamic levels in the Total Movements.
TABLE 35
VARIABILITY OF DYNAMIC MARKINGS FOUND IN TOTAL MOVEMENTS
Variability'*- FTM 7o
9 1 2 8 1 2 7 6 14 6 8 18 5 12 27
4 6 14 3 2 5 2 0 0 1 8 18
Total 442 100
^•Variability » number of dynamic markings between lowest and highest markings: ex. P - F = 5 (P/1 - MP/2 - M/3 - MF/4 - F/5).
^Total is less than TM(47) due to three (3) Total Movements having no dynamic markings.
Forty-four Total Movements were analyzed to identify the variability level of dynamic markings. A variability of
5; was found in the largest FTM. The majority of TM were clustered between a variability of 4 and 1_, 107
Dynamic Characteristic
Table 36 presents data relevant to the rate of dynamic change within each Total Movement.
TABLE 36
RATE OF DYNAMIC CHANGE WITHIN EACH TOTAL MOVEMENT
Rate of Changer- FTM 7c
Very Slow 16 36
Slow 12 27
Fast 4 10
Very Fast 12 27
Total 442 100
1Categories based upon number of measures without indicated dynamic change: Very Slow ■ approx. 16 measures Slow - approx. 8 measures Fast ■ approx. 4 measures Very Fast ■ dynamic changes within two measures
^Total is less than TM(47) due to three TM having no dynamic markings.
Forty-four Total Movements were analyzed to identify their rate of dynamic change. A "very slow" rate of change was indicated by the largest frequency of TM. The lowest FTM occurred at a "fast" rate of change. 108
Tone Color Characteristic
Table 37 contains information regarding the vocal tone colors utilized in the Total Movements.
TABLE 37
VOCAL TONE COLOR CHARACTERISTICS EMPLOYED IN TOTAL MOVEMENTS
Description FTM
Traditional Vocal Tone Color* 42 89
Non-traditional 5 11 Vocal Tone Color Speaking Voice Screaming Whispering
Total 47 100
*Normal vocal production.
Forty-seven Total Movements were analyzed to identify the vocal tone colors utilized. The majority indicated that the voice should be used in a traditional manner. Five TM indicated that the voice should be used in a non-traditional fashion. 109
Tone Color Characteristic
Data presented in Table 38 shows the tone colors
employed in the accompaniment of the Total Movements.
TABLE 38
ACCOMPANIMENT TONE COLORS EMPLOYED IN TOTAL MOVEMENTS
Description FTM1
Traditional Accompanimental Tone Colors 39 bass (8) (19) flute (9) (21) guitar (1) (2) handbells (3) keyboard (23) organ (‘?S (2) percussion (10) (23) piano (30) (70) strings (3) (7) Non-traditional Accompanimental Tone Colors 4 melodica (3) whistling (1) (2)
•*-FTM ■ 43 (four TM were unaccompanied) .
^Percentage based upon 100% per item.
Forty-three Total Movements were identified as being
accompanied (see Table 8). These were analyzed to identify
the nature of the accompanimental tone colors. The majority
of TM utilized traditional tone colors as accompaniments.
The piano was found accompanying the majority of TM. CHAPTER V
SUMMARY, PRESENTATION OF GUIDELINES, UTILIZING THE GUIDELINES, AND RECOMMENDATIONS
Summary
Purpose,--The purpose of this study was twofold:
(1) to develop guidelines for use as an aid in composing choral music for elementary school age choirs, and (2) to utilize the guidelines as an aid in composing Contemporary choral compositions for elementary school age choirs.
Procedure.— The procedures utilized in this study resulted from a search for a design appropriate to identify ing and quantifying the musical characteristics of a wide variety of choral literature. An aspect of the study required that choral literature composed by living, American composers be secured and analyzed.
Programs of the Music Educators National Conference
National and North Central Division Conventions from the years 1967 through 1976 were secured and used to identify elementary school age choirs. Choral compositions performed by these choirs and composed by living, American composers were then identified and copies secured for analyzation.
110 Ill
An analyzation form was then drawn up for the purpose of recording data gathered during the analyzation process.
The form was divided into two main categories, General Char acteristics and Specific Characteristics. The category
Specific Characteristics was sub-divided into eight categories according to the eight constituent elements of music presented in the MENC publication The Study of Music in the Elementary
School--A Conceptual Approach.^ Definitions of the eight sub-categories (1) Rhythm, (2) Melody, (3) Harmony, (4) Form in Music, (5) Forms of Music, (6) Tempo, (7) Dynamics, and
(8) Tone Color contained in this publication served to focus direction during the analyzation process. Further direction was provided by areas of concern identified in the Review of
Related Literature. In addition the analyzation form con tained a column for each of the sub-categories designated
"Comments." This was for the purpose of allowing for the opportunity to record information relating to but not directly concerned with the characteristic being analyzed.
Twenty-three choral compositions totaling forty-seven
Total Movements (TM) were analyzed to discern their musical characteristics. Data were collected for each of the compositions and recorded on individual analyzation forms.
1-Gary, The Study.
^See Chapter II, "Analysis of Choral Music." 112
The collected data was then collated for the main category
General Characteristics and each of the eight sub-categories
listed under Specific Characteristics. The results were
reported by means of tables and figures.
The data contained in the tables and figures formed
the basis for the development of guidelines. Once developed,
the guidelines were used as an aid in composing five choral compositions for use with elementary school age choirs.
Presentation of Guidelines
The following pages contain the guidelines developed from the data secured in the analysis portion of this study.
Each guideline is stated in terms so as to be of maximum usefulness in aiding in the compositional process.
The guidelines are presented in the general order of the two main categories, General Characteristics and Specific
Characteristics, occurring on the analyzation form. Each of the sub-categories under Specific Characteristics contains appropriate guidelines for its specific area of analyzation.
Following the statement of a guideline is a brief discussion of the data upon which it is based. The purpose is to iden tify the table(s) contained in Chapter IV which served as the basis for a guideline.
At the conclusion of the main category General Char acteristics and each of the eight sub-categories, a 113
discussion is presented. This serves to present the areas
analyzed and provide comparisons with and additions to the
findings identified in the Review of Related Literature.^-
General Characteristics
Guideline #1: Voicings of Compositions
Choral music composed for elementary school age choirs should generally contain three or fewer vocal parts.
Discussion.--Table 5 shows that of the forty-seven
Total Movements analyzed, forty-two contained three or less vocal parts. Although fairly equally divided between unison, two and three part music, a decided advantage was in favor of choral music in two parts. However, since the majority of Total Movements were in three or less vocal parts, it is recommended that when composing choral music for elementary
school age choirs, the number of voice parts should be limited to three or less.
Guideline #2: Presence and Nature of Accompaniment.
Choral music composed for elementary school age choirs should generally utilize an accompaniment.
Discussion.— Table 8 shows that forty-three Total
Movements were accompanied. Therefore, it is recommended that when composing choral music for elementary school age choirs, a form of accompaniment should be included.
ISee Chapter II, "Pedagogical Factors" and "The Child's Voice and Vocal Capabilities." 114
Guideline #3: Length of Compositions.
Choral music composed for elementary school age choirs should be relatively short in length.
Discussion.— Table 9 shows that of the forty-six
Total Movements analyzed, thirty-seven were less than seventy measures in length. Although the range of lengths was wide, the mean, median and mode occurred between forty- six and sixty measures. Table 16 shows that of the phrase lengths identified in the Total Movements, a phrase length of four measures was found most frequently. Table 29 points out that the compositional forms found in the Total Movements were primarily simple one, two or three part forms. Finally,
Table 30 illustrates that little use was made of interludes and/or transitions.
Combining this information shows that lacking transi tions and/or interludes, having phrase lengths which are four measures in length within a simple one, two or three part form and recognizing the relative measure lengths of the Total Movements, a Total Movement is relatively short in length. Therefore, it is recommended that when composing choral music for elementary school age choirs, the overall length of the composition be relatively short.
Discussion of General Characteristics.--Data were gathered regarding the following: (1) number of compositions containing single and multiple movements, (2) voicings 115
employed in Total Movements, (3) nature and source of texts,
(4) language of text, (5) presence and nature of accompaniment,
and (6) length of Total Movements.
The findings regarding "Voicings Employed in Total
Movements" were found to be consistent with the conclusions
reached by Dittemore.^ He identified a hierarchy of harmonic
development which led, by the upper elementary grades, to the
ability to perform choral music in three parts. The findings
presented in Table 5 show that the majority of Total Move ments performed by elementary school age choirs and analyzed
in this study were in three or less parts. Thus Dittemore's
conclusion that students in the upper elementary grades should be able to perform choral music in three parts is supported.
Three of the tables resulting from an analyzation of
the General Characteristics of the Total Movements did not relate to literature presented in the Review of Related
Literature and also were deemed too general to be developed into compositional guidelines. In general, it was found that
single movement compositions were more common than multi movement (Table 4). Additional information showed that the overwhelming majority of texts were in English (Table 7) and of a secular nature (Table 6).
^Dittemore, "An Investigation." 116
Specific Characteristics
Rhythm
Guideline #4: Nature of Pulse.
Choral music composed for elementary school age choirs should contain a strong rhythmic pulse.
Discussion.~-Table 11 contains information showing that of the forty-seven Total Movements analyzed, thirty-
seven contained a strong rhythmic pulse. Very few Total
Movements were found which contained a weak pulse or a combination of strong and weak pulse. Therefore, it is recommended that when composing choral music for elementary school age choirs, a strong rhythmic pulse be utilized.
Guideline #5: Use of Rhythmic Repetition.
Choral music composed for elementary school age choirs should contain rhythmic repetition.
Discussion.--Table 12 illustrates that of the forty- seven Total Movements analyzed, thirty-eight contained some rhythmic repetition. Table 28 also shows that melodic repetition occurs in a majority of the Total Movements.
Therefore, it is recommended that when composing choral music for elementary school age choirs, rhythmic repetition be an integral part of the composition.
Guideline #6: Rhythmic Relationships Between Parts.
Choral music composed for elementary school age choirs in two or more parts, should contain non- melodic parts which have the same rhythm as the melodic part. 117
Discussion.— Table 13 shows that of the twenty-two
Total Movements containing a second part, ten maintained the
same rhythm as the melodic part and an additional ten fluctuated between the same and a different rhythm. This
sameness of rhythm was even more pronounced in music in three parts. Of the twenty-nine Total Movements in three parts, nineteen had the same rhythm as the melodic part.
An additional nine had a combination of the same and a different rhythm pattern. This information combined with the data presented in Table 28 regarding virtually little use of canon and imitation leads to the observation that when composing choral music for elementary school age choirs in two or more parts, the rhythm of the non-melodic part should be the same as that of the melodic part.
Discussion of Rhythm. — Information was secured in the following areas: (1) meter classification of Total
Movements, (2) pulse classifications of Total Movements,
(3) occurrence of similar rhythmic patterns in vocal part(s), and (4) rhythmic relationship of non-melodic part(s) to
Soprano I/part I.
In addition to the guidelines developed from this data, several interesting observations can be made. Table 10 shows that thirty-seven of the forty-seven analyzed Total
Movements were in duple or triple meter. The majority of these, twenty-seven, were in duple meter. Nine Total 118
Movements were in mixed meter. Dittemore's study found that the ability to perform duple and triple meters develops first, followed by the ability to perform mixed meter.^ It did not, however, identify age levels at which this later character istic might develop. Speculating on Table 10 and Dittemore's study, one raises questions. Can the fourth through sixth grade student perform mixed meters? At what point in the developmental sequence does this ability to perform mixed meters develop? Is the lack of mixed meter on the convention programs due to the small number of mixed meter compositions available or to a perception on the part of directors that this music is too difficult for these students? It appears that these and other areas should be explored.
Table 12's findings concerning rhythmic repetition are linked with the observations of Colwell. Colwell found that varying a rhythm pattern served to increase its level of difficulty.^ Table 12 reports that the majority of Total
Movements analyzed contained rhythmic repetition. Therefore, rhythmic repetition within the composition would seem to serve to increase its performability. In addition, the findings reported in Table 13 also appear to support the contention that rhythmic repetition serves to increase performability.
1Ibid.
^Colwell, "Elementary." 119
Melody
Guideline #7: Intervallic Nature of Melodies.
Choral music composed for elementary school age choirs may contain melodies which vary between primarily stepwise movement and primarily skips and/or leaps.
Discussion.— Table 15 shows that the melodies within.
the forty-five analyzed Total Movements were almost equally
divided between being primarily stepwise movement and
primarily skips and leaps. Since no clear distinction was
apparent between the two classifications, it was concluded
that choral music composed for elementary school age choirs may contain melodies appropriate for a particular composition.
Guideline #8: Melodic Skips or Leaps.
Choral music composed for elementary school age choirs should contain melodies which limit leaps or skips to a Major/minor 6th or less.
Discussion.--Table 17 shows that of the forty-five
Total Movements analyzed, thirty-five contained melodies having a largest melodic skip or leap of a Mm 6th or less.
Of these twenty-four were either a Mm 6th (N=10) or P 5th
(N=14). Therefore, it was concluded that, as pointed out in
Guideline #7, skips and leaps may be an integral part of a melody. However, these should generally be of a Mm 6th or
less.
Guideline #9: Vocal Ranges.
Choral music composed for elementary school age choirs should contain vocal parts with ranges between and E5 for Soprano I/part I, C^ and C^ for Soprano II/ part II and and for Alto I/part III. 120
Discussion.— Tables 18 and 19 show the top and bottom
pitch limits of the respective parts within the analyzed
Total Movements. In addition a graphic representation of
the ranges is presented in Figures 1 through 3. Although
these pitches were identified as being the most frequent top
and bottom pitches, it should be pointed out that in all
cases, both the top and bottom pitches were exceeded. How
ever, it is recommended that the respective vocal parts
should generally remain within these parameters.
General Discussion of Melody.--Data were gathered in
the following areas: (1) nature of text setting, (2) inter- vallic nature of melodies in Total Movements, (3) length of melodic phrases in Total Movements, (4) largest occurring melodic skip or leap in Total Movement, and (5) top and bottom pitch limits of respective vocal parts. Several
interesting observations can be made regarding the information
secured in this area.
Table 15, regarding intervallic nature of melodies,
shows that there was a fairly even division between melodies of primarily skips and leaps and those of primarily steps.
The study by Smiley, of melodies occurring in fourth grade text books, reported finding a wide use of melodies employing
scales and arpeggiated melodies occurring in conjunction with tonic, subdominant and dominant chord progressions.^- The
^Smiley, "A Study." 121 findings of this study are similar in that no clear preference is shown towards melodies of one persuasion or the other.
Table 14 contains information regarding the nature of text settings. The overwhelming majority of texts were set in a syllabic manner. The Blyler study reported that children preferred songs with strong melodic movement.^- This writer suspects that, in part, strong melodic movement is related to a syllabic-note text setting. Since the majority of texts analyzed were set in this manner, it may be con cluded that the music contained on the programs presented by the elementary school age choirs was "preferred” music.
The largest occurring melodic skip or leap presented in Table 17 is fairly consistent with the hierarchy of easiest to difficult intervals to sing amongst college students as identified by Spohn and P oland.^ Their findings encompassed at the easiest end of the hierarchy, those intervals of a Mm 6th or less. Since the study dealt with college level students, there appears to be a developmental sequence occurring with regard to developing the ability to perform intervals.
In General the ranges identified in Tables 18 and 19 are consistent with those advocated and identified in studies
^•Blyler, "The Song."
^Spohn, Poland, "An Evaluation." 122
reviewed in the Review of Related Literature.* Zimmerman's
suggestions that following early singing experiences of a
limited range, song ranges be expanded to encompass a range
of a tenth (C^ - E^), is consistent with the composite range
identified in this study of from B^, cA to E^.
In addition to the tables mentioned, Table 16 refers
to the length of melodic phrases found in the Total Movements.
An analysis was made to establish if any unusual phrase
lengths existed within the Total Movements. Seventy-one per cent of the phrase lengths were four or less measures in
length. It was concluded that, in general, phrase lengths
in choral music for elementary school age choirs are the
same as in music in general.
Harmony
Guideline #10: Harmonic Modes in Compositions.
Choral music composed for elementary school age choirs should utilize the same harmonic mode throughout.
Discussion.— Table 20 shows that of the forty-five
Total Movements analyzed, forty-four maintained the same harmonic mode throughout the entire composition. Of these, twenty-one were in a major mode, twelve in a mode other than major or minor and eleven in the minor mode. Only one Total
*See Chapter II, "The Child’s Voice and Vocal Cap abilities, " In particular, Jersild and Beinstock, "A Study,” Smith, Music In. and Nye and Nye, Music In. 123 Movement modulated between modes. Table 21 shows that of the forty-five Total Movements analyzed, thirty contained
little or no chromatic alterations. Since this supports the observation that the same harmonic mode is utilized through out a Total Movement, it is recommended that in composing choral music for elementary school age choirs, the same harmonic mode be maintained throughout an entire composition.
Guideline #11: Harmonic Activity Within A Composition.
Choral music composed for elementary school age choirs should employ a slowly changing harmonic rhythm moving in a traditional manner.
Discussion.--Table 22 shows that of the forty-five
Total Movements analyzed, thirty-one exhibited a harmonic rhythm which changed at a slow or very slow rate. Of these, twenty-two moved at a slow rate of change and nine at a very slow rate of change. Table 23 contains information showing that of the forty-five Total Movements analyzed, thirty-seven had harmonic movement of a traditional functional tonal nature. Collectively these two observations lead to the recommendation that harmonic movement in music composed for elementary school age choirs should be generally slow in nature and of a traditional tonally functional nature.
Guideline #12: Harmonizing Two and Three Part Music.
Choral music composed for elementary school age choirs in two or three parts, should have the first part harmonized with the second part at the interval of a Major/minor third or sixth and the third part at the interval of a Perfect fifth or unison/octave. 124 Discussion.--Table 24 shows that of the intervals found between the soprano I/part I vocal parts and the second part in two part music, fifty percent consisted of the Mm 3rd or its inversion the Mm 6th. Table 25 shows that the same is true in three part music. Forty-nine percent of the intervals were either a Mm 3rd or Man 6th. In addition,
Table 25 shows that a third part is generally harmonized with a first part at the interval of a P 5th or octave.
Fifty-one percent of the intervals were of this nature.
Therefore, it is recommended that when composing choral music for elementary school age choirs in two or three parts, the second part may generally be harmonized at the interval of a Mm 3rd or 6th, and the third part at the interval of a
P 5th or octave.
Discussion of Harmony.--Information was collected concerning the following: (1) harmonic modes utilized, (2) frequency of chromatic alteration, (3) rate of harmonic change, (4) type of harmonic movement, (5) intervallic re lationships between music in four or more parts, and (7) nature of relationship between accompaniment and voice part(s).
Several of these were found to relate to findings described in the Review of Related Literature.
Both Smiley and Petzold found that the majority of songs which they analyzed were in the Major mode.* Nofziger
*Smiley, "A Study," and Petzold, "Development." 125 also found this to be the case.^ Table 20 shows that the largest number of Total Movements were found to be in the
Major mode. In contrast with Smiley’s and Petzold1s findings, however, this study found a large portion of the Total Move ments to be in minor, mixed or other modes. Based on this observation, there would appear to be an increase in the availability/usage of compositions in these modes since the dates of the respective studies. To ascertain this pre cisely, these studies should be replicated to ascertain whether or not this is truly the case.
Additional observations concerning melody are,
Dittemore identified a hierarchy of melodic development beginning with the ability to sing melodies in the minor mode (see Chapter II, page 29). The studies cited here show that the majority of melodies were in the major mode. Why?
Has the ability to sing in minor developed by this age?
Since the practice is inconsistent with the theory, which is most accurate in indicating what children can sing?
Smiley’s study reported that very little chromatic alteration occurred in the melodies analyzed.2 The findings presented in Table 21 show this to be the case with regard to the Total Movements analyzed. Very little chromatic and,
^•Nofziger, "A Study."
2Smiley, "A Study." 126 hence, harmonic movement tends to take place in choral music composed for elementary school age choirs.
In addition to the tables used to develop guidelines, several tables contained interesting observations regarding harmonic characteristics. Table 26 shows that when harmon izing music in four or more parts the second part should generally be harmonized at the interval of a unison or Mm
3rd, the alto I part at a Mm 6th or 3rd and the alto II part at the interval of a P 10th, octave or Mm 3rd. Since this data is based on a very limited number of Total Movements
(N=5) and it has been recommended that choral music composed for elementary school age choirs be limited to three or fewer parts, no guidelines were developed based on this information.
Table 27 contains data regarding the relationship between the accompaniment and the voice parts in Total
Movements. In general, it was found that the majority of accompanying parts did not contain the voice parts. However, since this may be more a function of the nature of the composition rather than an intentional design on the part of the composer, no guideline was developed relating to the presence or lack of presence, of the voice parts in the accompaniment. Form in Music
Guideline #13: Repetition.
Choral music composed for elementary school age choirs should contain melodic and rhythmic repetition.
Discussion.--Table 28 shows that of the forty-seven
Total Movements analyzed, thirty-two contained melodic repetition. This information combined with data regarding repetition presented in Table 12 leads to the recommendation that repetition, both melodic and rhythmic, be an integral part of choral music composed for elementary school age choirs.
Discussion of Form in Music.— Data were secured in the following areas: (1) use of canon, (2) use of imitation,
(3) use of ostinato patterns, (4) presence of melodic repetition, and (5) presence of sequence. Observations regarding these findings follow.
Table 28 shows that seven of the forty-seven Total
Movements analyzed contained canons. This is interesting in that Dittemore's study identified the ability to sing a round or canon as being the first harmonic ability to develop.^- Since very few of the Total Movements analyzed contained canons, it appears that this ability might develop prior to the fourth grade. Also, since much of the music performed was in two or three parts (see Table 5) and
■^-Dittemore, "An Investigation." 128
Dittemore identifies the ability to sing a round or canon
as being a prerequisite for the ability to perform two and
three part music, it would appear a strong case could be
made for singing rounds prior to the fourth grade.
In addition, Table 28 also shows that little use was
made of imitation and only marginal use of sequence. Since
repetition appears as an integral part of music for elemen
tary school age choirs, it would seem logical that composi
tional techniques employing aspects of imitation would be
found. In the Total Movements analyzed, however, such is
not the case. Of the two, sequence appeared the most
frequently. In part, the lack of a significant amount of
imitation appears due to the use of parallelism between parts
in two or more part music.
The use of ostinato patterns, as pointed out in
Table 28, was found as frequently as the presence of
sequence. Given the generally slow harmonic rhythm present
in the Total Movements, a contributing factor in this would be the presence of ostinato patterns.
Forms of Music
Guideline #14: Formal Characteristics of Composition.
Choral music composed for elementary school age choirs should be simple in formal structure.
Discussion.— Table 29 shows that of the forty-seven
Total Movements analyzed, the majority were in simple forms. 129
Eighty percent of the Total Movements were in either one
part, two part, three part (rounded binary or two part) or
strophic. It appears, in general, that from a formal stand
point, composers are conscious of utilizing simple forms when
composing choral music for elementary school age choirs.
This same characteristic is exhibited within the
internal structure of the Total Movements. Table 30 contains
data relating to the presence of introductions, interludes, refrains and codas. The majority of Total Movements contained
introductions and codas. The overwhelming majority, however,
did not contain interludes/transitions or refrains. This
later observation is consistent with simple formal structures.
The presence of interludes/transitions tends to
indicate harmonic activity. As pointed out in Guidelines
#10 and #11, very little harmonic activity is a characteristic of choral music for elementary school age choirs. Therefore, the absence of transitions/interludes tends to be an indica tion of a simple formal structure.
Table 30 shows that four of forty-seven Total Move ments contained refrains. Generally, refrains are present in larger, slightly more complex compositions. Since they are not present in any large number, it may be assumed that simple formal structures are the norm.
By combining these observations, this writer recommends that when composing choral music for elementary 130 school age choirs, a composer should attempt to keep the formal characteristics simple.
Discussion of Forms of Music.--Information was collected regarding: (1) the compositional forms utilized,
(2) the presence of codas, (3) the use of transitions/inter ludes, (4) the use of introductions, and (5) the presence of refrains.
The data collected served to generate the conclusion that simple formal structures should be considered when composing choral music for elementary school age choirs.
This observation was stated in Guideline #14.
Tempo
Guideline #15: Tempo of Compositions.
Choral music composed for elementary school age choirs should generally maintain a constant tempo.
Discussion.--Table 33 presents data which shows that of the forty-seven Total Movements analyzed, thirty-seven maintained a steady tempo throughout. Ten Total Movements exhibited descriptive terms or markings which indicated changes in tempo. Since the majority of Total Movements did not indicate tempo changes, it is recommended that, in general, a constant tempo be maintained throughout a choral composition being composed for elementary school age choirs.
Discussion of Tempo.— Data were gathered concerning:
(1) nature of tempo markings, (2) range of tempo markings, and (3) presence of steady or changing tempos. 131
Table 31 shows that the majority of tempo markings were stated in numerical terms. Since this was more of an informational matter rather than a musical matter, no guide line was deemed necessary.
The information contained in Table 32 is of greater musical concern. This table identifies the tempo markings of the thirty-three Total Movements containing numerical tempo markings. A wide range of markings is indicated. The largest single frequency of marking is a quarter note=92
(N=3). Owing to a wide range and the lack of a consensus tempo marking, it is recommended that the tempo(s) employed in choral music being composed for elementary school age choirs be appropriate for the composition.
Dynamics
Guideline #16: Nature of Dynamics in Compositions.
Choral music composed for elementary school age choirs should contain a wide range of dynamic levels changing at a slow rate.
Discussion.— Table 35 shows that the Total Movements analyzed exhibited a variability level primarily between four and seven degrees of loudness. Table 36 shows that the rate of dynamic change within the Total Movements tends to fall primarily in the slow or very slow category. Collectively, these findings lead to the recommendation that a wide range of dynamics changing at a relatively slow rate may be 132
utilized in compositions being composed for elementary
school age choirs.
Discussion of Dynamics.— The analyzation process was
directed towards securing information regarding: (1) range of dynamic markings, (2) variability levels of dynamic markings, and (3) rate of dynamic change. Some observations about the findings follow.
Table 34 functions to point out the relative dynamic markings found within the Total Movements. This information, combined with the findings presented in Table 35, is consis tent with the observations made by Zimmerman. She observed that the ability to perceive degrees of loudness developed at an early age and without formal training.^ Thus, it is not necessary to limit or omit dynamic markings from choral music for elementary school age choirs. In fact, since the characteristic develops at an early age, their inclusion might serve to make a composition more musically significant.
The findings presented in Table 36 serve to point out that even though a wide range of dynamic levels is present, the rate of change of these levels is generally relatively slow. This may be more a function of the nature of a particular Total Movement rather than a limitation placed upon the use of dynamics in conjunction with elemen tary school age choirs. However, since the rate of change
1Zimmerman, Musical. 133 in the analyzed Total Movements tends to be slow, it is
recommended that when composing choral music for elementary
school age choirs, composers be aware of this dynamic
characteristic.
Tone Color
Guideline #17: Tone Colors Utilized
Choral music composed for elementary school age choirs should contain traditional vocal and instru mental tone colors.
Discussion.--Table 37 shows that of the forty-seven
Total Movements analyzed, forty-two used the voice in a
traditional manner. Table 38 shows that of the forty-three accompanied Total Movements, thirty-nine utilized traditional
instruments as accompaniment. Collectively these two
findings lead to the recommendation that in composing choral music for elementary school age choirs, traditional vocal and instrumental tone colors should comprise the main tonal resources of the composition.
Discussion of Tone Color.--Information was secured concerning: (1) the vocal tone colors utilized, and (2) the accompaning tone colors utilized.
Both Tables 37 and 38 show that traditional tone colors are utilized almost exclusively. Since the Total
Movements are generally conservative in other aspects, these observations are not surprising. 134 Utilization of the Guidelines
The Guidelines presented in this study are based upon the characteristics of the music analyzed. In con sidering their use one should be cognizant of a number of factors which contributed to their development. Among these are the nature and number of choral compositions analyzed, the nature of the elementary school age choirs having per formed the compositions and the nature of the analysis procedure employed.
The music analyzed was limited to the choral music composed by living, American composers. These composers have and are writing music which reflects current understandings regarding the musical characteristics of music for elementary school age choirs. By analyzing their compositions, in sights into composing music for these choirs might be ascertained.
The guidelines developed in this study were based upon the musical characteristics identified through analyzing twenty-three compositions totaling forty-seven Total Move ments (TM). This number represented approximately ten per cent of the total number of compositions presented by the elementary school age choirs at the conventions.* Given the
*The total number of musical compositions presented by elementary school age choirs at the conventions during the period 1967 to 1976 = 227 (copies of the programs are contained in Appendix B, p. 162. 135
number of choral organizations appearing, the variety of
repertoire presented and the purpose of this study, limiting
the analyzed choral music to that of living, American
composers provided a narrow, but hopefully representative,
sample for the purpose of this study.
In considering the use of these Guidelines the user
should be aware that when a musical organization appears at
a musical convention, a number of factors have entered into
the selection of their performance repertoire. Among these
might be that the choir likes a particular composition; a
composition happens to be in their present repertoire; a
composition shows off a strong aspect of the organization; a
composition happens to be one which is perceived as the type
of selection appropriate for a convention appearance; or a
composition is one a director has always wanted to do but
the folks back home would1t appreciate. These and numerous
other factors interact and enter into the music selection process of a musical organization scheduled to appear at a
convention.
The Guidelines presented in this study are based upon
the musical characteristics present in selected compositions presented at particular musical conventions during the years
1967 through 1976. Since a variety of factors have entered
into the musical selection process, it is possible that the
Guidelines are based upon music which is atypical rather than 136 typical of the music performed by today's elementary school age choirs in general. If so, music composed utilizing these Guidelines might be appropriate for a select group of elementary school age choirs, namely those appearing at musical conventions.
The elementary school age choirs appearing at con ventions have one common characteristic: they have been selected for an appearance. Conventions attempt to provide a wide range of exhibits, examples and opportunities for conventioneers. Consequently, musical organizations are present which encompass a wide range of levels and areas of performing activity. Each of the organizations has been selected in terms of filling various needs within a particular program; i.e., representing the local area, representing a state within the division, or representing a particular level or area of instruction. In filling these needs, performing organizations are selected to a large degree on the basis of performance quality. Therefore, many of the elementary school age choirs appearing at conventions repre sent geographical areas of instructional activity rather than a particular elementary school's choir. Such descriptive titles as "All-City," "Metropolitan" and "Seattle," "Newark" or "Iowa City" occur frequently in conjunction with elemen tary school age choirs appearing at conventions.* Members
■^-Titles of the elementary school age choirs may be found on p. 41. 137
of these organizations are generally selected for partici pation. In general, the elementary school age choirs
appearing at conventions are not the typical choirs found
in elementary schools. They are, however, indicative of a
type of choral activity taking place in conjunction with children of this age level. Still, since the Guidelines
developed in this study are based upon the musical charac teristics of music performed by these choirs, prospective users of the Guidelines should be aware of the nature of the performing organizations.
The analyzation form utilized in this study was designed to assist in identifying the musical characteris tics of twenty-three compositions. The analyzation process attempted to establish no "correct" or "incorrect" musical characteristics appropriate for use with elementary school age choirs. It attempted to find out the nature of the musical characteristics within the compositions composed by living, American composers and performed by elementary school age choirs at the Music Educators National Conference National and North Central Division Conventions during the years 1967 through 1976. The resulting Guidelines reflect the consensus of musical characteristics identified within the twenty-three compositions. Further, the Guidelines make no attempt at being "all-inclusive" of music composed for elementary school age choirs. 138
Recommendations
As a final step in this study, five choral composi
tions were composed in order to demonstrate the usefulness
of the Guidelines in aiding in the compositional process.
Furthermore, these compositions utilized appropriate Contem porary musical characteristics. Using the Guidelines as a
compositional aid served to increase the performability of the compositions by elementary school age choirs. Composing music which utilized Contemporary musical characteristics provides a wider range of choral literature for use with these choirs.
In and of themselves, the Guidelines presented in this study and the compositions contained in Chapter VI represent a beginning. The Guidelines begin to aid in re moving such stigmas attached to Contemporary music as "it is too hard to sing," "it will ruin their voices," "it isn't vocal enough," etc. The compositions begin to make Contem porary music available for use with elementary school age choirs. It is hoped that composers will take advantage of the availability of the Guidelines and use them as an aid in composing Contemporary choral music for elementary school age choirs. CHAPTER VI
COMPOSITIONS
This chapter contains five choral compositions composed for elementary school age choirs. The composi tions contain aspects of musical characteristics found in
Contemporary choral music. In the course of their composition the Guidelines were utilized as an aid.
The first choral composition is entitled "Praise to the Lord." It is for voices in three parts and piano accompaniment. The Guidelines which proved insightful in its composition were #1, #2, #3, #4, #5, #7, #8, #9, #10,
#12, #13, #14, #15, #16, and #17. A Contemporary musical characteristic found in the composition is that of meter changes occurring in irregular patterns. The composition will be published by Beckenhorst Press, Columbus, Ohio in
1978.
139 I
140
r vu'jt \ u j U
; 11r
, -i- £ - = £ r — '- 3 ^ 3 E f f i u y- ±r. -* T -*■ ♦ -*- . * •#■ — L_t------f-4->—{--1 -: ..I ■/ * \ . tZ4_----...... jv-.^ = .-•-— :fccb~J •-•-. k f M ~
± = £ =rp^.z=Frn-r==rte=F!t 5EE '/• * „ ~3-- — < z-r*-^ P*4**U V© ^4. L*>4. V\'W. w ^u*. ca.**6
= 3 - - -- =-=^- -3------4 = ------M----—— A------— j— f------j---- r \ v ------^ ------
i-f-r m \ y i' '~-fr: \J l^~fc; ii ’, *■ 1= E E E £ <.
rc - n y . - V r ' * < * i EEE Udfc'p. . R a U c w .H s 4 >— L .» l ^ 4 U t» p . — Ok 4 = 7 l i t t i : :£= 7 /.: is. 1,3 . , I * . j~z __ 1 \x 141 • r H ■ ■£------—. — . 1 m . . ■ 1 ■■■TA.- | J ' — ■ ■ 1 <■> ■ ■ i
— k ' : ■— --- - 4 f-^ -3— ^ ------It—»-—-»------n — rih------t ------■W,*. Lt»£«« fi./.u ■ — LcvJ,^— rHr a a t i
.. ------1—~ _ r*~_____ *►1 T ♦ 2— 4 - i — 1------3 . ; 1 . 13. - ± U !^~~~r— — h /-e — p ^ L ------j ------^ - 4 3 —H-U-J c------1-: --- 4: ■ -V
£ ± 3 = 3 3 = t E 3 J * p *Pw*4* \Vv-», V**'** CfcV\ Yt. ^*6 - A — 6- m 5 I ~ r i 1*3^ PP 3= ^t ~t 3: 3£ b-p-, - = ' J b -j& -(» V kp-3 Ji |<-*-' b*p”I* X.-.Vi 1 t*«l P. r. *1 e 4X4' I - k C ---- [fe : t r : .> | t ::j: 3 ; ± = s i _£ £_ 3 : \ 1 1 1 , . , , r 1 r i 1 i -i - t 1 v 1 ^tt ?«.> U~, l*.u H.~, OW Yc rs tw* K-, ftU yt A.uVU.,**.«.» H~
i-j-j > J * ^ = 3 3 = = r L” '1 i ' 4 i “ tjJ t c S ‘‘d T
■4-y- 3 E 3^53■73~. „ - n - 3Z3X ~7T~T ISr-Tsrr- ’’■’p'' is-pS
■L * u L t.,i ~ c r 3 ^ JDZ v -■■|i.-.|TTijv-r-i. -f-jf-y j' ■ ( j* t-r |—»7 f ■•<,- [' ‘ f-r °)— p- aW y« Pioi^U>U. *U y*o»>U, fta'.ieVl‘w l V««'i.t W»U, y t y**« yU .
£ X = s i -I— t- 3 i ------3 3 ------i nr- ? i f ■3 •323 ;■ ; p .1 < = — ,3 | ^ 4 7333— A /v‘ i ’ - ■..-rrrr• v■ « « up?7 ,-p. u p . »W) i*p\7 (7 7p“r V T 142
y C*r:c. V / i r £ i - z - J r
-w ^ n = t
S&'Vh -t M )4—M
^"1 I*, ? f c =51 £ - ^ - t - *P- tc 0 ^ I1..-. Vt.-., n.i., H.:- U -, V . - , VL^.1 ; f a = ^3 z WVr ^ — /■' i n ± =3 V>T ~Tzr br' iV'iC** C»*rc . L ft ^ L r*~V »--*-+ fef dfc fj ?a.lX "ST ir ~r—-r t r-^- S >6, <11 ,-T-> ■I'i r ' 3 =
£ 'J V i ~: :' I fc + i * I .-. t , ! i j j'.V~/ . !■?-*■< I ■! s i »— —f— T7i k —V ^ ^ jj!{ p1 ^ ^ r> P jv *’ U - —■■'!§ 4^ J-jrlr 143
A"
U a < J -- ■fvcj U.£, t'V ; ’ *■«____ £ . *
^ > 6 * >V?, — " \ ^ * ' | 1 * V 3 U . 0 . -o "* t U**0, “ ■ ip , d — ■* £ XL7=r-_ / t a 0>S c/t'' t r pp yfi. fri. -4 -& - =cc I- /. 2Z2l 2h- "t- ±rt " i — i s | 1 h ^ ~ b - Ltr.^ _ Lmf,— VttiJf — «■ _££. H , V»;4. A T._ -M f2- 5?: ¥ t±=t I • I T Ou l a 7 "TT ~a~r rf=1 1 1 ~r- ±E w . rp & R.l A it po ,— Lc-- v •*■• ±=t 7± s BE is t_i r*■•■ nz£ £;■> 70 144
The second choral composition, "Hickory, Dickory,
Dock," is for three-part unaccompanied speaking chorus.
Guidelines which aided in its composition were #1, #3, #4,
#5, #10, #14, #15, and #16. Contemporary musical character
istics included in the composition are (1) a texture resulting
from a wide variety of sounds occurring at the same time,
(2) using the voice as an instrument for speech rather than
singing, (3) an overall characteristic of attempting to create an effect, (4) a musical score which is less specific than a traditional score, and (5) the use of aleatoric compositional procedures. This composition will be published in 1979 as part of a set of "Three Contemporary Settings of
Familiar Verses." The set will be published by Hinshaw Music,
Inc., Chapel Hill, North Carolina. The symbol indicates that the normal speaking voice should be used. 145
HICKOHX, LICKOhY, LOCK
Llvlde the chorus Into three groups, degln each group at one measure Intervals. Kalr.taln a steady tempo throurhout, i-reser.t any of the six everts In any order desired. Follow eoch of the six events with the refrain. After completing all six events, continue on. IMD
7 7 7 7 rrQ AAA'' P fc O Hi4 r O** || d Of •**Y* d » t k ,
1 1 > 7 7 2 1 2
) u i i i i REFRAm m H.ct- »*• • y, isi1'' 3
K vTV't-1 CUdt | J J1 ,1- i - i b - u i i
jW*otA--- X ) (ote* It 44 I I "> ^ ev Ii 0«cr\ 146 The third composition, entitled "Twinkle, Twinkle
Little Star," is for speaking chorus and wind chime accompani
ment. The Guidelines utilized in its composition include #1,
#3, #5, #10, and #14. Contemporary musical characteristics
contained in the composition are (1) indefinite pitch nota
tion, (2) the use of sound clusters, (3) aleatoric
compositional procedures, (4) a non-traditional approach
towards texture, (5) the use of sliding pitches, (6) a
musical score which is less specific than a traditional score,
and (7) the use of non-traditional vocal and instrumental
tone colors.
Several non-traditional notational symbols are used
in the composition. These symbols are:
3C Spoken with inflection according to placement on staff.
* .^ v --Lower the pitch level of the voice.
Spoken cluster of sound with inflection according to placement on staff. I
Continue until line stops.
This composition will be published in 1979, as paic of a set
of "Three Contemporary Settings of Familiar Verses." The
set will be published by Hinshaw Music, Inc., Chapel Hill,
North Carolina. 147
TUIJ.KLE, TWINKLE l i t t l e s t a r
Each nenber of the chorus should speak Fart I. Prior to beginning the cor position, each neaber of the choru3 chould select one of the follovlngi
A.t e tlae of your choice during the cesposltlon, present your 8electlon(part II) then go back to part I. Present it as softly and clearly as possible.
PP
¥ -V "RmAl'ltj IveJc'll, Lit‘Pit iVttr,
■r W -rttf K - t r e - 9
± •E' J H r J mm a* U,« tWw i d«» wk,.t fw o»c.
(/•
V l l l n , L i»,l I »«tl« W O IO I. 148
vi r=rz.
i U, — LV*. G, cr* Ty*** * I d e r * Vl»o- <4*-, Y/m i* (Jt»f * * i v^vi*. Vfc»-oo-, 149 The fourth composition, "Misty, Moisty Morning," is for speaking chorus in two parts with piano and bell accom paniment. Guidelines aiding in its composition were #1, #2, #3, #10, #14, #15, and #16. The composition includes Contemporary musical characteristics such as (1) indefinite rhythmic execution in the piano, bells and vocal part II, (2) the use of indefinite vocal pitches, (3) the use of sound clusters, (4) aleatoric compositional procedures, (5) a texture resulting from widely divergent sounds, (6) sliding vocal pitches, (7) the use of consonants as expressive sounds, (8) a formal structure resulting from the overall needs of the composition, (9) the use of a musical score which contains non-traditional notation, and (10) the use of non-traditional vocal and instrumental tone colors. The non-traditional notational symbols used in this score are: J f~ Texture resulting — y— Normal speaking voice. from uncoordinated 'v sounds of words. H ( . Play single tone ^ *••»» per mark. Pitch |y/J Whispered >- should follow mark placement. Continue until line stops. Spoken with inflection according to — * ■ placement on staff. 150 Lower the pitch level of the voice. This composition will be published in 1979, as part of a set of "Three Contemporary Settings of Familiar Verses." The set will be published by Hinshaw Music, Inc., Chapel Hill, North Carolina. 151 KISTJC, KOIST* KChWIKC LIvide chorus Into two proups* KalntaIn a steady tenpo throughout* friano port requlrec a soft-cloth covered stick 7* lonp. Bells ray be of any octave, but should be struck with a : Ballet* netal M l \JUU)Ut o ■ $ £ i Oat rvitu- if PP £ a -4h+- h PP * S------1------1------H — 1------£ U J- - J --x -.--l^.— - — i~ ,,-Jt [ ■ *3 £j& l° \i:fc ------J toWtn d»u4s . V / t l W U ' £ £ BA* Cure- M f h s rs- =2------55- H»-t X O h oU tLn-cMl'd- oU «»> L«^.4V>.* W.U 2et3C 152 £ p--4,:.J;-.jTTp * Egl1j ' k f L Co^ ck.n Hew do 'feu. ■Hr> -■ N 1 ' iiun • 9 • • • • • • « •. • 1 d ppi> £ ife££H=.h--..£j = £ r - r - > - 0 £ N e - - = H ^ ^ do?" Ok - 3*'* llnu. £ P #dfc diM. W . ■M---- rf------s ■s. PPP «i =-^r—— > \ V**'- 4^ - / ------h H • J \ i" i . .... L * '' 153 The fifth composition, "Radiator Lions," is for choir and piano. The text is by Dorothy Aldis.^ Guidelines employed in its composition were #1, #2, #3, #4, #5, #7, #8, #9, #13, and #14. Contemporary musical characteristics found in the composition are (1) non-traditional use of the voice and piano, (2) the use of indefinite vocal pitches, (3) aleatoric compositional procedures, (4) the use of con sonants as expressive sounds, (5) the use of non-traditional notation, and (6) the use of non-traditional harmonic procedures. The non-traditional notational symbols found in this score are: Spoken with inflection according to placement on staff. Normal speaking voice. E l Whisper. SV)\ Shout, Change pitch according to line. Continue until directed to stop. Play all pitches possible between top and bottom of line. ROAR (etc.) As loud as possible. ^■Dorothy Aldis, All Together: A Child*s Treasury of Verse (New York: G. P. Putnam s Sons, 1952), p. 45. A - r 1 * - ± 1 ;; ’ Js-t, • rr M 4#,»^ *T ***1 t -X W- *•— y- f., f Cj zs m ^ 4 <\ 4 U rcrrrsr:o a -==—i" a \-- -e--r Hj_ y •va - i i < m >*> .< -i ir> 1 r >u)G3 — zy*° .. " H i. *** 9 1l>4 T> ■?.) W'l«l * 3 3 ° i IL yV '^'d »\««VNT"'y>| "*f\ _■> U ± = S - t = - i -»« •S* *»3 U* ijtf* \u pyo • *'*« ** ■H'VWC)J - ^ F ~-; C T = 3 3 i dj •n i ,* vv 53 > ^ s. M _ !H). n £ 3 -r-<•.*? .£ ra ------^—■*—*— >------OTCI » |* U i - j , o ' n f r r l r r w S ^ q SN0I7 KOiYIdTfT VSI 155 7 \ r - \ ,VlE W U V— io. a EEEEl =^= tfccz "..Grvtfcyt Ll*ti iUa«%a.' O S i Ut| U / i l l M t f Wttj> «W ^ c l l j p* t»uJj*U* J1 N?\v"w>'CitS\y* V\ui\Vi^QVU^-O ** Kvl* - LI V«» *. fftVi Ui Ufti W clt* o. - W ki — owr attil* C^fC- ^ iw U h it it vc**^ t*IJ vsrfttit cjv*£t*\ accel ^ pcj»vl iu.At, -vs«ct 4Wi»ujftWr ji— xb— "* ROftR- tVi£.S Tb* Novsc— ^ VE-RY ' B h C - ( j V THEl* NOS-ES V ^A -ltR O&EJ-ES ssss- . f e ’^OVJ AV,w4V» ^ ttijL y V ^ .fa j-- —j- itf c r ppsi 'n Jl \o & 1 ji l» no 17 r~i I. -*-*- TROTS VMM MhV.«Th*W I AUD. rf'TN 41 PP U- /Tv /Tv =?= • Oiai^t cW»4> v».j.u j-c. *— - ■ — ■ ■ . r— ----- v------■ftp:--- 1-- :----- ^----- 1-- ri— ------H-- 7— ; -; ,---- i---- H — '— 7 - * ^ i.uy, ..|... ■< ■) A? --- *--- ,---- — ,— ~ — •— ---- -— /.I',,{t ,;," z i ::-".-.. _ *.v;— Z - ^ x L L*vU (U*dt* L'ctil. ^,leci^ gI * AUtMrAi 4v#^Vi tuildLp*- h*. dejl •*' / i. i i ' ; . ; v/ ; i . / " i i Ly---- ,----- 1--- J_J "7 , p ...... i ...... —r------=?—r?------1------— . i m\K " 5' — ■ ft r f ( f i / 1 I * 7 / f t I i ! . / ; J ft/. ^ c ' ' ' / 1 ...... - " w»i LiVt * V: ------=n------1 ------IH \f V •* / \ ^‘ **i ^7 • *7 1 j* / " 1 I *”> . *r / • ’ ■: V " 7I ",mp T V 7 i' J? „ 1 j* / 11 - ...... 1 APPENDIX A Classification Levels of Non-Descriptive Titled Choral Organizations Appearing at Conventions 1967 through 1976 158 159 Classification of Those Choral Organizations Appearing at the Music Educator's National Conference National and North Central Division Conventions during the Period 1967 through 1976 and not Having a Descriptive Title Convention Classification^ Organization Year Elementary All-City Fifth and Sixth 1975 Grade Chorus Omaha, Nebraska East Memorial Chorus 1976 Farmingdale, New York Mennonite Children's Choir 1969 Winnipeg, Canada Mennonite Children's Choir 1970 Winnipeg, Manitoba, Canada Elementary Total - 4 High School A Cappella Choir and Concert Band 1967 Oshkosh, Wisconsin All-State Honor Choir 1974 California Chicago Public Schools 1970 Chicago, Illinois CMEA Honor Choir 1974 Calif om i a Georgia All-State Chorus 1972 Greater Hartford Youth Chorale 1976 Hartford, Connecticut Illinois All-State Chorus 1970 Illinois ^Classification based upon program content 160 Convention Classification^- Organization Year High School Minnesota Braille School Choir 7 ) Faribault, Minnesota MSVA Honors Choir 1967 Michigan Nebraska All-State Chorus 1975 Swing Choirs 1973 Milwaukee, Wisconsin The Ohio ACDA Honors Choir 1971 Ohio The Lincoln Singers 1973 Manitowoc, Wisconsin Westminister Church Choirs 1967 Detroit, Michigan Young Men in Harmony 1974 Barbershop Chorus Southern California School Districts High School Total - 15 Junior High Grafton "Mini" Singers 1971 John Long Middle School Grafton, Wisconsin The Junior Swingers 1969 Davenport, Iowa Junior High Total - 2 ^-Classification based upon program content Convention Classification^- Organization Year Other: Barbershop Singing 1968 Adult/ Christ Episcopal Church Youth 1967 Community/ Choir of Dearborn Family/ Dearborn, Michigan Church/ Non-elementary Dusenbery Family Singers 1976 Houma, Louisiana Huntington Bicentennial Chorus 1976 Huntington, L.I., New York Martin Luther King 1976 Male Glee Club Bronx, New York McGrath Singers 1976 Grand Blanc, Michigan New York Avenue Presbyterian 1976 Church Choir Washington, D.C. The Free Design 1970 The Phoenix Choir of Baltimore 1976 Baltimore, Maryland Other Total - 9 ^-Classification based upon program content APPENDIX B Compositions Presented by Elementary School Age Choirs at Conventions, 1967 through 1976 162 163 Musical Programs Presented by Elementary School Choirs at the Music Educator's National Conference National and North Central Division Conventions during the Years 1967 through 1976 Convention Description Musical Programs 1967 ELEMENTARY "PAIRED SCHOOLS" CHOIR North Central Division Bernard W illrina, Conductor Convention Stanlcv Waldon, Accompanist Have You Ever Seen A Star ...... Fisher The Meadowlarks ...... Z Z '.’.'.Trinkhaua Detroit, Michigan Flute Soloists: Carolyn Howo and Judith L c ty in ^ W e l,t A ™ MeGrail. Ann Arbor T ra il School; M olly Plotlrin, Burgess School Phyllis W hite, McKcrrow School; Bernard Wiltons, Sherrill School April 13 - 16 Isabelle Hoersch, Assistant Director of Music Education, Coordinator of Elementary Choirs UNIVERSITY OF ILLINOIS BOYS CHOIR ROBERT B. SMITH. DIRECTOR Albert D. Kio|, Assistant Director Beverly Lawman, Accompanist to the Livinc Lord ...... - ...... Caspar Othmayr 0616-1663) 1st Doux retard de ms dame ...... Adam d t la H a lit (12407-12887) Vera does et oonstana ...... D an iel F rid eriei (1666-1638) O Ewitkelt ...... A drear Hammerschmidt (1611-1676) Else, el se mundo ...... from Dot Qlogauer LUdsrbuch (16th Century) A Rovin' ...... orr. A (herI D . K in g Santom a vilajon ...... jjtia Bartok Boston Charlie John Chappell 1968 National Convention SEATTLE BOYS' CHOIR JOHN BUDELUAN, CONDUCTOR Seattle, Washington Short Maas ...... John David Lamb Lord Have Mercy Glory to God Holy, Holy, Holy March 14 - 19 Lamb of God Chris Bjarntson, Flute Descant 164 Convention Description Musical Programs 1969 DULUTH BOVS CHORUS North Central Division DULUTH. MINNESOTA Convention A. RICHARD ROBY, CONDUCTOR PROCRAM Fargo, North Dakota Hey. Look Me Over...... L t , Bh and Caitnm* We Sail the Ocean Blue ...... Gilbert ^ s H u £ ! I Am the Captain of the Pinafore " * * * April 26 - 29 Selection! from "West Side Story”...... Leonard Tonight orr SticiJet Somewhere , ' Selections from "My Fair Lady* ...... A e m n 'o n du>e»e Wouldn't It Be Loverly? orr. ft. The Rain In Spain Poor Boy...... FoU Semg a n . P. a h * Step to the Rear...... Xeigh and E. Brmsum an. C tnry Panla Angellcus ...... C otter Frame a n Roby Mlaaa Brevis ...... Benjamin Bnaea Kyrle Gloria Sanctus Benedict us Agnus Del Verse 2 from the Cantata “Christ Lag In Todes banden” ...... S.J. Bach The Nightingale...... ~...... Thomas Weelkct a n G rry ta m Pass Me By ...... - ...... — ...... Xeigh and Cotemce a n . Catsre MENNONITE CHILDREN'S CHOIR WINNIPEG. CANADA H E L E N UTZ, CONDUCTOR PROGRAM Cod la My Song ...... Jeethoven Let All Who Sing Be M erry...... Uecchi Art Thou Troubled...... Jiandel Zion Hoert Die Wacchter Singen...... Jluxtehudt Flocks In Pastures Green Abiding ...... Jioch Away With Melancholy ...... M o ta rt Ave Maria ...... _ ...... -Schubert Cross ...... Mendelssohn Sandmaennehen...... Mrahms I Wonder as I Wander...... Am erican Ea Dehnet Die Scneeige FUeche Slch Aus ...... German II Eat Ne Le Divin Enlanl ...... J?rench Gay La L a ...... Canadian Joy is Like the Rain...... Medical Missionary Sittert Pilgrim Song Medical Missionary Sitters Der Froehliche Wanderer...... M oeller Sing Joyous Bird Montague Phillips 165 Convention Description Musical Programs 1969 (Cont'd) North Central Division REDWOOD FALLS ELEMENTARY SCHOOL CHORUS REDWOOD KALES. MINNESOTA Convention JUDITH A. OLSON. CONDUCTOR PROGRAM Fargo, North Dakota M ike A Joyful Noise Merle Wot son New W illi One Acrord ...... Alessandro CoMontini In These Dclightlul Pleasant Gi ovcs Henry i'urcetl Looking-Glas' H ive: ...... John AIM " C&r-jcntcr April 26 - 29 The Load to Tow n ...... Ivor Martin Gonna Gel Along Without Ya N o w At:lion Kef/vm orr. by Cloy Wormci Coin* Out of My Head ...... Teddy Hondano and Bobbu K’e ,n9tem To America With Love...... Geoigc idles err. byClcy H o r m r t - ALL-C ITY ELEMENTARY SCHOOL CHORUS DOROTHY ANDREWS. DIRECTOR U t There Be Peace on Earth...... M ille r 4 Joc/t.on .. Accompaniment by Roaeevelt EtemcnUry School Harp Eniemblc Simple CLfU ...... Aaron Copland I'm Gonna S in * ...... Spm tual Son* of the Hunter...... Grant Still-Vema An eu Dona Nobti Pacem ...... an. Robert M/i/«on 1970 MENNOMTE CHILDREN’S CHOIR WINNIPEG. MANITOBA, CANADA HELEN LITZ, CONDUCTOR Chicago, Illinois God Is My Son? . Beethoven Let A ll Who Sintr Be M erry ...... JVrehi Art Thou Troubled Handel March 6-10 Zion Hoert Die Waechter Singen Buxtehude Lonely Woods ...... Lully Sing We and Chant It ...... Pearsall Away W ith Melancholy ...... M o zart Fruehlingslied ...... Schubert Gruss Mendelssohn I Waited for the Lord ...... Mendelssohn Gracious Saviour __ Gluek Folk Music and Contemporary Gai Lon La ...... C anadian Spinnerin ...... Austrian Schwefelhoelzle...... A lsatian Stuttering Lovers ...... Iris h Sandmaennehen ...... Germ an Joy Is Like the Rain...... Medical Mission Sisters The Sleigh ...... K ovnts 166 Convention Description Musical Programs 1971 GRAFTON "m ini" SINGERS North Central Division JOHN LONG MIDDLE SCHOOL Convention GRAFTON. WISCONSIN JANICE TOTZKE. Director Rejoice, the Lord Is K in g ______Camille SaintSaetu Cincinnati, Ohio o rr. Ccr.rgc M a rtin Avc Marl* — ...... — ...... Zollon Kodaly The Nightingale ...... Thomas Weelket o rr. Henry Leslie March 11 - 14 Johnny. I Hardly Kneu' Ye. iro m Three Irish Folk Songs ..o rr. Arthur Frackenpohl It's Raining ChoonR-gum ...... - o rr. Charles N. Smith Christ Is Bom lUkralnlan Carol) ______o rr. Robert M. Boberg The Angels and the Shepherds ______...Zo!lon Kodaly Medley: Note Is the Month of Maying ...... - Thomas Morley o rr. Arthur Otal Andersen It Was a Lover and His Lass...... ThomasMorley o rr. Arthur Fagge Lovers Love the Spring ...... Arthur Frackenpohl Rock-a-Byc Your Baby With a Dixie Melody Jean Schtearte The Telephone Hour, from Bye Bye Birdie ..Adonis and Strouse a rr. Clay lV o rm c k With a Little Bit of Luck, from My Fair Lady...Xcrner and Loctce When the Red. Red Robin Comes Bob. Bob Bobbin' Along Harry Woods arr. H arry Stmeone Coflio Orous on White Oak Trees ...... o rr. W m . R. Ftseher iLarly American Play-Party Game Songi What's More American? ...... Jtadish Millet A b e n d lic d ______Traditional G erm an 1972 National Convention SWA1NSBORO ELEMENTARY SCHOOL CHORUS SWA1N5BORO, GEORGIA CHARLES P. DOSTER, CONDUCTOR Atlanta, Georgia Holy Is The Lord of Sabaoth . Grorxe Phillip Tele man itans Charles P Poster Parut Angelicos ...... lacopo Tomadim March 8-12 ttans Charles P Poster Thus Then the Law Uesu, Priceless Treasure) ...... I S Bach One Thing Have 1 D esired ...... Heinrich Schuet: tram Charles P Poster Mass Opus-102 ...... Alexander Tcherepnm See the Gipsies ...... arr. Zoltan Mod&ly A German Farewell ...... arr Charles P Poster Old Man Noah (Three Chanteys) ...... Marshall Bartholemew 167 Convention Description Musical Programs 1972 (Cont'd) National Convention ELEMENTARY SCHOOL CHORUS AND DANCERS W.ktEvnyBrc.th Wrtlur: iJhn** Atlanta, Georgia The Boatman Dance iM m s tid S o n *- I M M ...... Aaw, ( rk n d LnnK.LonS ASo...... fhyJ GKACL ELLIS. CONDUCTOR March 8-12 Negro Spirituals Show Me the Way I VVam to he Rcaav I Knowt hi Lord MELVA COSTIN, CONDUCTOR NEWARK BOYS CHORUS NEWARK, NEW JERSEY I a m e s M cCa r t h y , c o n d u c t o r Kync and Agnus Dei from "Maas of St. Sehastian" ...... Villa-Lobos O Regem C o e li ...... Vittona Lauditc D om inum ...... Mozart-Qumn O Filh ct F ilia ...... Leisnnjt-Qumn S uoni ...... Nystedt Come With Me To My Father’s House ...... Quinn Sometimes I Feel Like a Motherless C hild ...... Quinn Black Brother ...... DcPass-Qumn THE CHATTANOOGA BOYS CHOIR CHATTANOOG A, TENNESSEE STEPHEN I. ORTLIP, CONDUCTOR Two Motets Coniitemim Domini ...... A Constantin; E xsultavit...... Franz Burkhart Ancient Musical Museum-Pieces Seikilos Song...... Greek, 1st Century' Chinese Emperor Entrance H y m n ...... 1 000 B. C. From the Vienna Romantics I'd Enter Your Garden lohannes Brahms The Morning G lory Franz Schubert Two Modem Canons...... Ernst Bacon The Little Children (2-part, in 4th) Schools and Rules (4-part, in unison) Messe Basse ...... Gabriel Faure (with portativ organ! Incantations from Manonette Tale ...... Ned Rorem Cloudless Blue Claw Now 1 Make a Circle Boy Into Animal A Play on Num bers ...... Alice Parker (Commissioned by the Chartanooga Boys Choir, first performance) Three Lenten Poems...... Daniel Pmkham (w ith Stnng Quartet and Celeste) 1 On the S till Surviving Marks II. Upon the Body III. O Save Us Then Twenty First Luke ...... David Brandon Phihps (Commissioned by the Chattanooga Beys Chon, 1967} 168 Convention Description Musical Programs 1973 North Central Division and Elem entary School Choruses: Convention Schools and Director* B row ninR— LouiwSmolik Sieferl— L o in Frannon Cooper —Mniv Pnulz 2l£i Street —Antoinette Berceau Lonefellow—I)a« n Holilen 27th Street — Mnrie ijirten Milwaukee, Wisconsin We Live In The City Alfred Balkin T h e C ity SiRns March 29 - April 1 PlayinR inth e P a rk Feed My Lambs ...... Katalir Slrrth Gnudenmus Hodie ...... S atalir Sleeth EAST CHICAGO ELEMENTARY ALL-CITY FESTIVAL CHORUS East Chicago, Indiana Samuel Law. conductor Let All Thing* Now Living ...... Katherine DavtH The Little Iwimh ...... A/ary Caldwell The Calypso Song ...... Thomat/Gardner The Lobster Qundrilie...... Irving Fine Elijah Hock ...... H aireton The Water is Wide ...... Zan in rlh At the Hiver...... Copland/Whit* Ching-A-Ring Chaw ...... Coptond/Fint 1974 National Convention ThuIs MvCountry ...... A ifornbs Dreams Are Made lor Children. Medley ...... fern* Livingston Mock David Mox Melh Orange County Elementary Honor Chorus Anaheim, California Director. Ireta Cushing. Anaheim City School Distrir* March 22 - 26 SEQUOIA nXMENTAlY SCHOOL CHOU WCS1MCMSTEB. CALIFORNIA jSaIYhi. GAB KIEL CONDUCTOR Alleluia! SingPhase To The L o rd ...... I S Bnt h Tumba (An Indian C ha n t) ...... orr J V'jsro und H Oliver CateNacht (German Foil Song) ...... urr. tee Kjelson CaudeamusHodie ...... No ioJjp Sleeth T h e Night Song from "The Little Sweet" ...... Benjamin Britten Selections from"A Child's Bouk of beasts'' ...... loan Berber River Sung from "Tom Sawver' HirhunJ Sherman and Hubert Sherman Selections from Chain h uf Rain" (A fact Cantata) Walter Houslev 169 Convention Description Musical Programs 1974 (Cont’d) NOTTHWEST BOYCHOIB National Convention m a h t s v t u x . WASHINGTON fXXOME WEIGHT. CONDUCTOR Gone Let Us Start A Joyful Son* (Nun F*npcl A n ) ...... Hons Loo Hossler Anaheim, California arr Grevson ScoctQiand Bflnedictusfrom "Masun B-Flai" ...... AntomuLofn orr f.hrn Sound the Trumpel from "Comn. Ye Sons of A n -' ...... HenrvPurreJJ March 22 - 26 ed. Erb Vani. Creator Spiritus (Motel I ...... HpcforBerltm TTjPwOjora) Pieces ...... /ro n B rrg rr l.LordH oypntc 2. lo rd Cltve 3. Three Young Rats I Sint of Books. Blossoms. Birds, and B ow ers...... William Molonf Poor Man h a r m s...... SpinfuoJ orr fcsier Hoirsfon Cfcing-A-Ring Chaw IMinstrnl Snnji) ...... Adopted Aoron Coplond orr. Irving fine Day By Day from the M uucal "G od.pclT ...... Stephen Schwortr orr. Hovward Battle Hymn of the Republic ...... WiJI»om Sieffr o rr HinpwaJti 1975 BROKEN ARROW ELEMENTARY SCHOOL CHORUS LAWRENCE. KANSAS North Central - South Western NANCY JO GRIFFIN .CONDUCTOR Divisions Convention Three Excerpts fiom “ The Reaaanl Cantata" . . . . J. .S. flach err, Frank Campbrll-lVafton. Omaha, Nebraska 1. We father here, good Neighbors all 2. Spring Is conir 3. Come now to the Inn Hear O ur Supplication ...... U’. A. M o /o rf ect, Arthur MiHon April 3 - 6 A Shepherd Kept Sheep Lric Thiman Pavane Louis L While Bless the B easts and C h ild r e n ...... Sorry Pv Von on Perry Bothm. Jr. orr. Sot Hcrhnu ill Child Song Neil fhomond orr, John K in von The World Goes Uollmc On (ienhon Kim/* irv Those Mapic Changes ...... W'orrrn Cosey A Jtm Jamht orr. Oenrgf HVt Convention Description Musical Programs 1975 (Cont’d) North Central - South Western a l u c i t y f i f t h a n d s i x t h g r a d e c h o r u s Divisions Convention Omaha, Nebraska I:::::::::::::;;"-“ S Jamaican Farewell ...... Caribbean Folk Song April 3 - 6 IOWA CITY BOY'S CHOIR IOWA CITY, IOWA EDWARD L. MASSEY, CONDUCTOR A Ceremony of Carols, Op. 28 ...... Bentomm Bnttm A U e lu w i...... Rondotl Thnmntnn S in t O ut ...... M ike Stt u art Movin* O n ...... Raymond //onrunn Lltllc Bil of Melody . ^omuol R c rte W ith a Friend Like Y o u...... tj^nnit Thomat Everybody’s Gotta a Song . . . Lduo*d Mcuey O* It’s Great to Be Livin* This Morning ...... Douglat Ntchol METROPOLITAN BOYS CHOIR MINNEAPOLIS. MINNESOTA BEA SPEED, CONDUCTOR Alleluia (Cantata 1 4 2 ) ...... J.S. llaeh Miserere M e i ...... AntoniD I otti Ave V e r u m ...... W. A , Mozart Lift Thine Eves to the Mountains ...... F. Mendelssohn Sine, Sing a Song for me ...... Vccchi*Crr'/xnn Sound the T rum pet ...... f’ltrccll Frrt T b rvr Sonps for Treble V o ice s ...... Jean Unger Ojd Ark's a*Moverin‘ ...... Nobel Com M ovin* On ...... H . //onmsion New World Coming ...... Burry Mann & Writ From Sea to Shinuu: S e a ...... Ward Whitney You're » Grand Old Kl^i; ...... Cn han-1: hrcl Tijuana H ras* f/rrh Alnrrl Instrumental Ensemble Selections from Musical T heatre ...... 171 Convention Description Musical Programs 1976 National Convention METROPOLITAN BOYS CHOIR MINNEAPOLIS, MINNESOTA BEA SPEED, CONDUCTOR Atlantic City, New Jersey Kyric from Mass V I I ...... Antonio Lotti orr. A rthurs. Tolmadge March 10 - 14 (E. C. Schirmcr) Alleluiah (from Motet “Exultate, jubilate”) . W. A. Mozart (H. Flammer)orr. Wallingford Riegger Wondrous L o v e ...... orr. John Jacob Nilet (G. Schiiroer) Amarine Grace ...... arr. John Cootet, Jr. (Shaw nee) Festival Response ...... David Stocker (Som erset) Come Let Us Start a Joyful Sone .... Hans Leo Hastier (Bourne) orr. Norman Greyton Three Choral Pieces ...... Jean Berger (KJos) Lord Heyeate L o rd Clive Three Young Rats Set Down S ervan t...... arr. Robert Shaw (Shaw nee) H a r m o n y n . Simon & A. Kaplan (S haw nee) arr. Hawley Ades George M, Cohan Patriotic Fantasy . . . George M. Cohan a rr.H'. E h re t St P . Y o d e r (Belwin>Mills) Metro Boys Band Selections Selections from Musical Theatre c a s t r.tr/cop.iAL ctior.us F/.r.MiNGDALE, NCV7 YORK LlAUiE AQUIL1NA, CONDUCTOR Amozlnc Grace . . err. John Nett Deck (DccUcnhorst) William Hillings & (MCA Music) N id i H o : : i Orpheus with llis Lute ...... W illiam S c h u m a n (G . Schirmcr) Rinr. the Bell (from Three Sor.cs(or Treble Voices) . . aeon Berger (C o lo m b o ) . W illiam S chum .cn H oliday S o re . . . (G. Schirmcr) Set Down Servant . arr. Robert Shaw (Sltawr.ee) (reelIn t.) Gaudcamus llodic (C. Fiscte:) . G e o rg e M . C o h e n Finale from "Ck-crce M " ...... (Tams-W'itma:!;) APPENDIX C ANALYZATION FORMS CONTAINING DATA SECURED DURING ANALYZATION OF CHORAL COMPOSITIONS 172 TITLEi J i U U I'Rcan/.t: p a c e / / i . q q COi'.i GZZi; I p e r f c h h i i .c c :;c a :. i z a t i c :: i JUiiI.IZHZ:! i E. C. S r L X ol^ici . jW lrt-., IVt.ll -Xc.ua. C i|j,. £cuu._ coi-yjiiGii? i__ j _3M_ LinjiC'i'c;:: COi.ViM'IO.; Lt.'i'~ i I <171 c o ;:7z :;t i : ____ cozveetk,:; lccatiu < 6k..u.. n .L g e e e r a l c:-:\P-Acv.'.r;t s t t c s <1 f ^ f ' SPECIFIC CHARACTERISTICS CCH7EKTS RHYTHMi 'W*. fv. */,) i ' 11".. ■ -• >• - AM, .. k ."I .... . J. L / .. ■ i.. I*',. w.i. ••••* . . n.-j • . •J.-r...... ' ( i - • i . * ; « „, 1 V.i- . f f \ v o —f i * ------r*--p— — a .. 1 - o--- I r. /- v i, .- Lt if. r f o r m ik Kusici . ■> . ^ FORKS OF KU3ICi fr-\-ia t 1 . .. I .C, IEKPOI \| n ..A ■ L,...U . WU„r.-Sr - I (I ■/ • • - * * - • . * • ■ • • — DYNAMICS t I C L - STC-. , J ' , TQKE COLORi TITLEi k Chilei'-t E & oL o~f B eal-h _ PHGcn/.i: p a g e //i 3Q CCi,i'Ow»LiK » fafytjgw p e r f g h n i e g c::s/.:.i/.a t i c ::i t-VBLlUiiH i X 4^jL^dL~lBvc." -Rohr* AnrouJ £L^iMfvifa<-j. -JfltJuiUt r //cuiJIs’k._____ —.„ 'k.ficel Cktuu_____ ■ LouiVfyiHj _____ corYiiici:?! 190,7 DI.'iECIC-.'I : /iaur.. CONVENTION CCi. VE..» 1 L.\ i : /jciiit Vf H-jv*I c o n v e n t i o n l o c a t i o n T CEKEH1. L CHARACTERISTICS VOICINGi T . , r ■ - 4--.? ft NATURE l r.fr i ws.),./ » . * .C ■ .r .N I-1 ‘-T.__f /.riN ■■■ w J -Ciy-Jo. ■ L->/- H.<1051frfec LENGTH ivn..n 1 i — r-.U ORES .. a ?/»*/( SPECIFIC CHARACTERISTICS CCr'EKTS BHTTKMi !a I..C I,. U ., L .,4 .‘ - 1...:. '■ • • ■■ T I ■ iU, ..-.L-!,_____ 176 kouk in ;:usici rs / u . i ■»> r.n,..,..,* t . - IN; '*-.■ ~ ' ■'•■ -r ••■■■■■ ’> — =>. 1 irt ■■. ; r.i ------ii--- — L^u±*> JQ.v'l ' $r L -U 6 - • t-vtr » *" I _£L/X i - , ' ■W . . , C f Y a * /=* ffj.Jhi _. t ^ , . . « M ft * TEKPO. V, 1 . - . ______L r . - l * ... ~~l r ' > r » : 0 2 ) ■* <»-»»»■ -A* • -■••■i- JIl.,' I . 4...------' I*, j t -■■■■. J Ht/ 758041^5 * r.rr ■:.■■•> „.J L-..>,.r-fL-_?-- " I ; - **•-. n »■» > >A « “H y v T EJfliAKICS i r f- u... f , _ t 7 . n. L ■ > *. . ^ ~=— ■£ u~ - r - f r , r .:.7..f—11c.' -itisXJ- jzjt^L_____ :______> iy>-« .. ^ .. >-•. !.:-■.■> ^■*Wv. ■- _ ■ : . . - u r :______:______ TONE COLONi i ' ‘ -I’ ------£ ,„ T IT L E . ___ Pnccn/.H PAGE //»_ CC.Ei C~L.r. I A/i4q.LV J l e c f U PEEFCRNING ORGAN IZA.TIGN I I-UULIEHZi't I Caul f; UlO.UM.g4 ■ k,^ %»k, h. k_____ COr-YJi ICH?: _ _ _ 1 1ZjL_ DI:;EC1 C:! i Eltu.t*ki<~ TtmJifu CONVENTION U .T^I I r, c 'e .hacvlniettcs VOICING I /'/wii*. NATURE I ft ff r - <■■..>• -N~« , Wp.l-.I1,./ , f fv^.e;>ir ■ i&c.vr£ • LENGTH i SPECIFIC CHHACTERTSTTCS CGK/EKTS RHYTHM I ,^ v -. '■ * U C- I r J I c'e :-A ^ . ^■■‘U ' - »'■■-■■ ■- ••~ J T ■ L'».l< I I--?'- - 1 ■* 1 ' ..kg■■i'f\ ______ M ELO DYi.tvufL i - f 1 .'-., a i o . i r ^ v v i'c .»- :L ;•-t -A-.L~,-n— — — _ 0- ■ L V, | . — - . . % ' - - -' ------HAP.NO.NYi ■ • • 1 ' T v o ' - - FORK It; t;U3ICl ^ ,L ■ I v.,c ■■ ■ .-I (lll’l* rf OF KU3ICi rA*y- tin » + Lut^U -X W-> « V p • 1- «. u . C • A'- c-.. - ^ 7 - V- rf'.:, •l! • .A. d- 4A- r/ V9 ... J'l'-S'. ' *'-c ...... DYNAMICS» /IIP i-'"I Tot.’E c o l o r i ..... .. .I- : y . . - i J l T IT LE i JsilwotLSy COMt< & _ I-RCORAH PACE Ih 7 5 CCEi OE^;: I_JJauiiL UfacAcir— performing crganizaxicn i PUBLI'Sr.bil! .'.rK ioirf T-Vrxi Dlfkr^JlLt, Fjgrl Ckt* + ■ - D t . i ___ MiAu/tt.jJ.'j J A7. A » *•:r,Av Cn Ke< sHvftiw f Xff COPY;; ICHT i___1523______DIRECTC.;;; g ta Jafgc/ ! CU.VzZ/i'IUA L/.’i'ii !Q 7(e c g n v e n t i ! CG**VK**TIC1< LOCmTIC«* i /W^L,«k~< GENERA L CH..RACTERIS'l'TCS v o i c i n g i .crAfl f ______' N/lTURE I P. SPECIFIC CHARACTERISTICS CGTC'SKTS RHYTHM i Vj.-1.. :• J... rf *wl« V«> ■.. ... i n't ^ ■ ‘rt ■ - V . X. I ,. .. I r i - n ♦ • . t ■ ■ * -.t* — L“ - * 1 » - • -- | i ______ ■ t> i.faVJ. <-T 1 . /r frt- * -♦ r :■ ■ i L r . *.....\ : : _ !. • AJi - ■*• ' a : . i ___ i h i Uft -• - - i f ------a ■ 1 c * IS Uj. - / w > • : • r r . . \ 180 FORK it; nusiCi S'... a K t i n w ; v v M c w. r \ . - w - «. : c v * * ./ i . . . . ■ . • ‘ r. • > •:* . <, X ..i - - t • H M * f " • SH t i :l S' • C 7 TEKPOl tV. ■' lr I [• .1 , A f, >A. .fl-,!. . >, f • * r ■ I I; - •• i - . SlA DXKAKICS i >rn■ PB --TC. r,,..V/„lf —“.t ■_r.utiair—v r:,;: ______-i-~.- '■■II • - f . - ■ .,..1. • ■ TONE COLORi ■ ■■•■•I w.-.l o.J ,<*■,..• 'it 1.11 rt_____ v .-t tp.L/nf W f, T IT L E I { - r r , , . A j //o d it. VV.ZZ'M.V. PACE //1 .ff/33 CCF.i'CCEi: i N'jJaf'e S/cei^ fe::kc;:;:i::c c:>ga:.jv-.atic::j P U i i L I . j h —:t 1 Chit -f'i.cLr V -I~U L . jlhLaJji. Ai n ,.... Attv'iu. CLnii- /V -ufiJLlUA______COFYHIGET; /7r3. CU.VEi.TIU> U -I-i CC»V*ai>TIU* LCC.>riO» i GE.'.E.W•■ L CHAP--iCTEPI.CTTC3 VOICING i 3 p. Ka TUHE i ______Cicrr.K- Lr.-Li-. u.iU> E-..»U:U -Lr,-! L*-.... _J n r »fd A rru L i.* ■ fr>*p0i*>l LENGTH I 7 7 77 ' ^EaSOhES 1 *■"* SPECIFIC C:i:.RACTEH T5TICS CCKYEKTS HHYTHi'i ■ LIU r f %.■.»■>■■■• : -4> t ..f _ jut o v * J 4 M - ... KELODYi v-'r.'-tl- i.-.*-.,' rl.-.t -Lu.L',. -ll*.-.!',u • U . i..- ^ ‘ fcr.. ■Sftnr-r ^ly b-CT b-rr EARKONYi ^ w - t t . e>v.t>. >...... - _* .aL —- ' ■______LJ______182 f o iik IK KUSIC. B,.„ „.U, A, :■ r , . ■' ■' t ■_ W - [ .4 |.■ ■. i . , ■ •• , _ r.Ll - . til.:.. ■ : ■ ’ 1 • 1 - I ' ' - ' ■... » / . I-. ■ l ______ FCniiS OF KU-jICi en w Lt• * . *^V v«t *■■ a— -* a - * £ ------.uui , ■-->■ <>.». v.--- gEKPQ«_/j£_gv™. A ■ ,//, - LYIJAKICS I o u t cLw,- t .■* r .- p . - / if U fi-» .■> f - l: M jjL TCJ«E COLOR Lu•£c uit r/___ - ^ •'■•- ■ ■ ■■ ■»■-•-.. ■■ ■ ^ n i i i - i . . fiim k1,'^ -.J- a - Q.K . j ______—i'- -' -■" ■- -- 1 - * " |-~ '“ ■ 183 TIT Li. i rncsR/.r: pace // 1. -3.3 CCr.i O -^ ii 1 RfuR f * LiirJUlL u J LI . __ Pi£.r:i c:;;;11 :g c:;sa:: iz ,v r ic :; i jUHLlSKER i .Ph CjIl i* A COPYiilGH?: /T7-1 PI;; E C I C.:; c o n v e n t i o n u.iai /?« CG!. -«/i./PlC.* convention location: o ^u L.. n , l . GENERA L CH.. RA CTER 1ST TC3 VOICINGi ^-E.a.'V tftymU cl'C'v Na TURE: s T LENGTH i ' -a 5 s p e c i f i c ckaractertstics c c v y p irT s RHYTHMi Lol.I U u f'il >1- H-. 7870083973 . tuc. c. -i.l. KSLOGY i a c ^ . t ^ - i- . < T ' . . ■ fu l.'i.* m v -<. -A.' * / L* -a rui.il " ifci-i.-- f L-*- m H/vHnONY i I'v —'.■'■■I A. 184 KOHK IK MUSICi ,..,k il .fUti, -kit -'•jxJuil'.. piii Foniis o> m u s i c » ty.t r,.!,,., I,,,., ■*" '■ ’r i- , ■>. <. j ! - •, r-. . n>->< .-M l'i‘i '. S" “ ■"■'■V,|' **'*.. — .. TEMPO I Vo...' I., • f /'r r o |^P V . , r,.-4. ,J.„/ „ J ■ J" DYNAMICS I ■■■■■-:• >v\ y > f . c> , , r k^U r' CUiMjt . . '.Viii ".. m i - ___• -'- TONE COLOR i _ 1 p r,f■, - ^ i ' ? M ,., . --..., ■■ :------ZI. ■•■:»'• £ 4 : TITLE. M b A t . N d i ' i . . U k t i k . prcspjj: page H i aq CCKi’OGLi; i_ p e r f o r m in g c :>ca n i z a t i g ::« l UBLIoi:E:l i Z i A CItMeitfuum 6> i4 rt CAm-m______L«U )»f,lfr fclnJOJ______ COPY/ilG!-:?:. J 3 2 S 2 - DIRECTOR t CONVENTION L.i» i . 1 3 2 3 . c o n v e n t i o n C C A V& A T X C«< LOC<»TICi> i Ci^ER'.L CKAPAXT?.RISTTC3 VOICINGi 5ft _ NATURE i. LEKGTH i ' rlinSGREo SPECIFIC CHARACTERISTICS CCTCAEKTS RKYTKMi '• r . r 4.J. .-I.. MELODY: iV:- • :, .’. ...- .- t..c ...... < •-■-...I . •■./- HAP.KONY i -T ,... 186 fork u; i;usici t. : - . . 'Ji. FORKS OK KU3IC ■ ~ - - |-^ / TEICPOl r .. 1 . < • eU fr. LI /. - DXHAKICSi ---C - ri - <11- • < . A13C Wi.. tore color i 1 ■ ■ . •• 187 TITLE i. p r c o r a h p a c e //1 n o CCr'.i;CCcl: p e r f c :?;-;i::c c r g a ::i z /-,t i g ::« i'VdLl&Xzli J Ifr I Tff H cu. YbaL-__ COPYRIGHTi I1M-- D I R E C T O R i ntiiuit nf\n(inu. COEVENTIUi U.UEi_ J L lZ t ~ c c ;:v ^:;t i u > c c e v e h t i c :; l c c a t i c ;. GEKF.Hi.L CH-■ CTi'.EILTTC." VOICINGi 5 r h ______NATUREi c . • ~ ~ LLi.GTH I • ■; • MEASURES ' SPECIFIC CH-.3ACT.-.PT5TIC5 ' CGT'FEKTS r h y t h ;:i ,--- ■' •'■ <■ ■ • MELODYi It... •- • - •' - J- - '.■■■- ! ■ S. \ ' •' ,______ h a p .;;g :;y i ■ ^ FORK IK MUSICi FORMS OF MUSIC» T~ .A . i. ? L . ' . DYNAMICS i -F-r.c TONE COLOR: 189 TITLEi PRCGRAK PAGE /h 33 COKl'OEL; p e r f o r ;:i ::g g r g a .h i e a x i c :; PUBLISH Z L U U t.t /./o»yAux-iP cl t/Jnjrv Co»j. Pa. COFYIiIGIiT ••___L323 DIRECTC;* ; 3 i . n n CGi.VEi.TIOlv L..T&: Z974 CCi;COHVESTIGE VEST ICE /%((. CGa\VESTIGE LGCnTIGi', s A ucS ri . GEE’ EH'. L CH-.RACTER I ST ICS VOICING t CCCSAA’ NATURE : a r^> u -1. ’.. • LEKGTii i (ri‘ rlEz-.SURES SPECIFIC CHAR ACTERT3TICS CCKVF.NTS RHYTHMi iVi • . ..-^ . • 4/-i % V\ A* • J-E-. - , ■■ f r* « •*« * 11 . . • •• i ‘ f I v t '/f v , .M MELODY i L, J I ' f W ' / ( u . r .' • ( . ______( ■ ■ ■ ^.\.. >J. i... t ■. , . KAP.MCHY« V \ v ' . .-.f-v, J < . ' , r - 0 ------ | ^ = = = = ■ , i :>r ...... 190 fo rm ir , m u s ic » ■ .. - 1.. • V*?. *■.•,- T-. I I- ' ' ' ~.'V>a. i - ■-., ** ~ - ■ .1 . FORMS OF MUSIC» A-'-U V* 1 A’>l - ■ - r;: C ‘ ' ,. — M ^ TEMPOi lU ^ M .-P , ! ; / . r„ r.» f , ;X . -, o- . - DYNAMICS i>i> .-TO, —= = ^ ■ = — •X- V _ ’wt- w -...» TONE COLOR t -i n^.i— 191 T IT L E . TV-a.r^ U « • - • PROGRAM PAGE //._ 3 ? .. . COI'POSEn: ~Trrtu ■>•______PERFOHi'IIiG c p g a :. u a t i c ; : I PUSLIGr.~:i; Pyfiijlwi,___ £ircltsp H**olo E^lemtn'ki^- Ptl'iMi» Lk.lrv fta. .______-_ 4cJiO’2/.CllQ*U_____ -Mi u; 1/ Cat, ij J it A iiu. COPYRIGHT1 "• _ _ L £ 2 1 m ______D IF iE C T C P .: /V an , f a j H U CGJ.VE1-TIUA L,.Tai I4 7 S______COKVEETllE ( ,u U < A COaVEuTIC.< LCCr»TICt1* i Qhvilia^ N /L' GLi.'EHA L CH-\P-'.CTEniSTTC3 A'ATUFlE . "Ur* '.J n , -■.. c .c LE XG TR» I'lEhSGEEi •‘irj / L'b SPECIFIC CHARACTERISTICS CCK7EKTS RHYTHM iR- u...I... - ,‘T ,? - ci...'- J...... % . i. .i. r ? i. . , ^ 1 r 4i.. '. * •-••-• V-4' • c' . L'l>■ • ~ - i. AC f • MELODY «:R<- Uy. s'. • I...J-.u ..r; . .. • , i.-...' i m . ' •s , ... . ^ _ J ■. - *V , i. ,. . J ...... ' . .■ . 1 r. ’ ;. ' w ~ , .. . .■"■'VSi ■- /. ' 'a - c t . v:r-:' i , s. _ 1 r <,V' ■ 1 1 ;i ^ ■ ■!' » -• ----- r-2---( *J J'"' v -*• - ^ - - HfvP.KONY lit-'.•••.» - • ^ .. , ^ , r r ~. • - ’ \ ■ " T T R 1. - M ..... _ v> - • v .'.c...... ' ' ' ' ' • ' ! ".I . ■' •: - - - • ‘ ' •' '..’ ... 4-f . r ■.. , . , /, M •• . * k 192 FORK IK MUSIC) »!• ,,,, r -J...... ^ ■ t,w y r M.. J, FORMS OF MUSIC i <*|. t. u,. i-i t y >- 1, f . .j ’ ■ u ~f ■ _____ /■-•■.■ ;; - c ^ ^ * >- »^ s\ A 1 - f) • l ______»"-V.-<.T TEMPO) 4 (. ,-lM- 7..„ C,.-|. ,..-f a - t. . ■ ... .1 :-).. St.i - f - • / • DYNAMICS t fei. P. f VJ >V-' U-':. rs. > i r r v ,. -l ' r. .., . 'r* . , . j r. v - • *• ' ' V* «*_ .. f • I . TONE COLOR) M.o-f.M.-v, .I ... c< •r? -» ■ . ■ ■ ■ , r • . - ' V t ■■ ., *"<*' •■ * '■ 193 TITLE. 77?e tttit LhI . _ pnccn/.r; p a g e //«. .A ? COi'-irCoEi;: L U , tj g. PEAFORi'.iEG cno;.:; ieatic;; 1 I-UBLI or.iH '■ Pu.UU.cJih±. JSaif-C/tA ° , ■ A ll- CiU ftri-Qi-J CC GLKEKA L CrL\PX.CTLRISTTC3 NilTUHn. t •, t ,* f i - i r ^ l 1 o ■■ . , t U l v » C LENGTH * MEm SU?4E5 SPECIFIC CHARACTERISTICS CCKFEKTS RKYTKMi •■■!... ___ ' ,->'■ ' !-4-- JL ;., . *{w ■. . F* 1 • • t L*>> • *'»\ i. .. . •' i f . . “ I ; / . r- ffe)- 1 % KAP.MO.NYi 4 ^ ..f ^ .. -LEi— X,.., ij . FORMS OF MUSIC» 1 ^ , . . i-o A - T ■ TEMPOt C W - . - ' .. .1 j. -ii ■ .Wr-i DYNAMICS* Pn-Cf- • 195 TITLE. JJU JiiidLffeffc. PROGRAM PAGE //«. JL L CCMPOSii: i N at H c ^a m perform ing organin a tic >;t PUELIohEE! J ^ uuia «< PttiJj Xvic.. /it'y o co E U toedttiJ 'SrAcct Cka\ui COPYRIGHT: l GEKEKf.L CHARACTERISTICS VOICING i 5 A N/iTURE sr ■■- o er • +w,/ ‘ . -1 J ••>• LENGTH i ' -.7 MEASURES SPECIFIC CHAR ACTERTSTIC3 CGMYEKTS RHYTHM 1 vA •% .(A.-. .(*■■■ U ;. •: " r ..• ^ » L > .1 —* 1 ■ MELODYt .■■ii rl. ilE- I " v . C - ' ^ I 1 > ‘ . ?. 1 r y , r . { tr-.. •*. ^1 ,■ . -e— HARMONY » T- i'.fo... - tL L£ Cn-sj.,,,’ .. ry I » j* ,i . " ^ ^ ) 1 1 I.. " ( n 1 ■■ . V.- I I lv 4v. -I .. f _ 1 t** I' .• 1 ,!., - $ ~ 196 FORK IK r;U2IC» U.,. , -»r-.:...... FORKS OF KUSICi >.-io______?, fl ■ h - M . 1 : . f, r , .1 . V - ■» r . C - Cu ■ ■ y. . 17 TFKPOl >4 fn . i\. , ,.1,1 Cj u / M . n . : :--t - - r _ •• i r ; , , . t , DYNAMICS i P-Cc ,.w ^ ^==»— f,,ff, TOLE COLOR J«i£LLiL. ------^ ^ . p - - ^ . . 197 TITLE i. iWXn i i k s _ I ’P.CORA M PACE //;, SG CCMPOSEis i . AyUww -fvatJi/Jfi&Ul p e r f o r m i n g c r g a :; i e a t i g n « PUBLISHER !. t'/iitj'-Li /illtiA ^lle vft . »g‘f-fvrt “ frllAl ' ______i&u COPYRIGHT; i 4 h 7 DIRECTOR :_JZ^Ut_^A5 ______CC i . V E N T I C E Lr.Tii i iqvl CCWVENTICiv iw.YUHE: CONVENTION LOCi.TIG.. : Oln‘» GENERAL CH-.RACTEEISTTCS VOICINGi If A NATURE : K-. • i'm,'.!,. * . . LENGTH i '"C 1IE/-.SURE0 SPECIFIC CHARACTERISTICS CCM/EKTS RHYTHM 1 rA v «v *\ c • KYLODY 1 '.....-t. ■ J . ■(- . I...... •7TC*4 — ^- & -£p-h -u —^ o c=0 ■^Oj ' HARMONY » V • ■ ,.1/r A -r- / 198 FORK IK MUSIC 1 _» r'.lf"/, ; fn-J o,, (■ . t C. yep-i.! 1 . U FORKS OF MUSIC i T ^ v , . I - 3. ■ - ^ *• ^ 1 :.• .Ur, «-.c K - y ! r /' - ~i-2\ (-■ ' ■ - t e k p q i L,o>>:( l..;k r, c„, • c t - / D Y N A M I C S : >• 0£. 1 = = » .fu;- ■». <• v ______' _____ * -■ • • •_ V1 v '••r- TONE COLOR: ,.....,0 — — 199 TITLE. I L f /1W - 1 P n a h v l ______PRCGP./.K PAGE //< 5 1 COMPOSE;:! RtUl, Hu,Hr*______PERFORMING ORGANIEATION » PUBLISHER i_ Lault,\r-.Gauld.______.Lro'ijr* AwHui E/ei*e»k,>* . _/i//w dCUwJ__CUo\ul______L f t u / v . kantiiit_____ COPYRIGHT: M Q 4 ______DIRECTOR s y ] / ^ (o CONVENTION Li.IS.; CONVENTION E.-.-TcP.E ; CONVENTION LOCfiTICis I fJuiuim. Ai(L GEN EH-'. L CHS > RA CTRRISTTC3 VOICING» -TlAA NATURE: .p. ... ,, LENGTH «J ______rISr.SUP.E3 U. A: 1 SPECIFIC CH ERA CTERT3TICS CCK/EKT5 R H Y T H M - f tT? X : •. . . I • *? V w ■ ... ... • r 1 * > / - r .. < • ’ L S L O D Y r U r,H ■ A . , E ..V 'V-'. - Hi.- ■. • t-r- . t • -.r.r^rr- r —r t r r \-F------SB-€r *v* -fr ~ 1 KA P.HONY A...,., ■ \ ■ -I,/-I ■■■ ,f. V „ , f[.„. V..TN . ‘I.. /•» ‘ k _<. ¥ y FORK IN MUSIC: >v , h.::, ^ ft - * FORKS OF KU3IC»*|.r- h ♦ • i *-'■ ’ I- : ► ^ i TEKPOi:-l- ,'.i3o ..'1. ... .1 DYNAMICS t t u C C r ■ •' • ^ , .» - f it-. . uy>• - ■ . ., . ■ \ I ‘ „ * . . TONE COLOR: ■k.u.Vl .'.f ■ 201 TITLE i. rncan/.r: p a g e //< /^9 CCi-.i Co.-;;: __f \ &a«) t « Hna.nUjuUa.n- m u H A __ p e r f o r m i n g o r g a n i z a t i c :: i PUBLIoH~E:____ - - ■ .I-.- - J/ ? Ilian ^gii- -Dc.(twattUJuicvl*cfi,.fkLj COPYRIGHT .1222=- DIRECTOR(ECTC.'i :__fl/a S~Aetrl CONVENTION Li.TEi CCi■■v e ::t i c :~T w ~: c o n v e n t i o n LCCnTICn i GENERA L CHAEACTREISTTC3 VOICING i -T A IvaTURE» L.■':); »>yr; *» LENGTHt AC fE.X3UriEj 1 ' SPECIFIC CHARACTERISTICS COT'FENTS RKYTHNi -o.- .______■______Q - ~ KSLODYt . u,.i< -U.. f VV-.H is:..!; ~~r. r—!------r —“----- r ~r— .------T------ Z};7 ■iM : ^ ...... ci . ------— — KAP.HONY i ^ ,-U. f t .. «: • -. -1 ______— — — — JU__ Lfc i - - — 202 FORK IN MUSIC i fl.vw.. v -..li ■ - r--„- w ..f • FORMS OF MUSIC .1 /V- - • i. . < *■ •V , 3 * - ,C A'- A.f • «li r * *# , ' i-5i r V • ? c TEKPOt /I )r-' ■■ ,i,< J m v i.V'- DYNAKICS : r.^ ^ ^ ~ rL-. - .t, --r- ' ■■, TONE COLOR i f - >• AU" ' v..,/ /.v'^„.,/ ' ' ' . . / ,1 / . 7 7 7 T iw 203 TITLE I ,. J7Il£ PnCGE/.E PAGE //1 3 ? COi'.I Ooiit: _ P^Ui'-A Manttuz.^ 1__ p e h f g h k i h c c r c a h i z a i i c h i 1- UELISKER:_. CTIiIXj^W, C t ^ . PkyftPp /)vrcu> & Jrt*flA a*y ..B.vi.t-1 Haua/, &o_ C.Uoyuj COPYRIGHT:. J17JL DI::ECiC.< fiyiViU .. __ CGI. VEi> TI ON* Li iTa i / GEKEH'. L CHAPA.CTER 1STTC3 VOICING» •fi.'o r^.4- KATUHE: cut-vVu. ttitUv .P-/; r i LENGTH I JLZ. .^7 11 rE.hSUP.EE ' 1 SPECIFIC CHARACTERISTICS CGKYSKTS RHYTHM» vW*A ... ,1, ■ [ w l M tl ■=■-'• 1- \ r J •U..' i.. t ~J u v rw 0/ i__ w.l •^ - i. - - ’ ■■•■:.■ ?l <"•:«, .i.-f *"•, 1. llf,( ‘1 t " /* "" A ■ *' ' i I f\X —12------q ------" 1 1 -t.— :..." * .. i :e... r = ...... ■■ ■■; ■ - » - T w ______’ ~~Tvr,,( -1 -i.., . r . ft ( \ 1, .i .V a : •.*_ i * • as 204 FOIiK IK HUSICt !T r. o.-.- ,> c . i L J n ^ if A'.'.3 1* w .- *■•■<■ fevt.iln ,r ^ nx+ ^ 4 wo -■ i. i , ... t i- 2(1 .>< (^ *lu)0 \ 0 ^.A L*V ., r - '•» > ’ r',.1 r^.-l.y . «* v*.** V t — 1- ?. b - 0 - !u AT - si - s S I ■ n - /<"•<•. St, h'- 3V iV,- : 7 b" • 11 ■ SO TEKPOl VlwU„L ,L. X (A rJ P -n V ______"Xlr.J. I*... L .,A- -t'.., ,....u r.'.« . "r 28 DYNAKICS i /■'£ ,y,.i I ■ f W , . -My,,-. I,,.'f I . I- • S T C L E C O L O R t lp!^ ^y, ^ u * ^ 1 '* • - 1-.A-.-. • . . . •, . . . 11'w' ' ^ VJ 205 TITLEi hjlS cffiai‘» PROGRAM PACE //1 3 3 COKl'OSZi;: CeJ&dt* Houle*___ peefcrhihg cue/.:: izatic:; » PUBLISHER_ CUt^u+fu l y u l l c f EUw.tkWk-rLU(fai ctttn*. Dfctf m .f Tcaal - WtrV.^^.Wt-, CtJtW»U______ COPYRIGHT:. _Z22i_ DIm ECTCR : l\Aa.v. G-akvltl co nventio n ’ u .t z » i 4 7 * cc;:vent i cl r AJ r e : CONVENTION LOCATION ; A**U±.G,lf. GEKEHA L CHARACTERISTICS i VOICINGi ■ - r Av f / i MATURE: ^ . ... - . C - , - - LEE G Tii i rlEr.SUP.Z5 7 f/ i’ j <•' j ^ j '.-j SPECIFIC CHARACTERISTICS CCMYEKTS RHYTHM» g\-'V« ■ !.— ' 7 ■11", '. ' J • M______■■. ■- - _ r*J t.. ' • r. m e l o d y -r-: 4 .,. ■ * • 1 ; (o v ■ .. . - • • ^ J - ‘ • .< ■ -' *< -V V • 3 6 s*= H A B H 0 N 1 1 ;v - -■ ■ ' (■*')* r, . A* . 1/ ■ I- A. V - •; 4, J . 206 FORK IK MUSICi -M J ....' W'.* 1 J,. . ' - , .. ... -....• j FORKS OF KUSIcTii-T.. If^ T1. I.,,..*, f.j (i A £ tl- A /* - r - :;** . - • • A .•-.>■■■■." ' ■ tts- A -»-U * - ' • *■'. #* • ■'* ft • ?: i. ' - ; . " ' *.?. ^ M- V*: ;. - i ^ * 3-to . A*» ti * . k ■• n-o«t ii r TEMPO; rcdr.-c,.-:. I/, t :...., .. . - • ■ *• .• ■. . . r- ^ ,. p. r. * ’' k • • „ . •' ' U r ■' ■ ■ . . .**“ i ' r, -, . . . t\ :. . *. . /' - ■ ■ ,.. . o . rt •' ■ - ?■ i* ' , ^ DYNAMICS : -f , - . = = - Z' - 1 s . ■ : *: . V- * '*• ' i ' » -.. • , • ■ ’ -«* \) '! f '-r. \\ . . . w » *■; - - • - ■ •• 'j .■ r.-vi* T-- TONE COLOR: - «•..•• 1 . 1 i / . / ./■ 1/ n 207 TITLE) 'pt\r VV.CZVJ.V, PAGE //i 39 CG'r'.VU2:i:: I M qv^H^uLu p e l p o p e i:;c c r g a s i z a t i c :; » I-UBLlZPiZR! J jttk lH A'.vovJ C-U lururLfy AI.fr vitLo ol (ik’i'fiu COPYRIGHT J4Z1. d i l e c x c l T Au.'At.:, CCAVENXIGE L. .Tr.! ( 1 7 5 CCA. /El. T1 Z.\ i./.lij;!-: C t s A n d CGa VL^TlL.i LGCfiTICi> f //<£ GblsEHU L CM\r^.CT?.niSTTC3 VOICL\G« £Pl KnTURE: LEKGTH I* SPECIFIC CHARACTERISTICS CCKHEKTS RHYTHM I -vl..--, '..-1,. A., . ■ V4 % , ^ IV v il^ V f r . . 4v . •<, 4 v. • _ . - V ■i,, 1 • Is . ■ . 4----- U_^R..-j-- c-c--- HAJIKONYi -T-.- - • I • (' 1 ' L : 0 ■( . J- -r.,... . , ■ ■ t >• • * ‘ C • ' - - . ' •, ■ f ij-i - r i FORK IK MUSIC i ■ L ; v /* « FORMS OF M U S IC i T - L . - i - s A • ' - i‘t f- ■ ". ■ - •< TEMPO t A n DYNAMICS s T. TCKE COLOR: I-, •...f 209 TITLE. JLM i ^ j o JL u A i x L PRCGR/.M PAGE //j._g y _ COi'.i V All<'* pat/llLr PERKORNINC ORGANIZATIC.' i’UELXor.ii*H ■ Ft . Z. >Jf/ COPYEICH?: H73______DIRECTOR =^frAW_OrlU - - CONVENTION Li.TE) M 7 2, CONVENTION ... CONVENTION LOCATION! A 4 L J i f«c.. GENERA L C ''?-•’.CTI.P.IETTC3 VOICING i nature > • -• •>..•. ’ — • ■ ■ ____ LENGTH t ERT.obRES 1 / r, / -j'v SPECIFIC CHARACTERISTICS CGKYEKTS RHYTHNiAi- A .... ^^,,.4.1,- I -i . K Z L O D Y t 4 \ • o.r-0 ri,.,,. . |-r., ■ ...i,... . !,r[ ' ■ ~ j , . 'I ■-■ •= • - -50. . v 210 r o m i n i-iusictri- ri!.- i.. ''y. ■ ... - , • FORMS OF MUSIC iJ' A ■ I ' - ■ 'r -V / T£MPO> ’’I-,.c ... J -i.r . - r -I ■, .1 ' ' « . . - * «••• • t ■: . • . •. ‘ ^ 1" . - t.a--- ' , » ’ . • , r:------' t . f — ______- t ...... ---- TONE COLOR i I - t^Al ;..C ---tuft TITLE i 7 ’faeeJChwL'felttei— PROGRAM PAGE //i______C O r W O Z L i : ! ~ J ? m P . r u q t L -______PERFCRHILG ORGAN IZATIG.Y i PUBLISHER! Mnl k;0? Muilc IW/■ilBlV . - PakLJiidsff-^Jl^ L*u_64et£. COPYRIGHT .as. i DIm ECIC:! MDilMSutj&W convention" Li.tL, i ' w * ! ( V O CONVENTION i ‘ " c o n v e n t i o n l o c a t i o n » GENEH'. L CH/>R/,CTLH ISTIC3 VOICING i S ± r ______ NaTURE! p.j«■ f-i fj -,>v~- - 'I • • ? c LEMGTii I MEASURES i Z r > / SPECIFIC C HA R A C T E R T 5 TIC S CCH/ENTS RHYTHM i -rfl- r4,.„. : , .1... , . • ' ‘ / • / ’ tv\ . . . y i ' MELODY: ri. f .1.. „. « ^ =CA HARMONY i - > - A.. i . ’ ! r1 . 212 FORK IN MUSIC i di.„. | ,,.______l I . l - , n * «L V".. . . ? .n , .. /- ■ t ‘ - . L * U - j*T t r - u . ' • ■ .1 - i -10 ► « •r 4 * A . 1* • I..: -I DYNAMICS: H i - <" ~ ' .1 M 0— . /))... :.,r V V TONE COLOR t Vv.- ■! t,~-f /V-< p a g e //i_ ____ TITLE I. 3TuL«Miiw^irnJ . rnccn/.r: -E3 coHi-ujzn . . p e h f o h h i h g c h c a :: i z a t i c ::i PUELIoP.i:! i O &»!>-. 4- H iliIi m Cj*attr,ur,mljlt R r,yC L n 'l. .- [itui iktk.____ ~U\.*____ COPYP. IGK? s_ / I A 4-It.ti GLKEH'. L CH..?^CTLHISTTC3 VOICIKOiK' ■ -______ N a TURE i LEi.’GTH l ' KZ^Sl/REG <1 / at / <7 SPECIFIC CHARACTERISTICS CCFFEI'TS R H YTH M i H i- v t.-' ■ ./-A i «•> d ~ 1 -1- ' . u • • ...... 1 trt .. . s ■ ■. j ..*!».■ K* :‘ I EAEKGNY« t , . , A . r 214 FORM IN MUSICt f . ' ' ' FORMS OF MUSICi * I- I- .-c______i______Q,____-J Cl a■. ' • - I - M /. - ; - 5 ' n • i.- - •. s Hi- "70 ■ rl /■, T ■ *r / 1 1 1 r . ■ . . .. t.,.i ■■ •> ! . < R -- - V’ ■- ; ■ - .... • *i - h- ^ **:*»< \ •• r. : •» , rfu P- S' i*,.,/. ... ^— - — y r M v.. . i\U.U ...... - - u . ; . , '• \ o - 'J — j-' • TONE COLOR; r! l . <■. . f ■■ ■ ■______w , », ------ r~i r rrii mmt i 215 T IT LiZ i 7 /ibfg Le*kiA 1-b£1*1- PROSHAM PACE //i_ _£ i___ COi'.i i. f>,M,i.l_ PEriFOp.nii-iG crg a::izatic :; t I-UBLISKEH Cha.&i unctja. Bejj CLml ftftt4rv>______rha{izu2Cyal Irui COPYRIGHT; i q Q S DImECTOB : ■Sita L t* OyUiil .. . CCKVEETIOZ I< 1 7 7 ^ cCi-i V Ei; t i c r E ? V? CGi.VEiCTlCii LGCATICirr ^ / L T . CEKEH/, L C HA P.A C T E RI £ TIC3 / / F/iTUHE!__ ; r I • b A ■ X ■ • - ... LEE GTE t ME*SbHZ5 .’A / ' p 5 . •: r SPECIFIC CM-.HACTSRT5 TTCS CCEYEK'TS RHYTHM t .4 ;. ■ • , 1„ . -Hr... - • MELODY: ~l - . I ■ i;,-. {■ . .A l\\„ (•■ v.- .C tt . » «< *7 • S i , .-r »___ £l. -1 K M RHCMY i _d, - - f .C .a t >U.-£ •/> FORK IN MUSIC« I. .<(. FORMS OF KU3IC i H 1 - 2 ..:... I-.» r * * * • I...... '. • • • ' - '• ' . '. ' ' • ‘ * ' m • ' ' * • -: TEMPOt d /■ a.:;. :f /: o . . :. . i ■______, J >'■1 ■ - • • .i; .1~ ; • • , DYNAMICS I I.P^. r „ -e=r rj.:. . —V : u-; - ’ ■ •1 • ■ ■ TONE COLOR i A'-. <1 1'-.-,/ 217 TITLEi program pace //i C>9 COHi'CC^ii i dC '±U perform ing organ iz a tic :; t l U Z L I Z r . b h:i * -•Qa,rtOp .6 lo/TWI&n J'ithpicfilnu C&e iV _ /Tftctn.,Jb* Ceilhi. . A/. EC LiUiiu1 M , 'M il!. ■ COPYRIGHT: directcRECTOR:; _ co;.VEi;Tio;r LuT^. s_i22£. CCI;■:v e :;t i on E/iiCRE: / COi'»TILOCmTIC^ i GLKEH/. L C;^\n.-\CTr,niSTIC3 VOICING» C^A NATURE: ■■ ,C -^..i. I..4- LENGTH i \ I'LEi-.SUaEj /-Jl / 1: i SPECIFIC CHARRCTERT5TICS CCKFEKTS RHYTHMi #/-? ,A '{■.■ic- -A-', '•. :: ■- . KSLODYj a* .'..'.A. I,. L " •'■k M. r f — - 7 - r - E ‘CT • S -r G-" “&• O' ^ • HAP.MONY» -C.,- .,A ..;, -)«., .../- .-I,.,.- . T\,/ i *» >•' - •» t. T=fc ¥ h?F£ 218 FGRtf i'iU£IC i *— I * Wv.t ** ^«,L I'A^ '.t,y - W L,y. ^ ; ^ .. i... v . ^ is • r- , ! • £ , 0\t*£ ■ . r - v'•'.*• .s. . . ,-.. f • ^ :.. . Ci-iv. ^ • <• ^ ***■'< u * .,* 1 /V-f *i *1 ^ , f o r k s o f k u s i c i l i t - “r«Ai». l-V fr «-T.V, {■*. * /i *»* ^ - «ri v wo ■ \- '-H ‘--5-.M *<■ if -:s ~ _..‘U./ -..U> f*r- - ^7 M ^-c-(-r*T- 'jI — - ~ « - "t ' o -Sc. • c r > • i A - f* i? I.l..,. ;•}.!- -M TEKPOi d i - W r , ■ ! Is t\ cr Qtf .5^*0 «<>•.. -w... '. • .f - ■ir.,lt V-.rfc -i • A, . - 3 • ■><* «■ r * * ~-i-- -<.....-t. f.r - DYNAMICS: d i - P P. (t^'-Az va>«# ■ 'V ■=>- iLtJc r'- i't / f. . , . # - P d .* ».,'*4v* Af«* ,*,o v. C , r* C--_ TCi»n CGL.Cn* /xvwt-il t:^c.d 1 V". ^ i ' » * t * ! t C -X la,. .A * '| 1 r BIBLIOGRAPHY Articles, Books, and Unpublished Dissertations Adams, Harrison Leslie. "Problems of Composing Choral Music for High School Use." Ph.D. dissertation, The Ohio State University, 1973. Adcock, E. J. "A Comparative Analysis of Vocal Range in the Middle School General Music Curriculum. Council for Research in Music Education 32 (Spring 1973): 60-64. Adler, Marvin S. "Get Involved in the Twentieth Century: Explore the Known and Unknown in Contemporary Music." Music Educators Journal 59 (February 1973): 38-41. Aldis, Dorothy. All Together: A Child*s Treasury of Verse. New York: G. P. Putnam Sons, 1952. Blyler, Dorthea M. "The Song Choices of Children in the Elementary School." Ph.D. dissertation, University of Illinois, 1957. Boody, Charles, and Larsen, Ronald. "Some Implications for Music Education in the Work of Jean Piaget." Journal of Research------in Music Education 19 (Spring 1971T: Boyd, Jack. Rehearsal Guide for Choral Directors. West Nyack, New York: Parker Publishing Co., Inc., 1970. Brayley, A. W. "The Inception of Public School Music in America." The Musician 10 (November 1905v: 483-486. Claghorn, Charles. Biographical Dictionary of American Music. West Nyack, New York: Parker Publishing Co., Inc., 1973. 220 Coffman, Wesley Surber. "A Study of the Incidence and Characteristics of Boys' Voice Change in Grades Four, Five, and Six, and Implications for School Music Materials Deriving Therefrom." Ph.D. dissertation, Florida State University, 1968. Co1we11, Richard. Elementary Music Achievement Tests. Chicago: Follett Publishing Co., 1967. Cooke, A. "Paul Hindemith-I." Music Survey 2 (January 1949): 10-13. Cornell, Helen Loftin. "An Evaluation of Vocal Music by Women Composers as to its Appropriateness in the Elementary School." Ph.D. dissertation, The Ohio State University, 1973. Dittemore, Edgar Erwin. "An Investigation of Some Musical Capabilities of Elementary School Students." Ph.D. dissertation, University of Iowa, 1968. Flummerfelt, Joseph. "Passion According to St. Luke- Penderecki." The Choral Journal 12 (April 1973): 7-12. Gary, Charles L., ed. The Study of Music in the Elementary School--A Conceptual Approach. Washington, D.C.: Music Educators National Conference, 1967. Hinshaw, Donald. Conversation. Chapel Hill, North Carolina: Hinshaw Music, Inc., June 1977. Jersild, Arthur, and Beinstock, Sylvia. "A Study of the Development of Children's Ability to Sing." Journal of Educational Psychology 25 (October 1934) : 481-503. Johnson, Tom. "Teachers, Step Up to the Avant-Garde." Music Educators Journal 58 (May 1972): 30-32. Jones, Perry Otis. "The Choral Literature Performed by the High Schools of Iowa and the Colleges of Iowa and Surrounding States During the Period of Time 1962 to 1967." Ph.D. dissertation, University of Iowa, 1968. Jones, Russell L. "The Development of the Child's Conception of Meter in Music." Journal for Research in Music Education 24 (Fall 1976): 142-154. 221 Lawrence, Vera Brodsky, gen. ed. The Contemporary Music Project(CMP) Library. 3 vols. Washington, D.C.: Music Educators National Conference, 1969. Vol. 3: Works for Chorus and Voice. McElheran, Brock. "Beginners Guide to the Avant-Garde." The Choral Journal 13 (April 1973): 19-24. Neidlinger, Robert. "Dimensions of Sound and Silence: The Basis of a Liberal Education in Music." Music Educators Journal 59 (April 1973): 24-29. Nofziger, Dwight Evin. "A Study of Selected Song Literature for Children." Ed. D. dissertation, Colorado State College, 1967. Nye, Robert E., and Nye, V emic e T. Music in the Elementary School. Englewood Cliffs, New Jersey: Prentice- Hall, Inc., 1964. Office of Education. U.S. Department of Health, Education, and Welfare. Music in Our Schools: A Search for Improvement, by Claude V. Palisca. Bulletin 28. Washington, D.C.: U.S. Government Printing Office, 1964. Petzold, Robert G. "Development of Auditory Perception of Musical Sounds by Children in the First Six Grades." Journal for Research in Music Education 11 (Spring 1963) : "21-45. Sanders, Hugh. "Sprechstimme in Choral Music." The Choral Journal 11 (October 1970): 7-11. Schwartz, Elliot. "Directions in American Composition Since the Second World War--Part I: 1945-1960." Music Educators Journal 61 (February 1975): 28-39. Sievers, C. H. "The Measurement of Musical Development: A Study of Rhythmic Performance with Special Considera tion of the Factors Involved in the Formation of a Scale for Measuring Rhythmic Ability." University of Iowa Studies in Child Welfare 7 (January 1932): 111-1 7 7.------Simmons, Harriet. "The Demise of the Text in Modern Choral Music." The Choral Journal 13 (December 1972): 12-13. 222 Smiley, Edna Mead. "A Study of the Musical Configurations, Symbols, Terms, and Words Found in Basic Music Texts at the Fourth Grade Level.” Ph.D. dissertation, Indiana University, 1955. Smith, Robert B. Music in the Child’s Education. New York: Ronald Press Co., 1970. Spohn, Charlc.s L., and Poland, William. An Evaluation of Two Methods Using Magnetic Tape Recordings for Programmed Instruction in the Elemental Materials o i Music. Columbus, Ohio: The Ohio State University Research Foundation, 1963. Stevens, Halsey. ’’Youth and New Music.” Music Educators Journal 49 (September-October 1963): 49-51. Wassum, Sylvesta M. ”A Study of Children's Conceptuali zation of Tonality as Evidenced by Singing: A Pilot Study.” Macomb, Illinois: Western Illinois Univer sity Research Council, 1973. Woodruff, Asahel. ”How Music Concepts Are Developed.” Music Educators Journal 56 (February 1970): 51-54. Yardley, Alice. Senses and Sensitivity. New York: Citation Press, 197$! Zimmerman, Marilyn P. Musical Characteristics of Children. Music Educators National Conference Series From Research to the Music Classroom, No. 1. Washington, D.C.: Music Educators National Conference, 1971. 223 Musical Scores Bassett, Leslie. Collect. Cincinnati: World Library of Sacred Music, 1965. Corrigliano, John. Christmas at the Cloisters. New York: G. Schirmer, Inc., 196$. Erb, Donald. God Love You Now. Bryn Mawr, Pennsylvania: Theodore Presser, 1971. Hovaness, Alan. Magnificat. New York: C. F. Peters Corp., 1958. Miller, Edward. The Seven Last Days. Boston: E. C. Schirmer, 1969. Nystedt, Knut. De Profundis. New York: Associated Music Publishers, 1966. ______. Praise to God. New York: Associated Music Publishers, Inc., 1972. Penderecki, Krzysztof. Dies Irae. Krakow: Polskie Wydawnictwo Muzyczene, 1967. Sloegedal, Bame. Antiphona de Morta. New York: Walton Music, 1969.