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Musical Form in Hymns

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Musical Form in Hymns MUSICAL FORM IN HYMNS OF THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS By Nathan Robert Bigler A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of MusiC Northern Arizona University May 2018 Approved: Stephen C. Brown, Ph.D., Chair Timothy Alan Smith, Ph.D. Jennifer J. Russell, Ph.D. ABSTRACT MUSICAL FORM IN HYMNS OF THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS NATHAN ROBERT BIGLER Hymn singing is an integral part of both Congregational and private worship for millions aCross the globe. While hymns have been the subjeCt of research regarding history, origins, and cultural influence, there has been very little researCh regarding musiCal forms and harmoniC struCtures found in nineteenth- and twentieth-Century Protestant hymns. In disCussing form, many theory texts desCribe the bulk of modern hymn musiC as “strophic.” Using William Caplin’s text Classical Form (1998) as a model of analytiCal teChniques and prinCiples, this thesis examines the Mormon collection Hymns of the Church of Jesus Christ of Latter-day Saints (1985) and reveals that “strophic” is too narrow a label for an entire hymnal. Four formal models and one harmoniC struCture emerge. EaCh is identified by speCifiC musiCal CharaCteristiCs (illustrated using hymn examples), and together these five struCtures enCompass a majority of the 341 hymns in the hymnal. Chapter 1 gives a brief historical review of Protestant hymn development and of the LDS hymnal. Chapter 2 disCusses the analytiCal methods used in this study. Chapter 3 introduces the two smaller multi-phrase models: the “small-sCale model” that manifests as any of several variations of an aaba phrase structure; and the “two-phrase model” that manifests as an extremely CompaCt binary structure. Chapter 3 also introduces the “standard harmoniC struCture” that CirCumsCribes expository, transitional, developmental, and Closing/Cadential harmoniC funCtions aCross a single hymn. Chapter 4 introduCes the two larger sectional models (made up of phrase groups): the “verse-Chorus model” that manifests as a seCtional binary form with distinCtive musiCal CharaCteristiCs in eaCh half; and the “large-scale model” that enCompasses all other seCtional hymns. There are dozens of ways individual hymns Can manifest the CharaCteristiCs of one model or another, and muCh of the interest of studying hymns is found in disCovering that within these five struCtures the hymns exhibit an abundanCe of struCtural variety, Creativity, and interest. Chapter 5 examines ways that many hymns stretCh the model boundaries, exhibit formal trends outside the model boundaries, or largely defy formal Categorization based on the four models and the standard harmoniC structure outlined in this study. ii ACKNOWLEDGEMENTS There are several people without whom this projeCt would never have reaChed Completion; for whose time, energy, enCouragement, and investment I am deeply indebted. Indeed, many should merit a plaCe on this list for their generosity and influence over the years, and I wish I Could inClude them all. Thanks go first and foremost to my advisor and Committee Chair, Dr. Stephen Brown, who has walked with me a path muCh longer than either of us antiCipated. He has worked with persistenCe and without judgment in spite of an interminable timetable. Thanks go also to Dr. Timothy Smith and Dr. Jennifer Russell as members of the Committee, and to Dr. Todd Sullivan for working with me through the bureauCraCy yet one more time. I am grateful to my mother Claudia Bigler, my proofreader and sounding board for all things musiCal, a generous benefaCtor, and a support and a sender of invaluable good vibes. Thanks Mom. A speCial kind of thank-you goes to my wife Heather who has borne with me the endless burdens of graduate sChool. The inCalCulable expenses of time and stress (not to mention finances) have rested on her shoulders as well as mine, and she has upheld them with graCe, enthusiasm, and faith. Finally, I owe the bulk of this work to Terri Fausett, who seems not to begrudge the hundreds of hours sitting, gently and patiently stirring ideas, enCouraging exploration, and bolstering hope and forward momentum through to the very end. Her exhaustive partiCipation has been nothing short of angeliC. iii TABLE OF CONTENTS Chapter 1: Introduction ............................................................................................... 1 IntroduCtion to Hymnody ............................................................................. 1 Focus and Justification ................................................................................... 9 Literature Review ............................................................................................. 15 Chapter 2: Methodology, ApproaCh, and Terminology .................................. 21 Chapter 3: Multi-Phrase Hymn Models ................................................................ 32 Small-Scale Model ............................................................................................ 32 Standard HarmoniC StruCture ..................................................................... 55 Two-Phrase Model ........................................................................................... 69 Chapter 4: Sectional Models ...................................................................................... 80 Verse-Chorus Model ........................................................................................ 81 Large-Scale Model ............................................................................................ 90 Chapter 5: Exceptional Cases .................................................................................... 99 Almost-Model Hymns ..................................................................................... 100 Cross-Model Hymns ........................................................................................ 104 Lesser Trends ..................................................................................................... 110 Sui generis ........................................................................................................... 117 Chapter 6: Conclusion .................................................................................................. 127 Bibliography ...................................................................................................................... 132 Appendix A ......................................................................................................................... 139 Appendix B ......................................................................................................................... 148 iv LIST OF FIGURES 1.1, Hymn Page ................................................................................................................. 8 2.1, Hymn 268 ................................................................................................................... 27 2.2, Hymn 101 ................................................................................................................... 29 2.3, Hymn 203 ................................................................................................................... 30 3.1, Hymn 7, Expository Period (non-modulating) .......................................... 35 3.2, Hymn 156, Expository Period (modulating) .............................................. 36 3.3, Hymn 58, PeriodiC Initial Statement .............................................................. 37 3.4, Hymn 163 ................................................................................................................... 41 3.5, Hymn 311 ................................................................................................................... 42 3.6, Hymn 59 ..................................................................................................................... 44 3.7, Hymn 283 ................................................................................................................... 45 3.8, Hymn 296 ................................................................................................................... 48 3.9, Hymn 163 ................................................................................................................... 49 3.10, Hymn 41 ................................................................................................................... 51 3.11, Hymn 172 ................................................................................................................ 54 3.12, Hymn 216, Phrase 1 ............................................................................................ 58 3.13, Hymn 216, Phrase 2 ............................................................................................ 59 3.14, Hymn 216, Phrase 3 ............................................................................................ 62 3.15, Hymn 216, Phrase 4 ............................................................................................ 64 3.16, Hymn 113 ................................................................................................................ 66 3.17, Hymn 277 ................................................................................................................ 70 v 3.18, Hymn 184 ................................................................................................................ 73 3.19, Hymn 57 ..................................................................................................................
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