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Louis W. Ballard: Composer and Music Educator

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LOUIS W. BALLARD: COMPOSER AND MUSIC EDUCATOR By KARL ERIK ETTINGER A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2014 1 © 2014 Karl Erik Ettinger 2 To Mom, Dad, Wendy, Wayne and Walker 3 ACKNOWLEDGMENTS I am profoundly indebted to my family for their support, encouragement, and patience. I would like to recognize the chair of my committee, David Z. Kushner who gave endlessly of his time and talent in numerous meetings while completing this document. In addition, I thank my committee members Leslie Odom, Arthur Jennings, Kevin Sharpe, and John Scott for their time and guidance. I wish to thank the staff at various archives, museums, and libraries: (1) Robena Cornwell and Michele Wilbanks, the former staff of the Music Library at the University of Florida, for their assistance on numerous occasions, (2) Ryan Flahive, archivist at the Institute of American Indian Arts, for allowing access to materials and sharing his research, (3) Howard Bass at the National Museum of the American Indian, (4) staff at the Quapaw Museum and Library. I owe more than words can express to my teachers: Nancy Hartman, Burt Perinchief, Michael Rickman, Richard Cass, and Falko Steinbach. I especially thank Maria Williams for introducing me to the world of Native American Music through her class at the University of New Mexico and encouraging me to contact Louis W. Ballard; this project began with her. Finally, I thank the family and friends of Louis W. Ballard, especially Louis A. Ballard, who gave of his time in phone conversations and emails, and provided information and materials, Anne Ballard, Ardina Moore and their families for taking time to meet with me and sharing their memories of him. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF TABLES ............................................................................................................ 8 LIST OF FIGURES .......................................................................................................... 9 LIST OF ABBREVIATIONS ........................................................................................... 13 ABSTRACT ................................................................................................................... 14 CHAPTER 1 INTRODUCTION AND PURPOSE OF THE STUDY .............................................. 16 2 LITERATURE REVIEW .......................................................................................... 22 Introduction ............................................................................................................. 22 Theses and Dissertations ....................................................................................... 23 Encyclopedia and Dictionary Entries ...................................................................... 26 Books Containing Sections About Louis W. Ballard ................................................ 29 Articles in Journals, Magazines, and Newspapers .................................................. 33 Educational Materials.............................................................................................. 40 Audio Recordings and Liner Notes ......................................................................... 44 Video....................................................................................................................... 46 Websites ................................................................................................................. 47 Miscellaneous Materials .......................................................................................... 48 3 LIFE AND WORKS ................................................................................................. 49 1931-1948: Early Life .............................................................................................. 49 Bacone College and the Bacone Style of American Indian Painting ................ 56 The Quapaw Pow Wow: Dance and Music ...................................................... 60 1949-1962: College Years and Early Work ............................................................. 63 “The Cultural Milieu and American Indian Music” ............................................. 68 Ji-jo-gweh, The Witch Water Gull ..................................................................... 73 1962-1969: The Institute of American Indian Arts ................................................... 75 Aspen and study with Darius Milhaud .............................................................. 79 Life in Santa Fe ................................................................................................ 84 Koshare and Doré ............................................................................................ 90 The Four Moons ............................................................................................. 103 Louis W. Ballard in Film .................................................................................. 111 William Grant Still ........................................................................................... 112 Some Music Lessons for American Indian Youngsters and “Cultural Differences” ................................................................................................. 114 5 “FLAP!” ........................................................................................................... 118 Ritmo Indio and Why the Duck Has a Short Tail ............................................ 121 1969-1979: The Bureau of Indian Affairs .............................................................. 127 Put American Indian Music in the Classroom ................................................. 129 Cacéga Ayuwípi ............................................................................................. 133 “Discovering American Indian Music” ............................................................. 136 Portrait of Will Rogers .................................................................................... 151 American Indian Music for the Classroom ...................................................... 163 Incident at Wounded Knee ............................................................................. 166 Rio Grande Sonata ......................................................................................... 179 Thus Spake Abraham ..................................................................................... 181 WAMUS77 ...................................................................................................... 189 1980-1989: Musical Discrimination and The Three Cities ..................................... 194 1990-2007: Later Works ....................................................................................... 214 Atlantic Center for the Arts ............................................................................. 220 Native American Indian Songs ....................................................................... 235 In Memoriam .................................................................................................. 236 4 ANALYSIS OF SELECTED CHAMBER WORKS ................................................. 240 Introduction ........................................................................................................... 240 String Trio No. 1 .................................................................................................... 245 Katcina Dances ..................................................................................................... 259 “Powamu (Coming of the Gods)” .................................................................... 261 “Ahul (Sun God)” ............................................................................................ 266 “Kwahu (Eagle)” ............................................................................................. 269 “Momo (Bees)” ............................................................................................... 274 “Monwu (Owls)” .............................................................................................. 277 “Koyimsi (Foolish Ones)” ................................................................................ 280 “Calako (Huge Birds)” ..................................................................................... 284 “Tumas, Tunwup (Crow Mother and Sons)” ................................................... 290 “Soyokos (Monsters)” ..................................................................................... 294 “Niman (Departure of the Gods)” .................................................................... 299 The Fire Moon ...................................................................................................... 304 I. “Tourima” ..................................................................................................... 308 II. “Osotouy” .................................................................................................... 313 III. “Kappa” ...................................................................................................... 318 Summary .............................................................................................................. 324 5 CONCLUSION .....................................................................................................
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