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Compositional Devices Employed in Scoring for Voice and Brass Combination by Selected Contemporary American Composers

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Compositional Devices Employed in Scoring for Voice and Brass Combination by Selected Contemporary American Composers Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1970 Compositional Devices Employed in Scoring for Voice and Brass Combination by Selected Contemporary American Composers. James Edward Stafford Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Stafford, James Edward, "Compositional Devices Employed in Scoring for Voice and Brass Combination by Selected Contemporary American Composers." (1970). LSU Historical Dissertations and Theses. 1889. https://digitalcommons.lsu.edu/gradschool_disstheses/1889 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 71^6609 STAFFORD, James Edward, 1933-r-. COMPOSITIONAL DEVICES EMPLOYED IN SCORING FOR VOICE AND BRASS COMBINATION BY SELECTED CONTEMPOR­ ARY AMERICAN COMPOSERS. ISelected Compositions in Appendix not microfilmed at request of author. Available for consultation at Louisiana State University Library], The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1970 University Microfilms,A XEROX Company, Ann Arbor, Michigan i i 71-6609 STAFFORD, James Edward, I933~ Music University Microfilms,A XEROX Com pany, Ann Arbor, Michigan © 1971 JAMES EDWARD STAFFORD ALL RIGHTS RESERVED THTS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED COMPOSITIONAL DEVICES EMPLOYED IN SCORING FOR VOICE AND BRASS COMBINATION BY SELECTED CONTEMPORARY AMERICAN COMPOSERS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in The School of Music v.v'by James E. Stafford B.M.E., University of Southwestern Louisiana, 1957 M.M.E., Louisiana State University, 1964 August, 1970 ACKNOWLE DGEMENTS The writer wishes to express his sincere appreciation and gratitude to the individuals who provided guidance and assistance in the preparation of this study. To Alumni Professor of Music Dr. Kenneth B. Klaus, chairman of the dissertation committee, special recognition is due for his invaluable encouragement and inspiration during not only this project but throughout the entire period of graduate study. Special thanks go to the members of his committee; Dr. Wallace McKenzie and Dr. Dinos Constantinides for their able assistance with many aspects of presentation, and for their constructive comments, suggestions and aid in formu­ lating many ideas for discussion. Appreciation is e x p r e s s e d to the additional committee members, Dean Everett Timm, Dr. Richard Heschke, Mr. Paul Louis Abel, and Dr. Charles W. Roberts, without whose assistance and cooperation this study would not have been possible. The contributions of the following people, each of whom is highly competent in his field, are greatly appreciated. Many thanks to the Rev. A. Dean Calcotte, Assistant Headmaster, Episcopal High School, Baton Rouge, Louisiana, for valuable information and suggestions concerning the Episcopal Communion Service; John Ware, copyist of the music manuscript; Don Morrisson, head of photoduplicating, L. S. U.; Mrs. Mary J. Kahao, music librarian; Miss Helen E. Harrell, Graduate School counselor. Special thanks is due Mrs. Harold Cotten for her preparation of the final manuscript. Finally, the writer wishes to express his appreciation to his wife, Sandra, his children, Andrea and Jack, whose willingness to sacrifice many hours of time and enjoyment allowed the successful completion of this project. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS............................................. ii LIST OF FIGURES ............................................. vi Chapter I. INTRODUCTION AND SCOPE ......................... 1 Delimitations Method of Research Definition of Terms Significance of Study II. THE METHOD OF ANALYSIS . ................... 12 A Search for Unity III. ANALYSIS OF SELECTED COMPOSITIONS................ 53 "0 Come, Let Us Sing" by Theron Kirk Biographical Sketch Analysis of "0 Come, Let Us Sing" by Theron Kirk "Fanfare for Christmas" by Lloyd Pfautsch Biographical Sketch Analysis of "Fanfare for Christmas" by Lloyd Pfautsch "Angelus ad pastores ait" by Daniel Pinkham Biographical Sketch Analysis of "Angelus ad pastores ait" by Daniel Pinkham "Shepherds, Rejoice" by Arthur Frackenpohl Biographical Sketch Analysis of "Shepherds Rejoice" by Arthur Frackenpohl iv Chapter Page "Jubilate Deo" by Paul Fetler Biographical Sketch Analysis of "Jubilate Deo" by Paul Fetler "In My Craft or Sullen Art" by Billy Jim Layton Biographical Sketch Analysis of "In My Craft or Sullen Art" by Billy Jim Layton IV. ORIGINAL COMPOSITION 160 Analysis and Commentary Brass Scoring Vocal Scoring Order of Movements Source of Unity V. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS . 226 Summary Conclusions Recommendations BIBLIOGRAPHY 230 APPENDICES 237 VITA 240 v LIST OF FIGURES Figure Page 1. O Come Let Us Sing by Theron Kirk - Meas. 17-23. .................................... 60 2. O Come Let Us Sing by Theron Kirk - Meas. 137-144 61 3. Incipit of the "Tuba Mirum spargens Sonum" of the Dies Irae sequence ...................... 63 4. Fanfare For Christmas by Lloyd Pfautsch - Meas. 1 - 3 .................................... 74 5* Fanfare For Christmas by Lloyd Pfautsch - Meas. 9 - 1 2 .................................... 75 6. Fanfare For Christmas by Lloyd Pfautsch - Meas. 14 - 2 0 ................................. 76 7. Fanfare For Christmas by Lloyd Pfautsch - Meas. 21 - 2 4 ................................. 77 8. Example of Pitch Content - Fanfare For Christmas by Lloyd Pfautsch ................ 80 9. Pitch Content Approach to Cadence - Fanfare For Christmas by Lloyd Pfautsch ............ 81 10. Trumpet Fanfare - Inversion Principle - Fanfare For Christmas by Lloyd Pfautsch ...... 82 11. Summary of Motivic Permutations - Fanfare For Christmas by Lloyd Pfautsch.................. 83 12. Angelus Ad Pastores Ait by Daniel Pinkham - Meas. 1-7...................................... 86 13. Angelus Ad Pastores Ait by Daniel Pinkham - Meas. 15-22.................................... 87 vi Figure Page 14. Angelus Ad Pastores Ait by Daniel Pinkham - Meas. 58-60/ 64/ 65........................... 88 15. Angelus Ad Pastores Ait by Daniel Pinkham - Meas. 9T-96. I I . “ . .............. 89 16. Matrix of Angelus Ad Pastores Ait by Daniel Pinkham................................. 91 17. Shepherds Rejoice by Arthur Frackenpohl - Meas. 56-59.... ............................... 103 18. Shepherds Rejoice by Arthur Frackenpohl - Meas. 60-63 ............................... 104 19. Shepherds Rejoice by Arthur Frackenpohl - Meas. 81-83 ................................. 105 20. Shepherds Rejoice by Arthur Frackenpohl - Meas. 95-98.... ............................... 106 21. Chart of Motives - Shepherds Rejoice by Arthur Frackenpohl ........................... 108 22. Chart of Cellular Properties - Shepherds Rejoice by Arthur Frackenpohl ............. Ill 23. Cadential Serialization Chart - Shepherds Rejoice by Arthur Frackenpohl "~7 I . 112 24. Jubilate Deo by Paul Fetler - Vocal Score - Meas. 1-5..................................... 121 25. Jubilate Deo by Paul Fetler - Brass Score - Meas. 1 - 5 ................................... 122 26. Jubilate Deo by Paul Fetler - Vocal Score - Meas. 40-43 123 27. Jubilate Deo by Paul Fetler - Brass Score - Meas. 63-65 + 67-69 124 vii Figure Page 28. Jubilate Deo by Paul Fetler - Brass Score - Meas. 91-96........................................ 125 29. Jubilate Deo by Paul Fetler - Vocal Score - Meas. 100-105 126 30. Original Cell - Jubilate Deo by Paul Fetler. 128 31. Chart of Pitch Content to Cadence - Vocal Scoring Jubilate Deo by Paul Fetler..............130 32. Chart of Pitch Content to Cadence - Brass Scoring Jubilate Deo by Paul Fetler..............131 33. Summary of Unification Devices Jubilate Deo by Paul Fetler .................................... 138 34. In My Craft or Sullen Art by Billy Jim Layton, Meas. 32-33...................................... 141 35. O Make Me a Mask by Billy Jim Layton, Meas. 70-73 142 36. Twenty-Four Years by Billy Jim Layton, Meas. 72-74...................................... 143 37. In My Craft or Sullen Art by Billy Jim Layton, Meas. 13-15 ...................................... 144 38. In My Craft or Sullen Art by Billy Jim Layton, Meas. 16-18........................................ 145 39. Cellular Properties of Vocal Scoring, In My Craft or Sullen Art by Billy Jim Layton. 156 40. Set Complex Matrix for the Episcopal Holy Communion Service (Composition by Author). 170 41. Odd and Even Members of the Prime Set, Episcopal Communion Service............... .. 172 viii Figure Page 42. Urkeim Grouping of the Prime Set, Episco­ pal Communion Service ....................... 173 43. Original Row and Semi-combinatorial Hexa- chord Permutations, Episcopal Communion S e r v i c e ......................................... 174 44. (a) Row Derivations Demonstrating Unifying Devices of "Introit" (Brass Scoring) (b) Row Derivations Demonstrating Unifying Devices of "Introit" (Vocal Scoring) . 175 PREFACE The primary purpose of this study was to investi­ gate compositional devices used by selected contemporary American composers in writing
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