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Electronic Theses, Treatises and Dissertations The Graduate School
2009 John M. Cooksey: Choral Music Educator and Conductor Roger H. Hale
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COLLEGE OF MUSIC
JOHN M. COOKSEY: CHORAL MUSIC EDUCATOR AND CONDUCTOR
By
ROGER H. HALE
A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy
Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Dissertation of Roger H. Hale defended on May 22, 2009.
______Kevin A. Fenton Professor Directing Dissertation
______Christopher Moore Outside Committee Member
______André J. Thomas Committee Member
______Alice-Ann Darrow Committee Member
The Graduate School has verified and approved the above named committee members.
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I dedicate this to my dear wife KayDe, who has provided support at every level during this project. I could not have done it without you!
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ACKNOLEDGEMENTS
This project would not have been possible without the encouragement and support of many people in my life. First, I would like to thank my major professor Dr. Kevin Fenton, who spent many hours helping me through every aspect of this project. His around-the-clock availability strengthened my resolve to be such a caring mentor to my future students. My other committee members have helped me significantly during my coursework and dissertation writing. Dr. André Thomas has helped me gain confidence in my musical ideas, empowered me towards greater communication on the podium, and opened my eyes to a world of choral music that I am thrilled to spend my life exploring. Dr. Alice-Ann Darrow has played a significant role in my self-confidence as a doctoral student, and given invaluable encouragement in my professional pursuits. It was in her class that I let down barriers and revealed the true —me.“ Dr. Christopher Moore‘s willingness to help as an outside committee member has always been uninhibited, and his kindness has encouraged me to work without inhibition. Although not on my committee, Dr. Clifford Madsen believed that I would be successful in my doctoral pursuits before anyone else providing essential encouragement and support. My deep appreciation goes to Dr. John Cooksey for his constant willingness and support in this project: for open access to his personal files, for long interviews, and help in finding much needed documentation and information. His role as a mentor to me significantly changed my life and the career that I am now pursuing. I would also like to thank Edgar J. Thompson, Jaimee Belnap Gabrielsen, Larry Smith, Sam Metcalf, and Alan Zabriskie who gave generously of there time for interviews during this process. I would also like to thank Dr. Robert Walzel, Cindy Braegger, and Chris Smith for their help in provided needed documents in a timely manner.
iv I would like to express my deeply felt gratitude to my parents, Bruce and Christine Hale for their encouragement, love, prayers, and multifaceted support throughout my life, but particularly at this time, in my educational pursuits. Finally, how can I thank enough my dear wife KayDe and our four children, Amelia, Spencer, Truman, and Lucie for their love, accommodation, and sacrificeœwhen daddy had to —work“ at home, and for the many hours that I was away, without you? Without you this wouldn‘t have been possible, thank you!
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TABLE OF CONTENTS
List of Tables ...... ix List of Figures...... x Abstract...... xiii CHAPTER 1 INTRODUCTION: PURPOSES AND PROCEDURES...... 1 Problem Statement...... 1 Subproblems: ...... 1 Definition of Terms...... 2 Delimitations...... 2 Need for and Purpose of the Study ...... 3 Procedures...... 6 CHAPTER 2 JOHN M. COOKSEY‘S EARLY YEARS...... 8 Early Family Life...... 8 Early Musical Interests and Training...... 10 Florida State University Years...... 13 CHAPTER 3 PROFESSIONAL DEVELOPEMENT: PUBLIC SCHOOL TEACHER ...... 19 Oak Grove Junior High School...... 19 H. B. Plant High School...... 21 The Civil Rights Movement...... 24 Cooksey as Soloist in the Community...... 25 CHAPTER 4 PROFESSIONAL DEVELOPEMENT: GRADUATE SCHOOL AND EARLY UNIVERSITY TEACHING ...... 27 University of Illinois, Urbana-Champaign ...... 27 California State University, Fullerton...... 30 Memphis State University...... 33 Coordinator of Choral Activities ...... 34 University Singers...... 34 Helbrunn International Summer Music Festival...... 37 Clinician...... 39
vi Time of Difficulty and Thoughts of leaving the profession ...... 40 CHAPTER 5 THE UNIVERSITY OF UTAH YEARS: 1986 œ 2006 ...... 43 Choral Area Organization...... 44 Concert Chorale ...... 48 Recruiting and Size of the Concert Chorale ...... 50 Sabbatical Leave and its Personal Effects on Cooksey (1992-1993) ...... 51 Tours ...... 53 Community and Joint University Performances...... 57 Retirement...... 58 CHAPTER 6 THE MALE ADOLESCENT CHANGING VOICE: CONTRIBUTIONS TO THE PROFESSION...... 60 Brief History of Research on the Male Adolescent Changing Voice ...... 60 Cooksey‘s Contributions...... 62 Longitudinal Study at California State University, Fullerton...... 65 From Research to Practical Application ...... 68 Choral Methods Courses...... 68 National/International Clinician...... 70 Research and Responsibilities while on Sabbatical (1992-93)...... 71 Clinics and Presentations: An Analysis ...... 72 CHAPTER 7 A STUDY OF THE MIXED COLLEGIATE CHORAL MUSIC PROGRAMMED BY JOHN M. COOKSEY FROM 1980 TO 2006 ...... 77 Rationale for This Study...... 78 Purpose of Study...... 79 Organization of Study...... 79 Results...... 81 Discussion and Conclusion...... 82 CHAPTER 8 SUMMARY, CONCLUSION, AND RECOMMENDATIONS...... 84 FOR FUTURE RESEARCH ...... 84 Summary...... 84 Conclusion ...... 87 Recommendations for Future Research...... 87 APPENDIX A PHOTOGRAPHS FROM COOKSEY‘S EARLY YEARS ...... 89 APPENDIX B PHOTOGRAPHS FROM PUBLIC TEACHING YEARS ...... 97 APPENDIX C ADJUDICATION SHEETS FOR OAK GROVE JUNIOR HIGH SCHOOL 1965...... 99
vii APPENDIX D MEMPHIS STATE UNIVERSITY: PRESS AND DOCUMENTS ...... 112 APPENDIX E UNIVERSITY OF UTAH DOCUMENTS ...... 116 APPENDIX F DOCUMENTS RELATING TO SABBATICAL ACTIVITIES ...... 119 APPENDIX G THE MALE ADOLESCENT CHANGING VOICE: CORRESPONDENCE REGARDING COOKSEY‘S PROMINENCE IN FIELD...... 124 APPENDIX H CHRONOLOGICAL LIST OF CLINICS AND PRESENTATIONS ...... 131 APPENDIX I PROGRAMMED MUSIC LISTED BY TITLE...... 152 APPENDIX J FREQUENCY OF COMPOSERS PROGRAMMED...... 171 APPENDIX K FREQUENCY OF ARRANGERS PROGRAMMED ...... 177 APPENDIX L FIGURES WITH PROGRAMMING COMPARISONS ...... 181 APPENDIX M LETTERS OF PERMISSION...... 185 BIBLIOGRAPHY...... 188 BIOGRAPHICAL SKETCH ...... 193
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LIST OF TABLES
Table 5.1. Concerts and Clinics on the Concert Chorale‘s Asia Tour of 1991...... 55 Table 6.6. State conventions where Cooksey was the featured headliner...... 75 Table 7.1. Categories used by Jones with the addition of —Broadway“ under style...... 81 Table H.1. Chronological list of Clinics and Presentations...... 132 Table I.1. Programmed music listed by Title, Work, or Movement...... 153 Table J.1. List of Composers that Cooksey Programmed sorted by highest to lowest frequency...... 172 Table K.1. List of Composers that Cooksey Programmed sorted by highest to lowest frequency...... 178
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LIST OF FIGURES
Figure 2.1. Cooksey at his home, 1952 ...... 8 Figure 2.2. Cooksey playing horn at Garinger High School...... 12 Figure 2.3. Cooksey (top right), NC State Junior Opera production of —Sunday Excursion“...... 13 Figure 2.4. Menu Cover from Blackwell's Farm House...... 17 Figure 3.1. Cooksey conducting the Easter morning service at the Tampa Stadium ...... 23 Figure 3.2. Cooksey Conducting with Norman Dello Joio at the piano, H. B. Plant High School, 1970...... 24 Figure 4.1. Cooksey (far right) teaching methods course at California State University, Fullerton ...... 32 Figure 4.2. John Cooksey standing next to Jack Harold, Tenor Soloist at the Helbrunn International Festival ...... 39 Figure 4.3. McIntire School of Commerce at the University of Virginia, summer 1985...... 42 Figure 5.1. Concert Chorale Enrollment by semester based on personnel lists included in concert programs...... 52 Figure 5.3. University of Utah Concert Chorale during Competition of Folk Songs, part of the International Choir Competition at Portia Castle, Carinthia, Austria...... 56 Figure 6.1. raw data from Longitudinal Study (1984). Bracketed notes are average note ranges; notes in parentheses are notable exceptions...... 66 Figure 6.2. Cooksey Voice Classification Index: Mean Ranges and Tessituras (bracketed notes) for the Voice change Stages with updated terms in stages 4 and 5 ...... 67 Figure 6.3. Cooksey working with boys in the Kansas, City Boy‘s Choir in 1987...... 72 Figure 6.4. Data collected from Cooksey‘s Curriculum Vita and published advertisements or programs...... 73 Figure 6.5. Information collected from Cooksey‘s Curriculum Vitae and published programs and advertisements of clinics...... 74 Figure 6.7. Chart comparing number of clinics where Cooksey presented his research on the male adolescent changing voice with number of guest conducting opportunities...... 76
x Figure A.1. Cooksey‘s Childhood Home, 2114 Kenmore Avenue, Charlotte, North Carolina ... 90 Figure A.2. Harry Jr., John, and Rufus Cooksey...... 90 Figure A.3. Mary Cooksey, John Cooksey (1 year), and Harry Jr...... 91 Figure A.4. Cooksey with his Grandfather Yearton outside of Charlotte, North Carolina ...... 92 Figure A.5. Page from Cooksey‘s baby book. His mother mentions his first attempted song..... 93 Figure A.6. Cooksey sings solo in Church, age 11, St. John‘s Baptist Church, Charlotte, North Carolina...... 94 Figure A.7. 1964 Garinger High School Choir, Charlotte, North Carolina, Paul Sanders Director. (Cooksey Row 2 6th from the right, Garinger High School Year Book) ...... 95 Figure B.1. H. B. Plant High School Mixed Chorus, 1969. Cooksey‘s first year at Plant...... 98 Figure C.1. Adjudication Sheet for Beautiful Savior judged by Christine Baker...... 100 Figure C.2. Adjudication Sheet for Beautiful Savior judged by James Johnston...... 101 Figure C.3. Adjudication Sheet for Beautiful Savior judged by Wallace Gause...... 102 Figure C.4. Adjudication Sheet for Great Day judged by Wallace Gause...... 103 Figure C.5. Adjudication Sheet for Great Day judged by Christine Baker...... 104 Figure C.6. Adjudication Sheet for Great Day judged by James Johnston...... 105 Figure C.7. Adjudication Sheet for Great Day judged by Wallace Gause...... 106 Figure C.7. Adjudication Sheet for Exodus judged by Christine Baker ...... 107 Figure C.8. Adjudication Sheet for Exodus judged by James Johnston ...... 108 Figure C.9. Adjudication Sheet for Sourwood Mountain judged by James Johnston ...... 109 Figure C.10. Adjudication Sheet for Sourwood Mountain judged by Wallace Gause ...... 110 Figure C.11. Adjudication Sheet for Sourwood Mountain judged by Christine Baker ...... 111 Figure D.1. Clipping taken from the Newspaper published by the Tennessee State Penitentiary...... 113 Figure D.2. Cooksey‘s 1984 European Tour Objectives for Memphis State University Singers ...... 114 Figure D.3. Cooksey working with the Festival Chorus during the Fifth Annual Saudi Arabian Choral Festival in Jeddah, Saudi Arabia...... 115 Figure D.4. Leslie Hale (University of Northern Iowa) and John Cooksey in Saudi Arabia ..... 115 Figure E.1. Flyer announcing the new Concert Chorale, 1986...... 117 Figure E.2. Acceptance Letter in to Bachelor of Accounting Program when Cooksey was thinking of leaving the music profession...... 118
xi Figure F.1. Plans submitted to Music Department Prior to Cooksey‘s Sabbatical Approval..... 120 Figure F.1.2. Sabbatical Plans Continued...... 121 Figure F.1.3. Sabbatical Plans Continued...... 122 Figure F.2. Letter from Graham Welch Requesting John Cooksey‘s Services during Sabbatical...... 123 Figure G.1. Letter from Leon Thurman Substantiating Cooksey‘s Contributions to the profession ...... 125 Figure G.1.2. Thurman continued...... 126 Figure G.1.3. Thurman continued...... 127 Figure G.1.4. Thurman continued...... 128 Figure G.2. Letter from Anthony Barresi Substantiating Cooksey‘s Contributions to the profession...... 129 Figure G.3. Letter from Richard Colwell Substantiating Cooksey‘s Contributions to the profession...... 130 Figure L.1. Musical Style Periods Represented in Cooksey‘s Programming...... 182 Figure L.2. Text Types Represented in Cooksey‘s Programming...... 182 Figure L.3. Languages Represented in the Music Programmed by Cooksey...... 183 Figure L.4. Accompaniment Types Represented in the Music Programmed by Cooksey...... 183 Figure L.5. Main Menu for Database Containing Data which Cooksey Programmed...... 184 Figure M.1. Letter of Permission from Heldref Publications...... 186 Figure M.1. Letter of Permission from The Tampa Tribune...... 187
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ABSTRACT
John M. Cooksey‘s contributions to the choral music profession, both as an educator and a conductor, were documented using the following research questions: (1) What individuals, events, and experiences led Cooksey to pursue a career in choral music education? (2) What activities and events shaped Cooksey‘s philosophies and methods while working at Oak Grove Junior High; H. B. Plant High School; University of Illinois, Urbana-Champaign (as a Graduate Student); California State University, Fullerton; Memphis State University; and the University of Utah? (3) What contributed to Cooksey‘s decision to develop the Choral Performance Rating Scale (CPRS), and how did this further his career and influence as a music educator? (4) What individuals, events, and experiences initiated and furthered his interest and contributions to the area of the male adolescent changing voice? (5) What were Cooksey‘s philosophies as a choral conductor, and how did they evolve throughout his career? (6) What music did Cooksey program, and what trends were demonstrated through his programming? Each period of Cooksey‘s life was full of important events and individuals that contributing to Cooksey‘s career as a music educator. He was born October 27, 1942 in Charlotte, North Carolina to Rufus and Mary Cooksey who provided a nurturing atmosphere. Cooksey‘s early church music experiences with Paul Langston instilled in him a desire to major in music. At Florida State University and later at the University of Illinois, Cooksey‘s mentors provided a foundation where upon he built a successful career in public and higher education. Cooksey‘s contributions to music education cover a wide spectrum of areas ranging from his pioneering development in the objective rating of choral performance to noteworthy impact as a choral conductor–performing a wide variety of literature for national and international audiences. Cooksey is best-known for providing thousands of teachers with valuable tools for classifying and working with the male adolescent changing voice. Through hundreds of clinics, Cooksey‘s methods have clarified and provided the groundwork for future study in this area.
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CHAPTER 1
INTRODUCTION: PURPOSES AND PROCEDURES
Problem Statement
John M. Cooksey is widely known as a choral music educator who made significant contributions in the area of the male adolescent changing voice. His research findings have been presented in a wide variety of venues including presentations, publications, workshops/clinics, and classroom teaching. Moreover, his far-reaching influence as a choral conductor at various institutions, organizations, and communities is noteworthy. This study documents and preserves a history of Cooksey‘s contributions within the field of choral music education through 2006– when he retired from formal teaching and conducting.
Subproblems:
1. What individuals, events, and experiences led John Cooksey to pursue a career in music education? 2. What activities and events shaped Cooksey‘s philosophies and methods while working at Oak Grove Junior High (Tampa, FL); H. B. Plant High School (Tampa, FL); California State University, Fullerton; Memphis State University; and the University of Utah? 3. What contributed to Cooksey‘s decision to develop the Choral Performance Rating Scale (CPRS), and how did this further his career and influence as a music educator? 4. What individuals and events initiated and furthered Cooksey‘s interest in the male adolescent changing voice, and how has his philosophy and research evolved throughout his career in this area? 5. What were Cooksey‘s philosophies as a choral conductor, and how did those evolve through out his career?
1 6. What music did Cooksey program and what trends are demonstrated through his selections?
Definition of Terms
—Memphis State University,“ now the University of Memphis located in Memphis, Tennessee, has undergone several name changes as it changed in size and focus. Earlier names included, West Tennessee State Normal School and West Tennessee State Teacher‘s College. A —Facet-Factorial scale“ was used by Butt and Fiske to measure dominance in personality.1 Cooksey adapted this scale to behaviors of choral performance as Howard Abeles did in rating clarinet performance.2 In his study choral performance is considered a complex behavior. This behavior is then divided into —factors“ such as interpretation, tempo, tone quality, etc. Factors are further divided into —facets,“ or descriptive statements.3 —Choral Performance Rating Scale“ (CPRS) is an objective rating scale developed by Cooksey during his dissertation research at the University of Illinois, Urbana. —Concert Chorale“ refers the choral ensemble that Cooksey started at the University of Utah. The —University Singers“ is the mixed ensemble he conducted while teaching at Memphis State University.
Delimitations
This study makes no attempt to provide complete documentation of the history of the institutions where Cooksey taught or their respective choral departments (H. B. Plant High School; Oak Grove Junior High School; California State University, Fullerton; Memphis State University; or The University of Utah4).
1. Dorcus S. Butt and Donald W. Fiske, "Comparison of Strategies in Developing Scales for Dominance," Psychological Bulletin 70, no. 6 (1968): 505-519.
2. Howard F. Abeles, —A Facet-Factorial Approach to the Construction Of Rating Scales To Measure Complex Behaviors,“ Journal of Educational Measurement 10, no. 2 (1973): 145-151.
3. John M. Cooksey, —A Facet-Factorial Approach to Rating High School Choral Music Performance,“ Journal of Research in Music Education 25, no. 2. (1977): 102.
4. Bonnie Jean Moesser Winterton, —A Study of the Choral Program: University of Utah Music Department.“ (PhD. diss.,, The University of Utah, 1986), 23-49.
2 Cooksey was involved with The American Choral Directors Association,5 Voice Care Network, Music Educators National Conference,67 and the respective state chapters of each. There will be no attempt at documenting the history of these organizations. There will be no attempt at documenting the development of research regarding the female adolescent changing voice8, or a complete history of research in the area of the adolescent male changing voice.9
Need for and Purpose of the Study
By examining the development of significant music educators such as Cooksey, an ideology can be formulated contributing to the successful development of future music educators. History is the —knowledge that helps us move into the future, forearmed with the knowledge of the past.“10 Although this —knowledge“ does not always provide a perfect forecast of future events, we are much safer preparing for what is coming if we at least know present.11 The role of a historian is not only to relay the information, but to synthesize and interpret findings.12 Sorting through ”everyday‘ documents, historians also discover trends which can then be united into a story describing circumstances behind an event or the life of an individual.
5. Ned Russell De Journett, —The History and Development of the American Choral Directors Association, 1957-1970,“ (PhD. diss.,, The Florida State University, 1970) In ProQuest dissertations and Theses, http://proquest.umi.com/pqdweb? index=0&did=756825031&SrchMode=1&sid=17&Fmt=6&V Inst=PROD &VType =PQD&RQT=309&VName=PQD&TS=1223646718&clientId=20174 (accessed October 10, 2008).
6. John W. Molnar, —The History of the Music Educators National Conference.“ (PhD diss.,, University of Cincinnati, 1948).
7. Harry Max Kauffman, —A History of the Music Educators National Conference.“ (PhD diss.,, Peabody College for Teachers of Vanderbilt University, 1943).
8. Darlene Louise Fett, —The Adolescent Female Voice: The Effect of Vocal Skills Instructions on Measures of Singing Performance and Breath Management.“ (PhD diss.,, The University of Iowa, 1993), 1.
9. John M. Cooksey, —The Development of a Contemporary, Eclectic Theory For The Training And Cultivation of The Junior High School Male changing voice,“ Choral Journal 28 no. 2 (October 1977): 5-13.
10. Michael L. Mark. —Unique aspects of historical research in music education,“ The bulletin of historical research in music education. 6, no. 1: 32.
11. Ibid.
12. John H. Arnold, History: A Very Short Introduction (New York, NY: Oxford University Press, 2000), 8.
3 This study examines the contributions of John M. Cooksey within the field of choral music education through 2006.
John Marion Cooksey John Marion Cooksey was born in Charlotte, North Carolina on October 27, 1942 to Rufus and Mary Cooksey. John‘s mother recorded in his baby book that he attempted to sing —Silent Night“ even before his second birthday, suggesting music was present in the Cooksey home. The Cooksey family attended church at St. John‘s Baptist Church located at the corner of Hawthorne Lane and Fifth Street in Charlotte where he sang under the direction of Dr. Paul Langston. Cooksey considers Langston‘s influence as the initiating influence behind his decision to make music education his career. Garinger High School provided Cooksey with many other musical opportunities. Cooksey played the horn in band and orchestra, and he sang tenor in the choir. Cooksey graduated from Garinger in 1960, and then chose to pursue his undergraduate degree at The Florida State University. Initially, Cooksey majored in sacred music but soon changed his emphasis to music education. Cooksey studied with Irvin Cooper, Wiley Housewright, Betty Jean Grimm, and others who instilled in him a love for choral music and an interest in sharing it with students of all ages. Cooksey graduated from Florida State University Cum Laude with a Bachelor of Music Education on April 18, 1964. Cooksey‘s first teaching position was at Oak Grove Junior High School in Tampa Florida where he taught choir from 1964 to 1968, and in the fall of 1968 he was hired as the choral director at H. B. Plant High School, also in Tampa, where he taught until 1972. While teaching school in Tampa, he pursued a master‘s degree in music education from the University of Illinois, Urbana-Champaign (1967-68). Later, after leaving public school teaching, he returned to Illinois in pursuit of a doctorate degree (1972-74). John Cooksey accepted his first college teaching position as Associate Professor of Choral Music Education at California State University, Fullerton where he conducted the men‘s and women‘s choirs, taught choral methods, choral conducting, choral literature for secondary schools, class voice, and supervised student teachers. In 1980 the men‘s choir sang at the Western ACDA conference. While at Fullerton he worked with Howard Swan who served as a
4 close mentor during his first years of college teaching. Howard Swan influenced his philosophies as an educator and a conductor. In 1980 Cooksey accepted a position at Memphis State University as Coordinator of the Choral Division, and Associate Professor of Choral Music Education. He expanded the choral curriculum to include Men‘s Choir, Women‘s Choir, Oratorio Society, Camerata Singers, University Singers and Gospel Choir. The University Singers, his first collegiate mixed ensemble, was and auditioned choir of about 65 music and non-music majors. The University Singers toured regularly throughout the United States and Europe. During his time in Memphis he served as the President of Tennessee ACDA. On July 1, 1986 Cooksey was hired as Professor of Music and Director of Choral Activities at the University of Utah, in Salt Lake City. His primary responsibilities included conducting the Concert Chorale and teaching choral music education courses. Throughout its existence, the Concert Chorale completed multiple tours to various locations including two European tours, a tour of the Northwest United States and Canada, and Southeast Asia. Cooksey‘s music education courses influenced many music educators who have gone on to teach music and make significant contributions in Utah and throughout the United States.
The Male Adolescent Changing Voice While at Florida State University, Cooksey studied with Irvin Cooper. Cooper‘s enthusiasm for working with the junior high boys‘ choir ignited within Cooksey a similar interest in these musicians and how to help them be successful. Cooksey contributed to the work of Cooper and other pioneering music educators in providing scientific evidence for the classification of the stages of male adolescent voice change–this demonstrated in his Contemporary, Eclectic Theory. This area of research became the major research focus of his career, and would provide him with many opportunities to present at state, national, and international conferences.
5 Procedures Sources Sources include the following data: 1. Documents collected from Cooksey‘s files including photographs, letters, choral and convention programs, dissertations, year books, recordings (tape, record, and CD, archived radio programs), choral scores, publications, notes, and newspaper clippings. 2. Documents collected from the institutions where he taught, and where he attended as a student such as photographs, year books, press releases, correspondence (letters/e-mails), school newspapers, concert programs, and awards. 3. Documents collected from newspaper and radio programs. 4. Interviews with Cooksey, his past students, colleagues, and associates.
Organization of the Study Chapter 1: Introduction, Purpose, and Procedures. This chapter presents the purpose of the study and the procedures used. Chapter 2: John M. Cooksey‘s Early Years. This chapter responds to research question one by providing a history of Cooksey‘s family life, his first years of formal education, and other experiences that introduced and fostered an appreciation for music. Chapter 3: Professional Development: Public School Teacher. This chapter responds to research question two by providing a history of Cooksey‘s professional development during his years as a public school teacher. Chapter 4: Professional Development: Graduate School And Early University Teaching. This chapter responds to research questions two and three by providing a history of Cooksey‘s professional development during graduate school at the University of Illinois and his first two positions in higher education. Chapter 5: Professional Development: The University Of Utah Years: 1986-2006. This chapter will respond to research question two by providing a history of his professional contributions from 1986 to 2006 while working at the University of Utah.
6 Chapter 6: The Male Adolescent Changing Voice: Contributions to the Profession. This chapter responds to research question four by providing a history of his developments as an expert in the area of the male adolescent changing voice, how he came to this area of research, and the influence his research has provided on those who have followed. Chapter 7: A Study of the Mixed Collegiate Choral Music Programmed By John M. Cooksey. This chapter will respond to research questions six and seven by providing a history of Cooksey‘s contributions as a choral conductor and an analysis of the mixed collegiate choral music he programmed while teaching at Memphis State University and the University of Utah. Chapter 8: Summary, Conclusion, and Recommendations for Future Research. This chapter will provide a summary of the findings, conclusions and recommendations for further study.
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CHAPTER 2
JOHN M. COOKSEY‘S EARLY YEARS
Early Family Life
John Marion Cooksey was born on October 27, 1942 in Charlotte, North Carolina at the Charlotte Memorial Hospital.13 His parents, Rufus and Mary Cooksey, brought him home to 2114 Kenmore Avenue where he grew up with his older brother Harry. The Cooksey home was a traditional Southern home where Mary stayed at home to care for the boys while Rufus worked in the finance industry.
Figure 2.1. Cooksey at his home, 1952 (Cooksey personal collection, used by permission)
13 Mary Cooksey, —Baby Book,“ 1942, Cooksey personal files, Sandy, UT, 7.
8 Cooksey‘s early family experiences included road trips across the country and visits with extended family. When he was sixteen years old he wrote a paper for school in which he described in detail a family vacation taken in 1955. In this document he displayed his aptitude for writing and awareness for beauty. 14 Mother and I stood still listening to the rhythmic roar of the mountain stream. Besides that everything was quiet and still in the cool, fresh mountain air. There were many other examples of God‘s handiwork, especially in Glacier National Park and in Canada where the most beautiful sights that I had ever seen met my eyes. Majestic snow-crowned mountains reached into the sky with a grandeur all their own and the forests were green and smooth like a carpet.15 Ironically, he also wrote about a trip the family took in 1953 through the southern states where he would later spend a significant part of his life as both a student and teacher. He wrote, —I got a chance to see the backwardness of these southern states and it helped me to appreciate so much my home.“16 Cooksey was a religious boy with strong faith. When he was four he had health problems. He later wrote of these health problems saying, —. . . life looked pretty bleak to me. It held no interest and I lapsed into a coma and nearly died. Something pulled me through and I know today it was God.“17 The Cooksey family was active in the St. John‘s Baptist Church located at 300 Hawthorne Lane. Their regular participation encouraged John to be very active in the church throughout his childhood and adolescence. John officially became a member of the church on May 18, 1952.18 While Rufus‘s primary source of employment was Wachovia Bank, where he worked for 44 years, occasionally he did accounting work for as many as four other companies to support his family. Many times John would travel to work with his father to keep him company.19 Rufus helped John and Harry open savings accounts at a very early age, and encouraged them to be
14 John M. Cooksey, interview by author, Sandy, UT, February 6, 2009, possession of the author.
15 John M. Cooksey, —Life Reflections“ (Paper written while attending Garinger High School, Charlotte, NC, September 9, 1958), 4.
16 Ibid, 3.
17 Ibid, 1.
18 —Order of Service,“ St. John‘s Baptist Church, May 18, 1952, Cooksey personal files.
19 John M. Cooksey, interview by author.
9 very involved in their own finances. This close association with his father instilled in John an interest in finance that would influence future career decisions. Cooksey was ambitious in his pursuits to find work as a young man. He worked as a newspaper carrier for more than five years. As a sixteen-year-old, Cooksey applied to the Charlotte Branch of the Federal Reserve Bank of Richmond where he wanted to work in the transit department. In his letter of application he wrote, —I am conscientious, a hard worker, and honest. If you select me for this job I will do my very best to be an asset to the bank.“20
Early Musical Interests and Training
When John was about three years old, his mother wrote in his baby book that he enjoyed —music, cuddly toys, electric trains, blocks, and his tricycle.“ The first song he sang was —Silent Night.“21 As John and Harry Jr. grew, their parents encouraged each to be open-minded and explore their respective interests and never forced them to choose a certain career path. Although John‘s parents did not sing much, John‘s mother could play the piano and would accompany the boys, both tenors, on Sunday afternoons when they visited his Yearton Grandparents on their farm in nearby Newell, NC. While both boys sang at family functions, it was clear that John had a compelling interest in music. John‘s ability to sing provided him opportunities to participate regularly in church music under the direction of Dr. Paul Langston, who later became the dean of Stetson University‘s School of Music.22 Paul Langston, an organist, composer, and conductor, was a central figure in Cooksey‘s life and influenced his decision to pursue a career in music. Cooksey participated as both a soloist and choir member throughout his childhood and adolescence in the graded choir program at St. John‘s. On April 18, 1954 at the age of eleven, John sang the anthem In Joseph‘s Lovely Garden by Dickenson as part of the —Children‘s Sermon.“23 In 1956 at the age of 12, he performed the role of Nanki-Poo in The Mikado–
20 Cooksey to Charles R. Hunt, Personnel Manager, Charlotte Branch of the Federal Reserve Bank of Richmond, November 29, 1958, Cooksey‘s personal files.
21 Mary Cooksey, —Baby Book“ 1942, Cooksey‘s personal files, Sandy, UT, 15.
22 John M. Cooksey, interview with author; John M. Cooksey —Biographical Record,“ 1953, (Application for National Baptist Conference, Cooksey‘s personal files).
23 —The Messenger, St. John‘s Baptist Church,“ April 18, 1954, Cooksey personal files.
10 production presented by the St. John‘s Baptist Chapel Choir.24 Cooksey‘s abilities provided him many opportunities to sing in his adolescent years including those years in which his voice was actively changing. Because of his lack of individualized vocal training, this period of his life forced him to sing with a tight —necktie tenor“ sound that he would spend the rest of his singing career trying to correct.25 This experience contributed to Cooksey‘s later research interests in music education.26 The leadership of St. John‘s Baptist Church had a classical approach to choosing sacred music. Cooksey‘s early exposure to a wide variety of sacred literature influenced his later programming decisions. The choir performed many pieces which Cooksey would later program throughout his career including many Bach chorales including Christ lag in Todes Banden. Other influential pieces included J.S. Bach‘s Magnificat, Beethoven‘s —Hallelujah“ from Christ on the Mount of Olives, and —Hallelujah, Amen“ from Handel‘s Judas Maccabeus. Cooksey‘s earliest formal music training outside of church came when he began playing the cornet in the fourth grade band at Elizabeth Elementary School and continued to play it until junior high when he switched to French horn to fill a need by the band director. While in junior high, Cooksey purchased his own Steiff brand piano with his paper route money and began taking piano lessons with Mrs. Dawson whom he continued with into high school.27 John‘s singing experience expanded in the junior high setting where he participated in choir and was chosen to sing in the Charlotte Opera Association‘s production of La Boehme.28 John Continued to sing at Central High School where he attended his first two years of high school. In 1958 the school was closed and the students began attending the new Garinger High School. While at Garinger High, Cooksey also participated in other musical productions,
24 J. M. Cooksey, —Life Reflections,“ 5.
25 J. M. Cooksey, interview, February 6, 2009.
26 Ibid.
27 Ibid.
28 J. M. Cooksey, —Life Reflections,“ 3.
11 including the 1960 NC State Junior Opera Sunday Excursion by Alec Wilder. Cooksey sang the lead tenor role, Hillary.29
Figure 2.2. Cooksey playing horn at Garinger High School (Cooksey‘s personal collection, used by permission).
John Sanders was Cooksey‘s high school choir director. Sanders also conducted the Kiglo Methodist Church choir where the Central High School Choir performed and Cooksey sang Mallotte‘s setting of —The Lord‘s Prayer“ as a soloist.30 Although Cooksey enjoyed singing under Sander‘s direction, his musical experiences under the direction of Dr. Jack Stern in the band program far exceeded those of his choral experiences. Cooksey flourished as an instrumentalist demonstrated by his participation in several all-state bands, one of which was the Southwest division all-state band a performance that took place in 1959 in Gastonia, North Carolina.31
29 —Davenport, Cooksey to Present Recital,“ Florida Flambeau, January 23, 1964, 4; —Sunday Excursion,“ North Carolina Federation of Music Clubs, May 6, 1960, O‘Henry Hotel Ball Room, Cooksey personal files.
30 —Kiglo Methodist Church,“ Sunday Bulletin, November 9, 1958, Cooksey personal files.
31 —All-State Name Tag,“ Cooksey‘s personal files.
12 During his high school years, Cooksey began his conducting career when he was hired as Minister of Music at Grace Baptist Church where he directed the Chancel Choir–a chorus of 25 to 30 members. The girl he courted through high school, Dotty Page Norton, was Cooksey‘s accompanist.32 This conducting experience provided Cooksey with first-hand experience motivating amateur singers in a volunteer setting. He learned the importance of providing both musical and socially satisfying experiences thus fostering singers‘ desires to return each week.
Figure 2.3. Cooksey (top right), NC State Junior Opera production of —Sunday Excursion“ (Cooksey Personal Collection, used by permission).
Florida State University Years
Cooksey‘s experience with Paul Langston fostered within him a desire to major in sacred music. Langston recommended the program at Florida State University, where Cooksey enrolled in 1960 and was awarded both the Presser Foundation Voice Scholarship and the Out-of-State Tuition Academic Scholarship.33 Although Cooksey declared a major in sacred music at the new
32 J. M. Cooksey, interview, February 6, 2009.
33 John M. Cooksey, —Resume“ from Memphis State Years, Cooksey personal files.
13 student orientation, after two weeks of closer investigation of curriculum, it became clear that a degree sacred music would not be as fulfilling as would a degree in music education, so he promptly changed his degree.34 Cooksey sang in multiple vocal ensembles while a student at Florida State including the University Singers, the Collegian‘s, and the Choral Union. Each of these ensembles provided him with a unique opportunity to grow as a singer and musician as he worked with each of the directors. Under the direction of Wiley Housewright, an influential choral conductor and later dean of the College of Music at Florida State University, the University Singers performed a wide variety of literature providing Cooksey with a broad exposure to many types of music. One notable contemporary performance was Pablo Casals‘ El Pessebre in which the composer served as guest conductor.35 Such opportunities provided Cooksey with a broad appreciation for all types of music. Cooksey began singing with University Singers as a freshman and continued through his senior year participating as a choir member but also as a soloist.36 With Housewright‘s encouragement, Cooksey flourished as a conductor, educator, and singer.37 In addition to University Singers, Cooksey sang during his third and fourth years with the Collegians–Florida State‘s men‘s glee club. Cooksey admired Ramon E. Meyer, the director, and gleaned much from him as the group‘s conductor. Meyer‘s enthusiasm and ability to conduct and teach music made a lasting impact on Cooksey. His personality connected with the singers through his —acerbic“ sense of humor. He would say things that would leave the singers rolling on the floor. Singing with the Collegians exposed Cooksey to a variety of men‘s music, and Meyer‘s style provided him a unique understanding of men‘s choruses that Cooksey would use in his own teaching career.
34 J. M. Cooksey, interview, February 6, 2009
35 —El Pessebre,“ Florida State School of Music Concert, Warren D. Allen Music Library, Special Files, April 1, 1963.
36 —Christmas Concert,“ Concert Program University Singers, December 6, 1963 8:15pm Westcott Auditorium, Tallahassee, FL, Wiley L. Housewright Conductor.
37 J. M. Cooksey, interview, February 6, 2009.
14 Another influential person during Cooksey‘s time at Florida State University was Irvin Cooper, who taught choral methods classes. These classes were taught using a demonstration choir of junior high boys that attended Florida High School–Florida State University‘s sponsored school. Cooksey developed a genuine excitement and enthusiasm for teaching junior high boys by watching Cooper in this setting. Cooper‘s methods for working with adolescent singers provided Cooksey with a starting point from where he could build his career. Cooksey‘s experience teaching junior high boys allowed him to try Cooper‘s methods. Cooksey personally found many of Cooper‘s ideas and methods did not work. This realization created a curiosity that he would spend decades researching, writing about, and teaching about. An influential mentor for Cooksey was Betty Jane Grimm. She was Cooksey‘s private voice teacher and music education advisor. She also organized the Florida State University traveling male quartet in which Cooksey sang second tenor along with various other music education majors. This was not an official class or ensemble of Florida State but rather singers from Grimm‘s private studio that would sing barbershop music. The group performed in Tallahassee and other locations in Florida. Cooksey‘s later use of small ensembles in his choral programs stemmed from this positive experience. Grimm served as a mentor to Cooksey during and after his years at Florida State University.38 In the opening weeks of Cooksey‘s internship at Hillsborough High School in Tampa, Grimm responded to a letter that Cooksey wrote concerning the musical selection and abilities of the supervising teacher. Her advice to him demonstrated the mentoring role that she played in his career. She stated, Bless your heart! What a wild introduction to interning œ Now, my dear, I‘m going to take your letter œ Bit by Bit œ 1) assume your responsibility, not his œ 2) Keep their respect for him as high as you can, 3) Do not touch in gossip of his short-comings–just his good points.39 She went on to encourage him in different aspects of his teaching and the building-up of the supervising teacher. This letter demonstrated her support of the public school teacher, the student, and the necessity of instilling similar values in her students.
38 —University of Utah job application,“ January 2, 1986, Cooksey personal files.
39 Grimm to Cooksey, February 26, 1964, Cooksey personal files.
15 While attending Florida State University, Cooksey was active in several organizations including Pi Kappa Lambda, Phi Mu Alpha, and Phi Era Sigma. Cooksey also joined the State Baptist Student Union and was made the music director for that organization. This being Cooksey‘s first time away from home and having a roommate with a serious alcohol problem, he sought such organizations to satisfy his social needs away from the his dorm. The BSU would take up collections then leave on week-long revivals across the state of Florida.40 His second year his roommate situation improved drastically when he became roommates with Bill Kent.41 Bill had connections with E. J. Blackwell‘s Fabulous Farm House in Blowing Rock, North Carolina and encouraged John to look into the opportunity of performing with him and several others from Florida State during the summers.42 Beginning in the summer of 1962, Cooksey became one of about 30 singing waiters who gathered from around the country. Along with amazing prime rib and delicious sweet rolls, this restaurant offered guests high quality vocal entertainment. The singers would perform all types of music, including —musical reviews, country or Disney cabarets, and even full scale productions like Mame, Pirates of Penzance and South Pacific.“43 On the weekends the singers would perform oratorios in the churches. The waiters had the mornings free and would attend auctions in the city and picnics in the mountains. Using the money from this experience, Cooksey paid for most of his expenses at Florida State, but more than the money, his experiences provided him with rich musical and social experiences that he would remember the rest of his life. In 1963 Cooksey wrote a letter to Captain Samuel Laboda, the director of the United States Army Chorus in Washington D.C., requesting the opportunity to audition for the chorus as a way to satisfy his military obligation. His voice teacher, Betty Jane Grimm, told him of the limited spots in the choir and encouraged him to audition. Cooksey was granted an audition and traveled to Pennsylvania, where he stayed with his brother Harry Jr. and his wife, and then onto Washington D.C. Cooksey did not make the choir but had the opportunity to sing for the famous baritone opera singer and actor, Todd Duncan, a singer best known for his roll as Porgy in the premier of Gershwin‘s Porgy and Bess. As part of Cooksey‘s audition, Duncan conducted a
40 John M. Cooksey, interview by author. 41 John M. Cooksey, e-mail message to author, April 1, 2009.
42 Ibid.
43 —The Blackwell‘s Farm House On Old Doe Mountain,“ Blowing Rocket, January 20, 2005.
16 private lesson with him to assess his vocal abilities and offered him suggestions for improvement.
Figure 2.4. Menu Cover from Blackwell's Farm House (Cooksey second from left, front row) (Cooksey Personal Collection, used by permission).
17 Among many other things, Cooksey‘s experience at Florida State University provided him with the training to become a music educator and choral conductor on many different levels. He was exposed to many of the world‘s great choral pieces and was fortunate to work with faculty that created for Cooksey a solid foundation from where he would begin a life-long career. On April 18, 1964 John Cooksey graduated from Florida State University with a bachelor of music education degree. Out of the nineteen students that graduated that year in music education, only Cooksey and Frank A. Edmonson, III graduated Cum Laude.44
44 —Florida State University Graduation Commencement Announcement“, April 18, 1964, Cooksey personal files.
18
CHAPTER 3
PROFESSIONAL DEVELOPEMENT: PUBLIC SCHOOL TEACHER
Oak Grove Junior High School
After graduating from the Florida State University, Cooksey began his professional teaching career at Oak Grove Junior High School in Tampa, Florida (1964-1967). Kenneth Vennet, the principal at Oak Grove, heard of Cooksey‘s successful student teaching experience at Hillsborough High School where Vennet‘s wife was working as the school secretary. Through this connection, Cooksey was invited for an interview and hired to establish a choral and general music program.45 Oak Grove‘s new choral program consisted of four choirs: Concert Chorus, Mixed Chorus I, Mixed Chorus II, and 7th Grade Chorus. His choirs at the junior high level sang a wide variety of music including pieces by Brahms, Vivaldi, Vecchi, Vittoria, Pitoni, Clement, Bortiansky, and others.46 Besides the use of traditional choral repertoire, Cooksey also integrated popular music into concerts providing appeal to the student body. This popular music included medley‘s from musicals like My Fair Lady and popular pieces like See You in September from the then-popular movie American Graffiti. Besides regular choirs, Cooksey used smaller ensembles throughout his teaching career to (1) provide additional singing opportunities for students who needed an extra challenge and (2) as a visible recruiting tool during school concerts and community functions.47 Cooksey personally sought out students who were active in sports and student leadership to join his choirs
45 John M. Cooksey, interview with author, Sandy, UT, February 7, 2009, in the possession of the author.
46 A Year In Song: Oak Grove Junior High School, 1966-67 Choral department dir. John M. Cooksey, Recorded by Ronnie Stancil, Century Records, St. Petersburg, FL, #27897, 33 rpm, 1967.
47 John M. Cooksey, interview with author, February 7, 2009, Sandy, UT, in the possession of the author.
19 and small ensembles. He felt that these types of students would draw others to participate in choir that otherwise might not. In addition to performing school concerts, Cooksey‘s choirs performed as demonstration choirs at the University of South Florida and at state music festivals.48 During Cooksey‘s first year of teaching, he took Oak Grove Junior High School‘s Concert Chorus to contest where they performed Sourwood Mountain by Albert Scholin and Exodus by Ernest Gold. The adjudicators‘ comments reflected the beginning of Cooksey‘s development as a choral director. Suggestions included ideas for tonal improvement, balance issues, intonation, and how to divide the boys according to voice type (see appendix C). Although Cooksey and his choirs learned much participating in festival, he thought about the inevitable subjectivity that occurred in choral adjudication, and later based his dissertation research on the development of an objective rating scale (see chapter 4). One experience in particular illustrated this subjectivity. He took one of his choirs to festival where they performed The Crawdad Song. The piece had a —boom chuck“ piano accompaniment with an ascending choral part above. The choir ascended too much and ended up a quarter-tone to half-step too high and sang the rest of the piece in the wrong key while the piano continued to play in the correct key. One judge gave them a —1“ for consistently singing in two separate keys, another judge gave them a —2,“ also mentioning the sharping of the choir, and the last gave a —3“ for the same reason.49 Cooksey‘s experience at Oak Grove Junior High helped reaffirm his enthusiasm for working with adolescent singers–something Irvin Cooper had instilled in him at Florida State University. While he would go on to work with many different age groups, the early adolescent singer would continue to be the group that he most frequently worked with in workshops, all- state and honor choirs, and his college methods classes. Cooksey‘s enthusiasm helped him lead Oak Grove Junior High School‘s choral program from its beginnings to one of the largest in the Florida at the time–about 400 members.50
48 John M. Cooksey, —Resume,“ Memphis State University, 1986, Cooksey personal files.
49 J. M. Cooksey, interview, February 7, 2009.
50 J. M. Cooksey, —Resume,“ Memphis State University, 1986; J. M. Cooksey, interview, February 7, 2009.
20 H. B. Plant High School
Cooksey‘s success at Oak Grove Junior High led to his later employment at H. B. Plant High School where he was asked to take a struggling program and build it up as he had done at Oak Grove Junior High. He taught at H. B. Plant High School for four years (1968-1972) and successfully grew the program to be one of the largest in the state. Prior to Cooksey‘s arrival at H. B. Plant High School, the choir met in a room called the Multipurpose Room. When Cooksey arrived he talked to Charles Vacher, the principal, who agreed to change its name to the Choral Room. Cooksey visited the study halls and rounded up as many people as he could. He would say, —I‘ll take anything with arms and legs and make it sing.“51 In 1969, 136 students participated in the choir program, but in just one year it grew to more than 230 members. The largest growth took place in the Concert Choir which grew from 28 to 92 members.52 In 1971 the choral program exceeded an enrollment of 370 students. Having a program consisting of students of all musical abilities required Cooksey to rigorously teach basic musicianship skills in his choirs. He obtained a supply of old hymnals from which his students would sight read every day. Cooksey required students to follow the line of music they were singing with their finger. As they did this he would walk around the room and help students who were lost or struggling. Cooksey‘s students gained valuable musicianship skills from their choral experience at H. B. Plant High School.53 In Cooksey‘s first year at H. B. Plant High School, the Concert Choir received superior ratings at the state festival.54 When Cooksey‘s choir arrived at their first festival, three students fainted while walking on stage. The tension was so high that Cooksey was not sure how they would perform, but when the announcer erroneously welcomed —Plant City“ high school choir the singers expressed their school pride by booing the announcer–informing him that they came from H. B. Plant High School. This experience allowed the students to forget their anxieties and perform their best.55
51 J. M. Cooksey, interview, February 7, 2009
52 H. B. Plant High School Yearbook, Tampa, FL, 1970, p 103.
53 Ibid.
54 Ibid; J. M. Cooksey, interview, February 7, 2009; Sam Metcalf, interview with author, Tallahassee, FL, February 3, 2009, In the possession of the author.
55 J. M. Cooksey, interview, February 7, 2009.
21 H. B. Plant High School choirs actively participated throughout the community at a number of extra-curricular events giving the choir and Cooksey more visibility. In one spring semester his choir performed at nine different events.56 One such opportunity was the yearly Easter Sunrise Service sponsored by the Egypt Temple A.A.O.N.M.S.–an event held at the Tampa Stadium that attracted thousands (see fig. 3.1).57 The event began before 6:00 a.m. on Easter morning and featured a reenactment of the resurrection, various sermons, prayers, and anthems sung by H. B. Plant High School choirs (occasionally joined by choirs from other schools). The choir‘s other outside performances included two different concerts at local junior high schools, district and state festivals, honor society ceremonies,58 a county-wide baccalaureate service, Palm Ceia Jr. Women‘s Club event,59 —Young America Sings“ (held at Curtis Hixon Hall in participation with other high school choirs), and the University of South Florida Contemporary Music Symposium.60 The H. B. Plant High School choirs were fortunate to participate in many events at the University of South Florida; Cooksey sought many opportunities to participate in activities at University of South Florida to help encourage their further involvement in music after high school. Through Cooksey‘s efforts, H. B. Plant High School Choirs were able to work with a variety of notable composers, including Sam Adler, Vincent Persichetti, and Norman Dello Joio. One particular event in which Cooksey and his choirs participated was the 1970 premier of Norman Dello Joio‘s Evocations for choir and orchestra conducted by the composer.61 This event featured one-thousand performers and opened the first Tampa Arts Festival. Through this
56 John M. Cooksey, —H. B. Plant High School Vocal Music Department,“ 1970-71, Cooksey personal files.
57 47th Annual Easter Sunrise Service, The, Sponsored by Egypt Temple Shrine and the Tampa Ministers‘ Association, Tampa Stadium, April 6, 1969; 49th Annual Easter Sunrise Service, The, Sponsored by Egypt Temple Shrine and the Tampa Ministers‘ Association, Tampa Stadium, April 11, 1971; 50th Annual Easter Sunrise Service, Sponsored by Egypt Temple Shrine and the Tampa Ministers‘ Association, Tampa Stadium, April 2, 1972.
58 H. B. Plant High School Yearbook, Tampa, FL, 1970, p 149.
59 —Palma Ceia Jr. Womens Club,“ The Palma Ceia/Mac Dill News, December 18, 1969.
60 J. M. Cooksey, choral policy statement.
61 Sharon Cohen, —4,000 Jam Opening,“ Tampa Tribune, 1970; Bernie McGovern, —Arts Festival Has Something For All,“ Tampa Tribune, 1970; Norman Dello Joio Papers, JPB 00-5, Music Division, The New York Public Library for the Public Arts, http://www.nypl.org/research/lpa/mus/pdf/Musdello.pdf, (accessed April 27, 2009).
22 association with H. B. Plant High School, Dello Joio visited Cooksey and his choirs as a guest clinician helping them prepare A Jubilant Song for performance (see fig. 3.2). Dello Joio both rehearsed and accompanied the choir. Dello Joio‘s exuberant personality and enthusiasm for music influenced both Cooksey and his students and leaving them excited about their upcoming performances.62
Figure 3.1. Cooksey conducting the Easter morning service at the Tampa Stadium (Used by permission of the Tampa Tribune) (see appendix M.2).
During Cooksey‘s time in Tampa, he also became acquainted with Wayne Hugaboom and Gene Brooks who were among the leadership of the American Choral Directors Association. At both the encouragement of Hugaboom and Brooks, Cooksey became involved in ACDA–an organization that would later provide him with an avenue to share his research through publications, conducting, and many clinics.
62 J. M. Cooksey, interview, February 7, 2009: S. Metcalf, interview.
23
Figure 3.2. Cooksey Conducting with Norman Dello Joio at the piano, H. B. Plant High School, 1970 (Cooksey Personal Collection, used by permission).
The Civil Rights Movement
Because of the of the Civil Right‘s Movement in the United States and the accompanying efforts for racial integration in the early 1970‘s, a federal judge ordered the desegregation of schools in Hillsborough County starting September 30, 1971. Forced busing of 57,000 students, an increase of 25,000 from the previous year, was the cause of much tension. Parents and students threatened to boycott the schools. H. B. Plant High School was paired up to integrate with Blake High School–a traditionally black high school. Only one Caucasian student
24 registered at Blake High School. The community‘s opposition to forced busing was apparent and eventually led to the closure of Middleton High School–another traditionally black school. 63 Cooksey remembers this time as being very difficult–when integration only happened on the surface, but within the school, segregation was still very much alive. Hillsborough, Pinellas, Palm Beach, and Duval counties were considered by some as —explosive.“ These counties were the scene of massive public protests and rallies.64 The students forced to integrate remained loyal to their previous schools, and would sing their old alma maters at school events and football games.65 To complicate things, Blake High School had won the state football championship the year earlier, and integration was perceived by the African American community as being more than just integration, but full of political implications. This period of Cooksey‘s life made him appreciate more fully the value of acceptance of all racial and ethnic groups taught him by his parents. The Charlotte-Mecklenburg School district, where Cooksey attended High school, was the first school to have forced integration, so he was very aware of its challenges. He felt that his time at H. B. Plant High School, although tense at times, helped increase his awareness and acceptance of diversity throughout the remainder of his teaching career. Evidence of his continued awareness and acceptance of diverse groups is represented by his efforts at Memphis State University where he worked closely with the African American community in traditional black schools as both a clinician and guest conductor (see Chapter 4).
Cooksey as Soloist in the Community
While in Tampa Cooksey was involved in the community and churches as a soloist apart from his conducting and teaching responsibilities In 1965 Cooksey performed the tenor solo in
63 Barbara J. Schircliffe, —Desegregation and the Historically Black High School: The Establishment of Howard W. Blake in Tampa, Florida,“ The Urban Review 34 no. 2 (June 2002): 152; Mary Anne Corpin, —Hillsborough Schools to Open Integrated“ The Tampa Tribune, August 29, 1971; M. A. Corpin, —Schools Open With Out Fuss,“ The Tampa Tribune, August 31, 1971; M. A. Corpin, —Mix Drains Blake, Plant Bulges,“ The Tampa Tribune, September 5, 1970.
64 —Eve Of School Year Is Marked By Tension,“ The Tampa Tribune & Tampa Times, August 29, 1971.
65 B. J. Schircliffe, The Urban Review.
25 the Tampa Bay Baptist Association‘s performance of Handel‘s Messiah.66 The Tampa Oratorio Society, formed in 1967 under the direction of Robert T. Scott, also featured Cooksey in both Mendelssohn‘s Elijah and Haydn‘s Creation as tenor soloist. 67 Continuing in his religious service, Cooksey served as Minister of Music and Youth at Riverside Baptist Church in Tampa where he conducted both the adult and youth choirs and was responsible for the music for all services, funerals, and weddings. During the summers, the youth choirs, under Cooksey‘s direction, prepared H. M. S. Pinafore and other Gilbert and Sullivan operettas.68
66 —Bayshore Baptist Church Bulletin,“ vol. 22, no. 37. Tampa, Florida, September 15, 1968, Cooksey personal files.
67 Ibid.
68 J. M. Cooksey, interview, February 7, 2009.
26
CHAPTER 4
PROFESSIONAL DEVELOPEMENT: GRADUATE SCHOOL AND EARLY UNIVERSITY TEACHING
University of Illinois, Urbana-Champaign
While still teaching at Oak Grove Junior High School, Cooksey decided to pursue a master‘s degree in music education–enrolling in their two-year part-time/summer program (1967-68). He chose the University of Illinois, Champaign-Urbana because of its national reputation in music education. Cooksey‘s long-term goals also included the pursuit of a doctoral degree and a career in higher education.69 Cooksey‘s coursework at the University of Illinois provided him with various opportunities to learn from nationally renowned teachers and conductors such as Charlie Leonard, Richard Colwell, Colleen Kirk, Harold Decker, Carroll Gonzo, and Maurice Tatsuoka.70 Coursework during his master‘s degree provided opportunities for Cooksey to develop valuable skills and knowledge related to music education and to the possibilities of research in music education. His coursework included Advanced Choral Literature and Conducting; Advanced Choral Techniques; Foundations and Principles in Music Education; private voice; music history; General Music–Secondary Schools; music theory; Concert Choir; Education Psychology; History and Philosophy of Education; Social Foundations of Education; Music– Early Childhood (Orff, Kodaly); and Pro-Seminar in Junior High Music. After finishing a master‘s of music education and teaching at H. B. Plant High School for three years, in 1972 Cooksey decided to enroll in the full-time doctoral program at the University of Illinois. Cooksey was the recipient of National Defense Education Act (NDEA) Government
69 John M. Cooksey, interview by author, Sandy, UT, February 7, 2009.
70 John, M. Cooksey, Unknown form, University of Utah, (1986). This form contains professional accomplishments as well as applicable courses taken by Cooksey during his years as a student in higher education.
27 Fellowship, Title IV to study music education at the University of Illinois.71 His courses included vocal and choral diction taught by James L. Bailey and Harold Decker. Tests and Measurements- Music Education, Research in Music Education, and Advanced Research Design were courses all taught by Richard Colwell. He also took music history and literature courses from Royal B. MacDonald, Herbert Kellman, and Colleen Kirk. During his doctoral studies, Cooksey was also employed as Music Consultant in the education placement office at the University of Illinois (1972-1974).72 This opportunity provided Cooksey with a unique perspective allowing him to see where University of Illinois graduates were being hired across the country. He also saw many students who chose to leave without finishing their dissertation and the difficulty they had finding jobs they wanted. This realization gave Cooksey extra initiative to finish his dissertation in a timely manner. Cooksey‘s responsibility in the placement office led to frequent meetings with Harold Decker to determine what placements would best suit students. During this process Decker often relied on Cooksey‘s assessment of students so they could weigh their strengths and weaknesses. It was during these conversations that Cooksey became aware of the political nature of higher education.73 Cooksey‘s association with Charles Leonard as his major professor provided him with valuable counsel in selection of a dissertation topic. Leonard told Cooksey, when advising him on a thesis topic, to —find and area of need and fill it.“74 Cooksey felt he had had found such an —area of need.“ Cooksey‘s experiences with Irvin Cooper at Florida State University and his own teaching experience at Oak Grove Junior High School encouraged him to further-explore the male adolescent voice change. Most the work in that area had primarily been based on experience, and Cooksey felt that through scientific study, clarification might be provided (see chapter 6). Although Cooksey‘s interest in that topic would later provide many future opportunities, Leonard discouraged him from exploring it during his doctoral degree because he felt that it was a very controversial topic in the country at that time. In referring to this the subject of adolescent
71 John M. Cooksey, —Resume,“ Memphis State University, 1986, Cooksey personal files.
72 J. M. Cooksey, Unknown form, University of Utah, (1986).
73 J. M. Cooksey, interview, February 7, 2009.
74 Ibid.
28 voice change, Leonard told Cooksey, —John, that‘s just a can of worms; you‘ll never get out of here on that! You can do it later!“75 Cooksey took his advice and chose another topic–though his interest in the adolescent changing voice remained. For his dissertation, Cooksey chose to do a study that replicated Harold Abeles‘ evaluation of clarinet performance and the development of an objective rating scale.76 Cooksey‘s study focused on choral performance. His experience with evaluation of choirs at festivals, and the prevailing subjectivity of adjudicators fueled an interest to develop a more objective rating scale that could be used to rate choral performance (see chapter 3).77 Cooksey collected subjective descriptions adjudicators had used when commenting on different aspects of choral performance. He then linked each comment to a Likert-type scale. Using this scale, fifty judges stated to what degree they agreed or disagreed with each description. The comments were then factor-analyzed, and calculated for inter-judge reliability. A list of seven broad categories was produced, under which were provided thirty-six sub-criteria. This process brought about the Cooksey Choral Performance Rating Scale.78 Cooksey was fortunate to meet many choral directors throughout the state of Illinois through his research, furthering his professional connections. Cooksey‘s Choral Performance Rating Scale became a tool used for festivals in several states for a number of years.79 A variety of later research projects referenced Cooksey‘s research in creating similar rating scales in other musical genres such as solo voice, jazz guitar, euphonium, and band.80 One study used Cooksey‘s scale as a measurement tool when measuring
75 J. M. Cooksey, interview, February 7, 2009.
76 Harold F. Abeles, —A Facet Factorial Approach to the Construction of Rating Scales to Measure Complex Behaviors,“ Journal of Educational Measurement 10 no. 2 (Summer, 1973): 145-141.
77 J. M. Cooksey, interview, February 7, 2009.
78 John M. Cooksey, —An Application of the Facet-Factorial Approach to Scale Construction in the development of a rating scale for High School Choral Music Performance,“ Ed.D diss.,, University of Illinois, 1974.
79 J. M. Cooksey, interview, February 7, 2009.
80 Harold Jones Jr., —An Application of the Facet Factorial Approach to Scale Construction in the Development of a Rating Scale for High School Vocal Solo Performance“ (PhD. diss., University of Oklahoma, 1986), 4; Robert Aaron Horowitz, —The Development of a Rating Scale“ (EdD diss., Columbia University Teachers College,1994); Martin J. Bergee, —An application of the facet-factorial approach to the scale construction in the development of a rating scale for euphonium and tuba music performance“ (PhD diss., University of Kansas, 1987), 20; Charles B. DCamp, —An Application of the Facet-Factorial Approach To Scale Construction In the Development of A Rating Scale For High School Band Music Performance“ (PhD. diss., University of Iowa, 1980); DCamp to
29 singer movement in a choir.81 This area of research provided Cooksey with an avenue for national recognition.
California State University, Fullerton
In 1974 as Cooksey was finishing his doctorate, a choral music education position was opened at California State University, Fullerton (CSUF). Jane Paul, who served on the search committee, contacted a Robert Smith, professor of elementary music education at the University of Illinois, seeking a recommendation. Smith recommended Cooksey for the position. Cooksey traveled to the St. Louis airport where he interviewed with the music department chair, Joseph Landon. Shortly thereafter he was offered the position and became an assistant professor in the fall of 1974. During Cooksey‘s first semester at CSUF he began to familiarize himself with the current curriculum by making contact with a large number of public school music teachers and students to assess their needs. He began to build upon the current curriculum by recommending a course in choral methods, materials and techniques. The course also included a demonstration- laboratory where students could apply methods they were learning in other courses.82 Joseph Landon, chair of the music department, emphasized Cooksey‘s role in, —helping the music education faculty develop a program which achieved national and international recognition for innovation and excellence.“83 The CSUF Music Department was a national pioneer in a competency-based preparation program for the training of teachers.84 Cooksey and the other
Cooksey, handwritten note, February, 9, 1981; Michael Larkin Howard, —The Construction and Validation of Rating Scales For The Objective Measurement of Five Dimensions of Achievement in Choral Music Performance“ (D. M. A. diss., Temple University, 1985).
81 Claire Wehr McCoy, —The Effects of Movement as a Rehearsal Technique on Performance and Attitude of High School Choral Ensemble Members,“ Contributions of Music Education 16 (1989): 7-18, http://homepage.mac.com/wbauer/cme/abstracts/abstract16.html (accessed March 31, 2009).
82Carole S. Chadwick, (Coordinator of Music Education, California State University, Fullerton), Memorandum, February 13, 1975, Cooksey personal files.
83 Joseph W. Landon to Chairperson, Tenure Committee, Department of Music, Memphis State University, October 9, 1984, Cooksey personal files; Gary MacEoin, —The Do Re Mi‘s of Music Teaching,“ Change: Report on Teaching 9 no. 7 (1977): 42-45; —Faculty and Staff Appointments Number Ten,“ Music at Memphis State (Music Department Newsletter) 3 (April 1981).
84 —Founding Chair of Cal State Fullerton‘s Music Department Dies,“ California State University News and Information no. 42 (September 24, 2004), http://campusapps.fullerton.edu/news/people/2004/ print/landon.htm (accessed November 25, 2008).
30 faculty helped CSUF receive commendation from Music Educators National Conference as one of only twenty-two colleges in the United States as having —an innovative and exemplary preservice curriculum.“85 During Cooksey‘s initial years at CSUF, he explored areas of research which he could develop as a researcher in music education. His dissertation research was published in 1977 in the Journal of Research in Music Education under same title.86 Using the same research design he used in his dissertation, Cooksey developed a similar measurement tool, but to use in assessing student teacher performance. He applied for and was given a $4,100 grant from the Educational Development and Innovations committee on March 21, 1977 to develop the Student Teaching Rating Scale (STRS).87 Colleen Kirk, national president of the American Choral Directors Association, helped him collect one hundred video segments each lasting twenty- minutes.88 Fifty judges, consisting of master teachers and university student teaching supervisors, were to then view the segments and rate the student teachers‘ work using a Likert-type scale. Although this project was never completed, this experience assisted Cooksey in his ability to write grant proposals which he would use the remainder of his career. In association with the faculty at CSUF in the areas of physiology, psychology, and speech pathology, Cooksey began his research for which he became best known, the male adolescent changing voice. He was awarded three successive research grants to fund this project.89 This research provided the basic ideas from which the Choral Journal agreed to publish his four-part series of articles on the male adolescent changing voice in 1977.90 These
85 Gary MacEoin, —The Do Re Mi‘s of Music Teaching,“ Change: Report on Teaching 9, no. 7 (1977): 42.
86 John M. Cooksey, —A Facet-Factorial Approach to Rating High School Choral Music Performance,“ Journal of Research in Music Education 25 no.2 (Summer 1977): 100-144.
87 John M. Cooksey to Educational Development and Innovations Committee, California State University, Fullerton, March 21, 1977, Letter of application for Planning Grant, Cooksey personal files; John M. Cooksey, —Resume,“ Memphis State University, 1986, Cooksey personal files; J. M. Cooksey, interview, February 7, 2009.
88 J. M. Cooksey, interview, February 7, 2009.
89 J. W. Landon to Chairperson, Tenure Committee, October 9, 1984.
90 John M. Cooksey, —The Development of a Contemporary, Eclectic Theory of the Training and Cultivation of the Junior High School Male Changing Voice; Part I: Existing theories,“ Choral Journal 18 no.2 (October, 1977): 5-14; J. M. Cooksey, —The Development of a Contemporary, Eclectic Theory of the Training and Cultivation of the Junior High School Male Changing Voice; Part II: Scientific and Empirical Findings; Some Tentative Solutions,“ Choral Journal 18 no. 3 (November, 1977): 5-16; J. M. Cooksey, —The Development of a
31 articles are considered a pioneering and fundamental effort in the area of research on the male adolescent changing voice and how teachers can best help students continue to sing through the transitional years (see chapter 6).
Figure 4.1. Cooksey (far right) teaching methods course at California State University, Fullerton (Change: Report on Teaching 9, no. 7, 42-45, (1977), Reprinted with permission of the Helen Dwight Reid Educational Foundation. Published by Heldref Publications, 1319 Eighteenth St., NW, Washington, DC 20036-1802. Copyright © (1977) (see appendix M.1).
Cooksey also conducted the Women‘s and Men‘s Choirs at CSUF.91 The Men‘s Choir, which he formed during his first year, grew to fifty-five members in the three years he was there and continues today as an important ensemble at CSUF.92 The Men‘s Choir performed
Contemporary, Eclectic Theory of the Training and Cultivation of the Junior High School Male Changing Voice; Part III: Developing an Integrated Approach to the Care and Training of the Junior High School Male Changing Voice,“ Choral Journal 18 no. 4 (December, 1977): 5-15; J. M. Cooksey, —The Development of a Contemporary, Eclectic Theory of the Training and Cultivation of the Junior High School Male Changing Voice; Part IV: Selecting Music for the Junior High School Male Changing Voice,“ Choral Journal 18 no. 5 (January, 1978): 5-17.
91 J. W. Landon to Tenure Committee, October 9, 1984.
92 California State University, Fullerton, Department of Music, Printed Concert Program, —The Men‘s Choir in Concert,“ directed by John M. Cooksey, February 9, 1980, Special Interest Session, ACDA, Western
32 throughout the West where it was recognized for its excellence. In February 1980, his Men‘s Choir toured Southern California ending with a performance at the Western Division Conference of the American Choral Directors Association in San Diego, California. The Men‘s Chorus was recognized as one of the top —two or three“ ensembles on the West Coast.93 The style of conducting and teaching used by Cooksey for the remainder of his career was heavily influenced by Howard Swan who served as a mentor for Cooksey during his time at CSUF. Following Swan‘s tenure at Occidental College, he was asked to serve as Coordinator of Graduate Studies at California State University, Fullerton where he taught choral literature classes and conducted the University Chorale. Cooksey sat in on Swan‘s year-long choral literature course. This course was more than just a survey of choral literature; it also covered topics such as compositional style, elements of score study, score preparation, conducting gesture, and rehearsal techniques. Through his association with Swan, Cooksey developed more confidence in his knowledge, abilities, and philosophies as a choral music educator. Cooksey‘s experiences at CSUF provided him with an important foundation for the remainder of his years in higher education. Besides learning from his experienced colleagues, he gained opportunities in building music education curricula and forming choral ensembles. These experiences provided Cooksey with greater confidence during the years to come.
Memphis State University
After receiving the rank of tenured assistant professor at Cal State Fullerton (1974-1980) and establishing a growing national reputation through clinics and publications, Cooksey decided to apply to positions at University of Mississippi and Memphis State University, and was offered both jobs. He accepted the position at Memphis State University in the fall of 1980 as Coordinator of Choral Activities.94 Cooksey‘s responsibilities not only included direction of the choral area and conductor of the University Singers, but he also taught secondary methods courses and choral conducting at
Division Convention, San Diego, CA; —Men‘s Chorus,“ California State University, Fullerton, Department of Music website, Men‘s Chorus, 2004, http://www.fullerton.edu/arts/music/Ensembles/mens_chorus.htm (accessed March 31, 2009).
93 J. W. Landon to Tenure Committee, October 9, 1984.
94 —New Teachers Join MSU,“ Memphis Press-Scimitar, September 19, 1980.
33 the undergraduate and graduate levels. He served as advisor for student teachers, music education students, and as theses and dissertation director in choral education.95 Although his courses evolved throughout his career, most of Cooksey‘s music education courses were conceived while teaching at Cal State Fullerton.96
Coordinator of Choral Activities
Prior to his appointment at Memphis State, Cooksey had not served in a leadership role of a university choral program. This new challenge caused him to develop an organizational philosophy. The basis was to give students a wide variety of opportunities to sing–opportunities not only for undergraduates, but also for graduate students to work with multiple conductors and choirs. He continued working to eliminate scheduling conflicts between choirs so that students could have the ability to participate in as many ensembles as possible. Cooksey‘s expectations of different choirs varied depending on the ensemble. He felt the University Singers should be more demanding musically and in the time commitment required of students. In order to provide ensembles with a less demanding schedule, Cooksey formed both Men‘s and Women‘s Choirs at Memphis State.97 Both choirs grew to about 40 singers in the first 3 years and continued strong through Cooksey‘s time there.98
University Singers
The Memphis State University Singers was an ensemble that ranged from 65 to 80 singers between 1980 and 1986, and consisted of music and non-music majors. Cooksey‘s goal was to provide the singers with an opportunity to sing great music at a high performance level. His expectations required students to occasionally sacrifice other things to participate.99 Many
95 —Notice of Vacancy,“ Music Education/Choral Conductor position, Department of Music, Memphis State University, February 29, 1980, Cooksey personal files.
96 J. M. Cooksey, interview, February 7, 2009.
97 John M. Cooksey, —Response to Mrs. McRae‘s Evaluation,“ written approx. fall 1984 or spring 1985, a document submitted to administration of Memphis State University, Cooksey personal files.
98 Jill Johnson, —Singing out for masculine voices,“ Memphis Press-Scimitar, April 19, 1983.
99 J. M. Cooksey, —Response to Mrs. McRae‘s Evaluation.“
34 times students suffered in other courses because of the time commitment in Singers. Despite the friction that the time commitment caused among faculty and students, University Singers grew from 28 to 80 members within four years.100 The University Singers was the preeminent choir at Memphis State University and toured locally, nationally, and internationally. Cooksey‘s philosophy behind touring was based on giving students opportunities to (1) sing in different venues and places, (2) meet many different people, (3) develop internal bonds within the choir to create ensemble unity, (4) promote the university, and (5) make educational connections with the local community when touring locally.101 The University Singers‘ spring tour of 1981 not only included six high schools and two universities in Tennessee and Kentucky, but a performance at the Tennessee state penitentiary.102 This performance offered a memorable and unique experience for all who participated. Although the administrators at the prison agreed to let the choir come sing, Cooksey sensed that they were skeptical that inmates would choose to come and listen. As the choir was setting up, the people began to enter the gymnasium and continued until it was full. As the choir sang, the audience listened very attentively. Cooksey remembers fondly the attentive audience and the enthusiastic response at the end of each selection. At the end of the concert, the prisoners rushed the stage to shake the student‘s hands and to thank those students for sharing their music (see appendix D.1).103 Cooksey took the choir on annual tours–the majority of which were in or around Tennessee. During the spring of 1984, the choir traveled throughout Tennessee, Arkansas, and Texas performing at ten different high schools in a four-day period.104 High school students and
100 John Hiltonsmith to Tenure Committee, Cooksey personal files; —MSU Choirs to Sing Christmas Concerts“ unidentifiable newspaper clipping. Cooksey personal files.
101 J. M. Cooksey, interview, February 7, 2009.
102 —MSU singers will tour,“ The Commercial Appeal, March 22, 1981.
103 J. M. Cooksey, interview, February 7, 2009; —MSU singers will tour,“ The Commercial Appeal, Memphis, March 22, 1981; Melvin Cole, —Behold! MSU Choir Sings, Voices from Heaven,“ Tennessee State Penitentiary, March 1981.
104 —Memphis State University Singers Spring Tour April 2 œ 6, 1984,“ Publicity Flyer. Cooksey personal files.
35 their teachers received the University Singers enthusiastically–enhancing the choir‘s reputation throughout the region. High school teachers commented frequently on the singers‘ professionalism and high level of musicianship.105 As Cooksey‘s choirs would perform frequent exchange concerts with local high school choral programs in Memphis, he developed relationships with many choral directors and members of their choirs. One such relationship was with Billy Kirkland, an experienced local high school choral director, who helped Cooksey understand how to effectively teach the African American spiritual, using movement and energy to portray the appropriate message and style of a particular piece.106 Cooksey credits Kirkland and William Dawson, who brought the Tuskegee Institute Choir to Memphis, for his understanding of performance practice for the African American spiritual.107 The University Singers also became known nationally through performances at state, regional, and national conferences and events. Larger conferences included the Southern Division conventions of the Music Educators National Conference held in Louisville, Kentucky in February of 1983, and Mobile, Alabama in 1986. The University Singers was also selected to perform in 1984 at the World‘s Fair in New Orleans, Louisiana.108 On December 1, 1982, the University Singers performed with Barry Manilow on Mid- South Coliseum stage in Memphis singing —One Voice.“ Barry Manilow traveled all over the country sharing what he had learned about being in the music industry. Besides giving students an opportunity to sing with him on stage, he met with about 400 music students where he spoke about his path to success and how difficult it can be to —make it“ in the profession. Besides
105 Billy Kirkland to Chairman, Tenure Committee, October 4, 1984, Cooksey personal files; Ed Riddick to Chairperson of Tenure Committee, October 10, 1984, Cooksey personal files; Lulah Hedgeman to Chairman, Tenure Committee, October 4, 1984, Cooksey personal files; Tommie Pardue to Caroline S. Fruchtman, October 11, 1984, Cooksey personal files; Jacqueline Jennings to Tenure Review Board, October 12, 1984, Cooksey personal files; Freddie L. Black to Tenure Committee Chairman, October 1, 1984, Cooksey personal files; Anthony Hall, Jr. to Thomas G. Carpenter, February 20, 1986, Cooksey personal files; Lee Morris to Thomas G. Carpenter, April 5, 1983, Cooksey personal files; Thomas R. Cross to John M. Cooksey, April 4, 1983, Cooksey personal files.
106 J. M. Cooksey, interview, February 7, 2009; Edgar J. Thompson, interview with author, February 5, 2009. In the possession of the author.
107 Ibid.
108 —Overton choir joins University Singers,“ The Commercial Appeal 2 no. 6 April 6, 1984;Unity Express 2 no. 6, December 3, 1982.
36 meeting with the students, Manilow also made a financial contribution to Memphis State‘s choral area.109
Helbrunn International Summer Music Festival
Although Cooksey had taken his choirs on tour in the United States, he had not yet taken them abroad. In 1984, through a selective taped audition, an Austrian panel of judges selected the University Singers to be the —Official Choir In-Residence“ at the Helbrunn International Summer Music Festival in Salzburg, Austria.110 There the choir sang a performance of Richard Strauss‘s An den Baum Daphne under the direction of the Vienna State Opera‘s director Ernst Marzendorfer, a performance which aired in Austria and Southern Germany on the ORF television network.111 Jack Harrold, a performer from New York who performed with the New York City Opera Company with Beverly Sills for 40 years, performed in Campiello at the Hellbrunn Festival. He said that the University Singers were the —only American Choir to receive . . . enthusiastic acclaim from Marzendorfer.“112 He left the rehearsal with the University Singers proclaiming that —he has just worked with the finest trained chorus he had ever heard“ (see fig. 4.2).113 Morzendorfer called the —University Singers the ”masters of pianissimo,‘ and congratulated them for maintaining pitch throughout the piece.“114 He also said that the choir sang —Strauss with great spiritual intensity,“ a quality he attributed to Cooksey and his work with the choir.115 This experience revealed Cooksey‘s work as a choral conductor to a broader audience. In reference to
109 Linda Hilbun, —Showy style overwhelms Manilow hits,“ Memphis Press-Scimitar, December 2, 1982; J. M. Cooksey, interview, February 7, 2009; Skip Howard, —Mellow Sounds, Manilow sings a song of realism in impromptu visit to campus,“ The Daily Helmsman, December 2, 1982.
110 Thomas. G. Carpenter to John M. Cooksey, May 3, 1984, Cooksey personal files.
111 Ed Riddick to David R. Williams, No date noted on letter.
112 Owen Procter, —MSU Choir reaps praise at Austrian music festival,“ The Daily Helmsman September 4, 1984.
113 Jack Harrold, —Veteran tenor lauds MSU Singers,“ The Commercial Appeal, No date on the newspaper clipping.
114 Ibid.
115 Ibid.
37 his work at the Helbrunn Festival, Caroline S. Fruchtman a fellow colleague and acting chair of the music department at Memphis State University wrote, As a director of the University Singers, Dr. Cooksey seems to be able to elicit enthusiasm from the group for performing music of good quality. Their experience in performing challenging works well prepared the group for the demanding repertory required of them in Salzburg. Dr. Cooksey‘s rehearsal technique in obtaining precise interpretation of difficult passages is an example of his rapport as a fine musician working with a well- trained group. Their rehearsal performance was as whole-hearted as if they were giving a concert on stage. The musical standards and disciplined singing he requires of himself and of his students have resulted in pride of profession noticeable not only in their performances but also evident among the singers in their other classes–my theory classes, for example.116
In addition to performing at the Helbrunn Festival itself, the University Singers performed at the Domplatz Cathedral in Salzburg;, in Hallstatt, Vienna; and Rothemburg of the former West Germany. The music performed represented a wide variety of pieces chosen to support Cooksey‘s more specific European tour objectives.117 Three of these objectives were (1) —to share with Europeans the best qualities of American culture,“ (2) —to produce a satisfying musical experience through our concerts,“ and (3) —to share our love of music with Europeans who also have a rich tradition of musical culture“ (see appendix D.2).118 The University Singers fulfilled these objectives through their music. Cooksey selected music from Europe to begin the concert including the music of Bach, Palestrina, Duruflé, and Poulenc. For the second half he selected —American“ music including spirituals, traditional folk songs, and two selections from an original oratorio by Memphis State University‘s Don Freund, Passion with Tropes. This international tour was a success for all involved, and provided Cooksey with the initiative and confidence to take his choirs abroad on several future occasions. Additionally, he developed a great love for Europe that he would personally and professionally take advantage of throughout his career as he traveled to conferences and for his sabbatical in later years.
116 Caroline S. Fruchtman to Tenure and Promotion Committee, October 2, 1984. Cooksey personal files.
117 —Repertoire,“ Memphis State University Singers, European Concert Tour, 1984, (Memo from Cultour, the touring agency used on this tour), Cooksey personal files.
118 —University Singers European Tour, July 25 œ August 15, 1984,“ A report written probably by John M. Cooksey describing the invitation, planning, and success the University Singers had while on tour to Europe.
38
Figure 4.2. John Cooksey standing next to Jack Harold, Tenor Soloist at the Helbrunn International Festival
Clinician
Cooksey served as chair of the National Committee on Boys‘ Choirs for the American Choral Directors Association (1980-1984) and President of the Tennessee Choral Directors Association (1983-1986). These opportunities coupled with his earlier articles in the Choral Journal provided Cooksey with national exposure–opening many doors as demonstrated by the many symposiums, clinics, conferences, and publications he participated in across the country (see chapter 6). In 1982 Cooksey was invited to participate in his first international opportunity as a clinician. Cooksey, together with Leslie Hale from University of Northern Iowa, served as guest conductors and clinicians for the International Schools of Saudi Arabia Fifth Annual Music Festival. This festival featured 175 choir members from seven different schools in the middle- east (see appendix D.3 and D.4). Although Cooksey‘s research on the male adolescent changing voice was what placed him on the national stage, he continued to be known for his work in choral performance evaluation. In 1981 the University of Illinois celebrated its thirtieth anniversary of the doctoral
39 program with a symposium on music education and the creation of a festschrift for Charles Leonard who served as advisor for 169 doctoral graduates. Cooksey was one of eleven of Leonard‘s graduates asked to write a chapter for the festschrift. The other ten article contributors included notable figures such as Bennett Reimer, Marilyn Pflederer Zimmerman, Linda L. Gerber, Gretchen Hieronymus Beall, Joseph A. Labuta, Richard Colwell, Charles Leonhard himself, Eunice Boardman Meske, Robert W. House, and G. David Peters. This honor represented his standing in the profession.119
Time of Difficulty and Thoughts of leaving the profession
Despite his success as a choral conductor, teacher, and clinician there seemed to be a recurring tension between Cooksey and a few of the music faculty and administrators at Memphis State. As a result of frequent choral performances at university and community functions, Cooksey had developed a strong relationship with the president of the university, Thomas Carpenter. As departmental relations began to increase in negativity, Cooksey began to correspond with Carpenter seeking support and assistance.120 These conflicts peaked in Cooksey‘s fifth year as he was preparing his promotion and tenure portfolio. The vice president for academic affairs, Jerry Boone, recommended that the committee place Cooksey on probation for an additional year before considering him for tenure. Cooksey wrote a letter to the President in which he threatened to resign because he felt he was unfairly dealt with in the review process. President Carpenter assured him that a decision would not be made until he had personally reviewed the situation. In the end President Carpenter did recommend Cooksey for tenure stating, Dr. Cooksey is performing in the areas of teaching, research, and public service in such a manner as to warrant continuing faculty status at Memphis State. He has been praised for his diligence and dedication to high quality. He is engaged in respectable research somewhat unique in his field and he has brought favorable attention to our music program.121
119 Charles Leonard to John M. Cooksey, August 28, 1980, Cooksey personal files.
120 John M. Cooksey to Thomas G. Carpenter, January 28, 1985, Cooksey personal files.
121 Thomas G. Carpenter to Jerry Boon, February 20, 1985, Cooksey personal files.
40 This time of difficulty caused Cooksey to question his decision to work in academia. Furthermore, Cooksey suffered from Graves‘ Disease, and his symptoms became more pronounced as tension increased. These circumstances caused him to consider a change in his career to improve his physical health.122 He began exploring other professional endeavors. Cooksey‘s decision was influenced by his early experiences with his father, watching him work in the banking industry.123 During the summer of 1985, he began a course in the McIntire School of Commerce at the University of Virginia to become a financial planner (see fig. 4.3). His experience there offered him the opportunity and training to make a professional change despite his many years in music. He interviewed at the Sovereign Bank and was immediately offered a position as bank manager during the interview. Although this was an offer that would have allowed Cooksey an opportunity to leave his current struggles in Memphis, he could not bring himself to accept the position and turned them down. At the end of that summer, he returned to Memphis. Although he knew he would probably continue to face difficulties at Memphis, he felt he had made the right decision to stay in music education.124
122 J. M. Cooksey, interview, February 7, 2009.
123 Ibid.
124 Ibid.
41
Figure 4.3. McIntire School of Commerce at the University of Virginia, summer 1985. (Cooksey fourth from left, front row)(Cooksey Personal Collection, used by permission)
During this time of difficulty and decision in Cooksey‘s life, he was supported by family, friends, and colleagues who encouraged him to continue in music education. Colleen Kirk, who served as national president of the American Choral Directors Association and as a past professor of his at University of Illinois, spoke with him about his situation while at the convention of the Southern Music Educators National Conference and later wrote him a note that stated, —. . . Please ”hang in there,‘ for I am confident that there are much better days ahead! If rising victorious over adversity can make one stronger you will emerge a giant!“125
125 Colleen Kirk to John M. Cooksey, Hand written card, No Date, Cooksey personal files.
42
CHAPTER 5
THE UNIVERSITY OF UTAH YEARS: 1986 œ 2006
After being at Memphis State University for six years and gaining increased national recognition, Cooksey chose to relocate as a result of interdepartmental politics. Cooksey accepted a choral music education position at the University of Utah on May 16, 1986 at the rank of full professor and Director of Choral Activities. University officials granted Cooksey‘s request to be considered for early tenure, which he received after his second year on February 28, 1990.126 Edgar Thompson was the chair of the Music Department and played a significant role in hiring Cooksey. They had met many years earlier in Florida at a choral workshop. When Cooksey applied for the position at the University of Utah, the search committee recognized him as a national authority on the male adolescent changing voice and felt he would add to the music department‘s credibility in the area of music education. Additionally, Howard Swan provided a strong recommendation as did one of Thompson‘s friends, Harold Clausing, both referencing his work at California State, Fullerton. After Cooksey‘s interview at the University of Utah, the committee determined his abilities as a choral conductor were strong and they and hired him because he would be an asset as a researcher and conductor.127
126 Chase N. Peterson to John M. Cooksey, February 28, 1990, University of Utah, School of Music, faculty files; Chase N. Peterson to John M. Cooksey, June 10, 1986, University of Utah, School of Music faculty files; Edgar J. Thompson to John M. Cooksey, May 20, 1986, University of Utah, School of Music, faculty files.
127 Edgar J. Thompson, interview with the author, Salt Lake City, UT, February 5, 2009. In the possession of the author.
43 Choral Area Organization
Cooksey and Thompson agreed to create the position of Director of Choral Activities at the University of Utah with its designated responsibilities. Although the director of choral activities was implied prior to Cooksey‘s time at the University of Utah, the position had not been an official. Following a long line of choral directors, Cooksey continued to build upon the rich choral tradition established by settlers of Salt Lake City. Three years after the Mormon pioneers entered the Salt Lake valley; the University of Utah was founded on February 28, 1850 as the University of Deseret. Occasionally music courses were offered in its earliest years, but a department of music was not listed in the catalogue until 1899. Various choirs were organized throughout the years with differing names: Men‘s Ensemble, University Chorus, Chamber Choir, Freshman Ensemble, University Singers, Women‘s Ensemble, and A Cappella. Not until 1965 under the direction of Newell B. Weight did the choral area become a formal entity within the music department. A Cappella Choir was formed in 1963 under Weight‘s direction and has continued as the longest running choral ensemble at the University of Utah under the same name.128 Prior to Cooksey‘s appointment, Bernell Hales conducted the University Singers and the Chamber Choir and Edgar Thompson, chair of the music department, conducted A Cappella. When Cooksey was hired as director of choral activities, he and Thompson agreed to change the organization of the choral area slightly. A new choir was formed called the Concert Chorale. Cooksey wanted this ensemble to be similar in philosophy to the Memphis State University Singers which he conducted for six years. This ensemble would be an auditioned ensemble that Cooksey would conduct and take on tour. The Chamber Choir also continued, but in name only–its student make-up and philosophy being modified. The decision to change Chamber Choir was based on two reasons: (1) neither Cooksey nor Thompson had any desire to conduct a smaller choral ensemble as their main ensemble, and (2) Bernell Hales had established such a distinct reputation in his style of teaching and conducting the Chamber Choir, that neither Cooksey nor Thompson felt that they could do justice to it while pursuing their own goals. They felt it would be best if the Chamber Choir as
128 Bonnie Jean Moesser Winterton, —A Study of the Choral Program: University of Utah Music Department“ (PhD. diss.,, University of Utah, 1986), 42.
44 Hales had organized it retired with him.129 Cooksey formed a Chamber Choir (similar to Hales‘ choir in name only) consisting of singers drawn from the Concert Chorale that rehearsed one day a week. This provided students, having the desire to sing in a smaller ensemble, the opportunity to sing music mainly from the renaissance, including madrigal and chansons. Finally, Cooksey‘s early responsibilities at the University of Utah included conducting a choir called the Utah Singers. This ensemble was a non-auditioned choir–formerly called the University Singers. The responsibility to conduct this ensemble was usually rotated on a year-to- year basis between choral faculty members. Later on Utah Singers also provided graduate students with more conducting opportunities–as this choir was mainly turned over to them. The Utah Singers was discontinued after 1993 and the Women‘s Chorus was formed. During Cooksey‘s time this choir was a non-auditioned choir also conducted by graduate students. Building the Concert Chorale‘s reputation during its first three years was challenging because of its emergence within a pre-existing choral organization. Prior to 1986 the A Cappella Choir had been the —larger“ choral ensemble and Bernell Hales‘ Chamber Choir the small, more elite ensemble. The Chamber Choir only featured upper class singers and graduate students. When Cooksey arrived the Concert Chorale became the larger ensemble initially having around 65 members and the A Cappella choir decreased its membership to about 40 members. Thompson and Cooksey agreed that this would still allow each conductor a larger ensemble with the focus of each being slightly different.130 Although the directors were careful to not differentiate their choirs as more or less elite, the smaller size and previously established tradition of the A Cappella Choir created the perception of being elite. 131 Furthermore, students perceived the Concert Chorale as being the choir where music education majors sang and A Cappella Choir the choir for vocal performance majors.132
129 E. J. Thompson, interview, February 5, 2009.
130 John M. Cooksey, interview with the author, Sandy, UT, February 7, 2009, in the possession of the author; E. J. Thompson, interview.
131 Thompson to Cooksey, September 25, 1989, Cooksey personal files; E. J. Thompson, interview, February 5, 2009.
132 Alan N. Zabriskie, interview with the author, Tallahassee, FL, April 3, 2009, in the possession of the author.
45 With the existence of two larger auditioned touring choirs, competition was inherent between the two ensembles and their respective directors. Early relations were tense between Thompson and Cooksey resulting from their respective leadership roles–Cooksey as Director of Choral Activities and Thompson as Department Chair. As a result of Cooksey‘s negative experience at Memphis State University with interdepartmental politics, his interactions with and attitudes towards faculty and administration were more apprehensive than they might have been otherwise. Both Cooksey and Thompson recognized the necessity for a more collegial relationship between them, so they agreed to go jogging together several days each week at the university‘s field house. This activity fostered a growing relationship in which they became better acquainted as individuals and eventually became dear friends. Although disagreements occurred over their years together, their mutual respect for one another allowed each to approach issues calmly with a compromising attitude. The area where greatest compromise occurred was in the audition process. Thompson and Cooksey needed good singers in each of their choirs, and essentially, they drew from the same pool of prospective choir members. Both Thompson and Cooksey agreed that they would strive to create a successful joint audition process. Each semester they would set aside two or three days of auditions where students would sing for both directors. They felt that this would provide a fair atmosphere where students could request the choir they wanted, but then allow the directors to decide the best fit for each. Many times following auditions Cooksey and Thompson would sit and deliberate late into the night, ending with a coin-toss to see who would get a singer that each badly wanted. This would result in laughter, and provide a working foundation upon which their relationship would continue to grow through their next twenty years together.133 Besides his relationship with Thompson, Cooksey continued to work on his relationship with students. Cooksey‘s move to Utah was not only a geographic change, but a difficult cultural transition. The students were perceived by Cooksey as being more reserved than the —warm Southern“ students that he had been working with in Memphis.134 Some of his early students were critical of his conducting and rehearsing techniques. He had a reputation of pushing his
133 J. M. Cooksey, interview, February 7, 2009.; E. J. Thompson, interview, February 5, 2009.
134 J. M. Cooksey, interview, February 7, 2009.
46 students in every aspect, rarely compromising his standards.135 His driven personality and reputation contributed to tense relationships between him and his students. These tense relationships were magnified during his second year in Utah. In November of 1987 Cooksey‘s mother passed away. While in North Carolina at her funeral, his home was burglarized and vandalized. While there was never any connection made with this incident and any of his students, the bad timing of it all contributed to his frustrations. Additionally, while Cooksey was away, some of his choir officers took the student evaluations of the Concert Chorale and read them after being submitted. In an effort to encourage Cooksey, these officers contacted Cooksey in North Carolina to tell him of the positive evaluations he had received. Other students reported these happenings to administrators and the school newspaper.136 The administration investigated the situation and found nothing malicious to have taken place, and in light of the current situations in Cooksey‘s life told him that they would take care of the situation. Students in question were spoken to by the administration and the evaluations were reissued and collected. When Cooksey returned from North Carolina in the midst of these allegations, the dean, Robert Olpin, and the music faculty reassured Cooksey that they would do everything in their power to help him through this difficult time.137 In 1988 the enrollment for the Concert Chorale declined significantly. A type of —boycott“ occurred, the cause of which is uncertain, but one theory related it to students‘ negative reaction to a new policy in the choral area requiring students to sing in a choir two years before they were allowed to switch to another.138 Whether or not this was the cause of the boycott, there was a perceived drop in student support. As he did earlier, Cooksey considered changing his career towards the financial and banking industry. He applied to and was accepted in the Bachelor of Accounting program at University of North Carolina at Charlotte to begin in the fall of 1989 (see appendix E.2). He considered this change to provide care for his father after his mother‘s passing and for Cooksey to provide a possible change in lifestyle. Once again with the encouragement of friends, family, and colleagues, Cooksey decided to continue teaching at
135 Jaimee Gabrielsen Belnap, interview with the author, Salt Lake City, UT, February 5, 2009, In the possession of the author.
136 Todd Curtis, —Music head looks into TA wrongdoing,“ The Daily Utah Chronicle, November 30, 1987.
137 J. M. Cooksey, interview, February 7, 2009.
138 Edgar J. Thompson to John M. Cooksey, Memorandum, September 25, 1989. Cooksey personal files.
47 the University of Utah. 139 This proved to be a good decision for him as things improved in every aspect. Concert Chorale
Using Memphis State University singers as a model, the Concert Chorale numbered about 65 singers consisting of music and non-music majors. The new Concert Chorale was advertised as, —. . . the newest, highly select choral ensemble on campus,“140 and —. . . [an] ensemble that will initiate an exciting new approach“ (see appendix E.1).141 This new approach included a distinguishing physical movement and vocal energy that caught the attention of those who heard and saw them perform. The Concert Chorale‘s physical movement was criticized by some as being excessive during its early years. People who attended these early concerts claimed that the movement of the Concert Chorale almost made them motion-sick.142 As the Concert Chorale evolved this movement became more refined and natural–assisting in the production of a free and natural choral tone.143 Cooksey‘s use of kinesthetic movement in the choral rehearsal was one of his trademarks. He began using this type of movement while teaching junior high school choir as a tool to help students conceptualize different aspects of music style and vocal production. This use of kinesthetics developed into an integral part of his rehearsal and conducting style. He felt that using movement in the choir would free the nervous system–allowing the singer to produce a more natural tone. He expected singers to feel the pulse of the music through tapping their feet or patting their knee. Feeling the pulse would force students to take responsibility for keeping tempo and achieving a better sense of inner rhythm and reading skills. If students were not singing rhythms accurately he would quickly remind them to —feel the pulse.“ After meeting John H. Dickson and reading his article on kinesthetic movement and its use in the rehearsal,
139 Sheila Hall to John M. Cooksey, September 12, 1988, Cooksey personal files.
140 —Spring Concert,“ Concert Program for the University of Utah Concert Chorale, May 1-2, 1987. Salt Lake City, UT, University of Utah Music Library, Special Collections.
141 —Join Now! The Concert Chorale,“ Publicity Flyer, University of Utah, 1986.
142 J. M. Cooksey, interview, February 7, 2009.; Larry Smith, interview with the author, Bountiful, UT, February 5, 2009, In the possession of the author.
143 E. J. Thompson, interview, February 5, 2009.
48 Cooksey religiously continued this approach not only to conduct his choirs, but also required the use of kinesthetic teaching techniques by his conducting students.144 The development of Cooksey‘s concept of choral tone can be heard through listening to his recordings taken from his different years. Healthy voice production was his primary goal. He sought to allow singers to produce their own unique tone, taking care not to subordinate a person‘s sound to any another‘s. The tone Cooksey most commonly achieved was forward and bright. The tone of the Concert Chorale was very energetic with a driving rhythmic pulse–a result perceived to have come from singer movement.145 He worked to achieve unity through strategic placement of singers. He placed like-voices together; placing the heaviest voices in the middle of their section. Cooksey was not necessarily concerned with singers‘ use of vibrato in his choirs as long as their tone production was healthy and natural.146 He felt that voice placement would allow vibrato to become part of the tone rather than something that stuck out. He preferred a mixed formation to achieve a homogonous sound unless the style of the music required otherwise. Important to Cooksey was direction in the choral sound–never allowing stagnation in a musical line. He felt this direction would provide the necessary vitality to vocal production and a unified choral tone.147 Cooksey‘s demands on his students included strict attendance. Students were not allowed to miss class except in extreme circumstances.148 Students who left early from class were given a tardy. Cooksey had a tendency to address these issues without delay oftentimes in rehearsal. Because of this tactic most students were cautious to meet attendance requirements and rehearsals were fast paced and productive.149 Midterm and final quartet examinations were scheduled outside of class in Cooksey‘s office. Students sang assigned sections for Cooksey and the assistant conductor(s). The choir members were allowed to form their own quartets which would generally sing in double
144 J. M. Cooksey, interview, February 7, 2009.
145 A. N. Zabriskie, interview, April 3, 2009.
146 Ibid.
147 Ibid.
148 —Policy on Attendance and Grading For Major Ensembles,“ University of Utah, Cooksey personal files.
149 J. B. Gabrielsen, interview, February 5, 2009.
49 quartets.150 If individual singers did not meet the requirements, Cooksey would have each individually sing, and retest at a future date. Such exams encouraged students to take responsibility for learning parts in a timely manner and helped students perform more confidently in concerts.
Recruiting and Size of the Concert Chorale
Cooksey used several methods to recruit singers: (1) high school invitationals (three each year featuring three different high schools each time), (2) singing at university and community events, and (3) through a survey technique involving large lecture-type, mainly non-music classes across campus. Although the first two methods of recruiting helped in long-term recruiting, the third technique provided the backbone of the Concert Chorale‘s immediate growth each semester, and was recognized by university administrators as innovative and helpful in promoting music across the campus.151 Cooksey and his graduate assistant(s) would search the university‘s course catalogue for about forty different sections of large lecture-type classes. An effort was made to contact each professor, requesting permission to visit their classes on the first or second day of class. During each visit, Cooksey, graduate assistant/s, and undergraduates briefly mentioned singing opportunities on campus. On each chair of the lecture hall was previously-placed a short survey asking students to list previous singing experiences, their voice part, and if were interested in being contacted about joining a choir on campus. After collecting the surveys, the recruiters identified interested students, and Cooksey and others would personally contact and invite each person to come visit the choir during the following rehearsal. When students came, Cooksey would speak to each after rehearsal and have them sing a small —no stress“ audition. Although the audition process was not too rigorous, it was sufficient for Cooksey to hear the voice quality and judge whether or not a student would be successful in the choir. If the student met his expectations, Cooksey would invite them to enroll in the course. If female students needed a little more training they were referred to enroll in the Women‘s Choir. Rarely was a male singer
150 John M. Cooksey, —Concert Chorale Syllabus MUSIC 5400-1 2000-2001,“ University of Utah, Salt Lake City, UT, Cooksey personal files.
151 Normand L. Gibbons to John M. Cooksey, October 14, 1986, Cooksey personal files.
50 turned away because of the need for them in the choirs at the University of Utah.152 This method of recruiting generally provided Cooksey with a balanced choir each semester at the University of Utah. The number of singers enrolled in the Concert Chorale throughout the years varied– greatly depending on the success of his recruiting efforts. Using concert programs containing personnel lists, singers were counted and totaled for each of Cooksey‘s thirty-nine semesters. The Concert Chorale gradually increased in size over its twenty years. The lowest enrollment being 51 in the fall 1988 semester, and extending to as high as 139 singers in the fall 2002 semester. The A Cappella Choir experienced an increased membership throughout its years as well. Although Cooksey and Thompson preferred the original smaller sizes of their choirs, they did not discourage the extra enrollment because of the needed budget increases given by larger enrollment.153 In spring of 2003 the Concert Chorale dropped to 89 members in one year. This drop was caused by an organizational change made after Edgar Thompson retired and Brady Allred was hired. Allred requested an elite smaller choir as well as responsibility over A Cappella Choir. This elite choir took on the earlier named University Singers title, but became the premier touring ensemble at the University of Utah. Allred gradually turned over A Cappella Choir to his own graduate students. With this new organization, the choral area changed and remained relatively consistent throughout Cooksey‘s remaining years before retiring in 2006. When Cooksey retired the Concert Chorale was disbanded and its membership merged into the other choirs (see fig. 5.1).
Sabbatical Leave and its Personal Effects on Cooksey (1992-1993)
During the fall of 1991, Cooksey was invited by Graham Welch, the Acting Dean of Roe Hampton Institute in London, England, to join the faculty as a research/teaching fellow during
152 J. B. Gabrielsen, interview, February 5, 2009; Rebecca L. Braun, —A History of the Choral Department: University of Utah 1868-1990,“ unpublished paper for Historical Foundations of Music Education course, University of Utah, April 30, 1990. 13. 153 E. J. Thompson, interview, February 5, 2009.
51 the 1992-93 school year.154 Cooksey requested sabbatical leave on November 1, 1991–a request which was granted April 9, 1992.155 This opportunity was a personal changing point in Cooksey‘s life. He felt that his treatment in England by those whom he worked with was empowering. People in England saw him as a —Southern gentleman“ from America. Cooksey took opportunities to drive around Great Britain and was enamored by the beautiful countryside and sites. Most importantly, he felt his research was valued greatly in England in a way that he hadn‘t experienced before (see chapter 6). This opportunity became a psychological changing point for Cooksey.
Concert Chorale Enrollment
160
140 139
127 121 123 120 118 110 105 100 98 97 96 97 97 92 94 91 90 89 88 87 87 86 86 83 80 79 80 78 76 Ave. Enrollment 74 75 73 70 70 68 65 66 60 61 57 51
40
20
0 Fall Fall 1986 Fall 1987 Fall 1988 Fall 1989 Fall 1990 Fall 1991 Fall 1993 Fall 1994 Fall 1995 Fall 1996 Fall 1997 Fall 1998 Fall 1999 Fall 2000 Fall 2001 Fall 2002 Fall 2003 Fall 2004 Fall 2005 Spring Spring 1987 Spring 1988 Spring 1989 Spring 1990 Spring 1991 Spring 1992 Spring 1994 Spring 1995 Spring 1996 Spring 1997 Spring 1998 Spring 1999 Spring 2000 Spring 2001 Spring 2002 Spring 2003 Spring 2004 Spring 2005 Spring 2006
Figure 5.1. Concert Chorale Enrollment by semester based on personnel lists included in concert programs. (Programs located in University of Utah Music Library, Special Collections)
154 Graham F. Welch to Edgar J. Thompson, January 24, 1992, University of Utah, School of Music, Faculty Files.
155 Arthur K. Smith to John Cooksey, April 9, 1992, Cooksey personal files.
52 Upon returning to the University of Utah, Cooksey‘s perception of himself improved, and he was able to interact more calmly with students and colleagues.156 His colleagues not only noticed this change in his interpersonal relationships, but in the choral tone that he was able to achieve. Edgar Thompson commented that upon his return the sound of the Concert Chorale achieved was —exquisite.“157 Robert Breaux, a member of the voice faculty who was hired while Cooksey was on sabbatical, heard of Cooksey‘s reputation and was skeptical about their future work together. He reported that upon meeting Cooksey he did not find him to be what people had described but kind and easy-going.
Tours
As Cooksey was establishing himself at the University of Utah and building a reputation for the newly formed Concert Chorale, he chose to take a regional tour during his first year at the University of Utah. The tour included locations in Utah, Nevada, and Arizona (March 19-24, 1987). The next year they toured Nevada and California and were joined by one of the university‘s chamber orchestras. Performance venues included several different high schools, universities, and churches. On this tour the Concert Chorale was commended for their musicianship and professionalism while visiting these institutions.158 Some of performance locations included Elko High School in Elko, Nevada, San Lorenzo High School in San Lorenzo, California, and San Francisco State University. The finale concert for the tour was their participation in the Mass on the fifth Sunday of Lent at the historic Carmel Mission Basilica in Carmel, California. The choir performed the music of Palestrina, Mozart, Victoria, and Duruflé, and was commended for their reverence, professionalism, and fine musicianship.159 Cooksey took the choir on tour to Europe in 1989 performing in Germany and Austria. One member of the choir that traveled on this particular tour remembered the experience as life- changing.160 The choir traveled to small towns where they sang for churches filled with local
156 E. J. Thompson, interview, February 5, 2009.
157 Ibid. 158 Stephen Paul Sanders to Edgar J. Thompson, May 14, 1988, University of Utah, School of Music faculty files.; Doyle T. West to Edgar J Thompson, March 22, 1988, University of Utah, School of Music faculty files.
159 E. Mac Mahon to Chase Peterson, April 8, 1988, University of Utah, School of Music faculty files.
160 L. Smith, interview.
53 community members. The German performances venues included the Basilica St. Michael Altenstadt/Schongau, Ettal Monastery in Ettal, and St. Lukes‘ Church in Munich. In Salzburg, Austria, the choir performed at Kajetaner Kirch and St. Andaes Kirche where they performed Mozart‘s Missa Brevis in C with Salzburg Dom Choir. Next the choir performed in the Monastery Church in St. Florian, the Polish Kirche in Vienna, and Christus Kirche in Hallstadt. These opportunities were meaningful because of the unifying experience that singing in the audience‘s native language created between all present. Members of the audience smiled as they heard pieces sung in German, and cried as the choir performed American folksongs–James Erb‘s arrangement of Shenandoah in particular.161 The Concert Chorale‘s program began with Ubi Caritas by Maurice Duruflé. Prior to the piece, the men sang the original Ubi Caritas plainchant. Cooksey conducted chant using note- groupings rather than actual beat patterns. For new choir members, this was difficult to follow at first, but as the singers understood the groupings they would begin to sing chant in a pulse-free, fluid manner. Renaissance music was programmed specifically for the cathedrals to allow students the experience of performing in venues for which they were originally composed. The following year the Concert Choral toured the northwestern United States, Vancouver, and British Columbia, Canada (March 16-22, 1990). The following year Cooksey took the Concert Chorale on a tour of Asia, visiting Thailand, Hong Kong, Beijing, China, Singapore, and Malaysia (September 1-19, 1991). The Concert Chorale performed ten different concerts as well as a choral clinic/concert as part of the Taiwan Music Educators Annual Conference (see table 5.2). In 1996 the Concert Chorale returned to Europe. Through an audio-taped audition process, the Concert Chorale was selected to compete in Internationaler Chorberwerb competition in Spittal, Austria.162 The Concert Chorale was the only choir from the United States to be selected that year among choirs from ten different countries. When asked about their chances for winning the competition, a Salt Lake City newspaper reported Cooksey as saying, —Many of the students we‘re taking are our best. And U.S. Choirs tend to place high there . . . , so I think we‘ll do well, But winning? That will depend on the judges. European Judges tend to like
161 Ibid.
162 Jerry Johnston, —Getting Vocal in Europe,“ Deseret News, June 2, 1996.
54 a bright, bone-hard sound, while American choirs tend to be warm and expressive. We‘ll see what happens.‘“163 This international choral competition in Spittal began in 1964 and has continued annually in the same location in Austria. The competition featured different segments held at either Portia Castle or the City Hall in Carinthia. One segment featured folk songs from the participating choirs. The organizers encouraged choirs to dress in costume representing their own culture.164 Because of the —western“ heritage of Utah, The Concert Chorale chose to wear blue jeans, white button-up shirts, and a red bandana around their necks giving them the appearance
Table 5.2. Concerts and Clinics on the Concert Chorale‘s Asia Tour of 1991
University of Utah Concert Chorale Tour of Asia 1991165 Date Venue/Location Performance, Provincial Office of Kyunggi-Do, Governor, September 3, Suwon, South Korea 1991 Concert, Seoul Educational and Cultural Arts Complex, Seoul, South Korea September 6, Concert, Chung-Li Auditorium, Chung-Li, Taiwan 1991 Performance, Taiwan Electricity Co. Choral Clinic/Concert, Taiwan Music Educators Annual September 8, Conference, Taiwan Normal University, Taiwan 1991 Concert, Kee-Lung Cultural Center, Kee-Lung, Taiwan September 10, 1991 Concert Hong Kong Bible College, Hong Kong September 11, 1991 Concert, Shenzhen College of Arts, Shenzhen, China September 14, 1991 Concert, Bangkok Y.M.C.A., Bangkok, Thailand September 15, 1991 Performance, LDS Stake Center, Bangkok, Thailand
163 Ibid.
164 —46th International Competition for Choirs 2009,“ Audition and participation information, http://www.singkreis-porcia.at/files/groasse_giess.pdf, [accessed April 3, 2009].
165 John M. Cooksey, Curriculum Vitae, 2001. Cooksey Personal Files.
55 of —cowboy/girls“ (see Fig. 5.3). Another final segment featured pieces that Cooksey programmed, including My Spirit Sang All Day, by Gerald Finzi, Set Me As A Seal by René Clausen, and Singet Dem Hern by Hugo Distler. The actual competition took place between July 5, 1996 and July 7, 1996. The Judges were Austrian and German. The Concert Chorale placed high, but not in the top three.166 Prior to their participation in the competition, the tour included performances in London, Paris, Strassburg, Tubingen, Munich, Salzburg, and Vienna. With the help of an international student in the choir, home-stays were arranged for lodging. Home-stays were not only a money- saving measure but an important aspect of Cooksey‘s touring philosophy. He felt this experience was unique in exposing students to different cultures.167 He also felt that Europeans would benefit from meeting members of the Concert Chorale–giving them an opportunity to help dispel some then-current —American“ stereotypes.
Figure 5.3. University of Utah Concert Chorale during Competition of Folk Songs, part of the International Choir Competition at Portia Castle, Carinthia, Austria. (Cooksey Personal Collection, used by permission).
166 J. M. Cooksey, e-mail message to the author, April 2, 2009
167 J. Johnston, 1996.
56 Community and Joint University Performances
Cooksey had the Concert Chorale perform at many university and community functions to increase public visibility. One of which was the frequent participation in the Temple Square Concert Series. This series, sponsored by The Church of Jesus Christ of Latter-Day Saints, hosted many local and outside performers. The Concert Chorale performed almost every spring and many times during the holiday season totaling at least eighteen performances. These concerts gave students another opportunity to perform music they had prepared in a different venue. The Assembly Hall on Temple Square was built by the early Mormon Pioneers after arriving in the Salt Lake Valley in the mid 1800‘s. It stands next to the Tabernacle, home of the Mormon Tabernacle Choir. Singing in this historical venue was important for many Concert Chorale members who came from the local area because of their own cultural and ancestral ties to the venue. After Cooksey returned from his sabbatical leave, Cooksey and Edgar Thompson worked to organize a collaborative Christmas concert with Brigham Young University to strengthen the relationship between the two rival schools and provide a concert that would appeal to a large demographic in Salt lake City. The choral conductors at Brigham Young University suggested that the University of Utah keep the money raised by the ticket sales after paying for the venue and any extra musicians. The BYU conductors made this suggestion mainly because the University of Utah did most of the planning and logistics for the concert, and BYU would just come and participate.168 Coupled with the opportunity to perform together, this irresistible offer to raise more money for the choral programs began a tradition that would continue for twelve years. In 1994 when this combined concert began, The University of Utah didn‘t have a performance venue suitable for such a performance. Abravanel Hall, the home of the Utah Symphony, was selected to hold the first performances. The first combined concert was well received by community. It was labeled one of the —must hear“ concerts of the holiday season.169 The planning process engendered a collegiality between the two institutions that continued during these years. During the planning process, Cooksey and Thompson traveled
168 E. J. Thompson, interview, February 5, 2009.
169 Jerry Johnston, —Choirs from U., BYU create heavenly sounds, many moods,“ Deseret News, December 6, 1996, p. 12.
57 south to Thanksgiving Point in Lehi, Utah where Ronald Staheli and Mack Wilberg, and later Rosalind Hall, the choral conductors at BYU, treated them to dinner as they planned and discussed which music to perform during their combined numbers. Each director would conduct one combined number at the beginning or end of the concert. Edgar Thompson planned how to logistically move the choirs on an off stage, while Cooksey worked on ordering music and getting it to the musicians. Cooksey remembers Edgar Thompson as a —logistical genius“ in making the process smooth.170 Following the completion of an extensive renovation and addition to Gardner Hall on the Campus of the University of Utah, the 2000 combined concert with Brigham Young University was relocated to the campus of the University of Utah in its new Libby Gardner Hall. This helped the University of Utah‘s finances as well because they no longer had to rent Abravanel Hall. Those who participated in this traditional concert remember it fondly. This choral tradition continued after Thompson‘s retirement in 2001 until Cooksey retired in 2006.
Retirement
In Cooksey‘s final years at the University of Utah, he began to have health concerns that compounded after his father‘s death. With the transitions occurring in the University of Utah‘s choral area, Cooksey felt that it would be best if he retired. The Concert Chorale was invited to sing at a Christmas party for O. C. Tanner, a prominent corporation in Salt Lake City. The date of this event was scheduled after the end of the fall 2005 semester. They offered $5,000 to the Concert Chorale for the performance. In accordance with O. C. Tanners wishes, Cooksey agreed that this money could be divided to pay individual choir members who participated. The director of the School of Music, Robert Walzel, asked the students in the Concert Chorale if they would be willing to allow that money to create the beginning of a future music education scholarship in John Cooksey‘s name. The choir members agreed to donate their time for the event so that this scholarship would receive additional funding thus providing others to follow Cooksey‘s footsteps.171
170 J. M. Cooksey, interview, February 7, 2009.
171 Robert Walzel, e-mail message received , April 5, 2009
58 On April 10, 2006, the president of the University of Utah designated Cooksey as Professor Emeritus in the School of Music.172 Cooksey currently resides in Sandy, Utah and continues actively as a guest clinician across the country.
172 Michael K. Young to John M. Cooksey, April 10, 2006, University of Utah, School of Music faculty files.
59
CHAPTER 6
THE MALE ADOLESCENT CHANGING VOICE: CONTRIBUTIONS TO THE PROFESSION
Brief History of Research on the Male Adolescent Changing Voice
Boys‘ involvement in music, particularly in the church has occurred for centuries. In order to maintain boys‘ involvement in music during and after their adolescent years, castration was one technique used as early as the 3rd Century B. C. to extend the accepted boy soprano sound.173 This practice continued in Europe through the 17th and 18th centuries and was used in the Vatican as late as the 1920s.174 Although these practices are no longer accepted, many teachers and researchers have sought methods to clarify what actually happens to a boys voice during adolescence, and how can they be encouraged to continue singing despite the inevitable voice change. Manuel Garcia, an Italian voice teacher in the late 19th Century felt that the voice should be rested during the mutation and that formal vocal training should not continue until after the process. He advocated the —voice-break“ theory, meaning he felt the voice actually broke and could not be used during adolescence. This public perception was accepted by many voice teachers in Europe for many years. A contemporary of Garcia‘s, Sir Morell MacKenzie who was an English laryngologist, opposed the idea that boys should stop singing during this period. He advocated that the —break“ was actually just a normal transition that all boys had to go through
173 Deso A. Weiss, —The Pubertal Change of the Human Voice,“ Folia Phoniatrica 2 no. 3 (1950), 126.
174John Rosselli. "Castrato." Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/05146, (accessed April 14, 2009).
60 and that there was no danger in exercising the voice during this period. Variations of these two conflicting views continued into the second half of the 20th Century.175 In the mid 1900‘s Duncan McKenzie (1956), Fredrick Swanson (1959), and Irvin Cooper (1965) devised separate and somewhat contradictory theories in their attempt to explain what was happening during voice mutation, and how to help boys continue in music despite these challenges. Although their theories on voice categorization were not scientifically based, they were pioneers in providing the profession important guidelines whereby singing teachers could categorize the boy‘s voice during adolescence and teach music during this transitional age. Their monumental work in bringing interest to the music of this age group must not be overlooked. A brief description of their theories on the voice mutation process follows. Duncan McKenzie, a professor from Edinburgh, Scotland, traveled to the United States to observe current singing practices in youth choirs. Based upon his observations, he introduced his —alto-tenor plan“ in 1956. This plan was based on his theory that the lower range of an adolescent male‘s voice gradually descended followed later by the upper range. In his writings he categorized the voice during mutation as an —alto-tenor“ voice. He said that the most reliable indicator of voice change was the gradual deepening of the speaking voice. His works were published in his book Training the Boy‘s Changing Voice.176 Fredrick Swanson‘s theory was based on his doctoral dissertation (1959). He studied the voice change in comparison with male‘s secondary sexual characteristics.177 He found a close correlation between the most drastic stage of voice change and the onset of the secondary sexual characteristics. Swanson‘s theory of voice change stated that the voice change was not gradual but happened suddenly creating the —adolescent bass.“ Swanson suggested that a blank spot between C4 and F4 appeared during this change and that using descending vocalises the range could be extended. Finally, Irvin Cooper in 1965 developed a theory that incorporated his —cambiata plan.“ He suggested that the voice begins to descend from soprano range then is suspended above the baritone range from between a few months up and two years before eventually settling as a
175D. A. Weiss, Folia Phoniatrica, 127.
176 John M. Cooksey, —The Development of a Contemporary, Eclectic Theory for the Training and Cultivation of the Junior High School Male Changing Voice: Part I, Existing Theories“ Choral Journal 28 no. 2, (1977a). 177 Fredrick Swanson, —Voice mutation in the adolescent male: an experiment in guiding the voice development of adolescent boys in general music classes“ (PhD diss.,, University of Wisconsin, 1959).
61 baritone. Cooper described this baritone voice as a lighter voice that only allowed the singer to produce volume in the upper range. After ninth grade the full quality of the singer would emerge revealing whether the voice was a tenor or bass.178
Cooksey‘s Contributions
John Cooksey studied music education at Florida State University. One of his professors was Irvin Cooper. Cooksey remembers Cooper as a —rare, warm, and dynamic teacher, both of college students and junior high school young people.“179 Cooksey remembers watching Cooper demonstrate his methods with parochial choirs that visited the campus of Florida State University. It was very apparent to Cooksey as he watched Cooper work with singers of this age that Cooper loved what he was doing. Cooper‘s ability to engage boys in singing and help them develop a deep love for choir, was very inspiring to Cooksey, and partly fueled his excitement to work with junior high school choirs.180 Cooksey‘s curiosity about the male adolescent voice continued to occupy his thoughts through his doctoral studies and into his career. After being hired at California State University, Fullerton he became the national chairman on Children‘s and Boy‘s Choirs for the American Choral Directors Association, and was encouraged by H. Judson Troop the editor of the Choral Journal (official publication of the American Choral Directors Association), to write a four-part series on the male adolescent changing voice.181 In this series he first reviewed the different theories and contributions of Cooper, Swanson, and McKenzie. Cooksey then included fourteen questions that still remained unanswered, providing the basis for the remaining articles and the framework for Cooksey‘s research during the remainder of his career. These questions were as follows:182 1. The Voice change: Is it erratic, fast, unpredictable . . . or slow and gradual?
178 John M. Cooksey, Choral Journal, (1977a): 7.
179 Ibid.
180 John M. Cooksey, interview with the author, Sandy, UT, February 6, 2009, in the possession of the author.
181 Ibid.
182 J. M. Cooksey, Choral Journal, (1977a): 5.
62 2. Does the rate of voice change determine the mature adult voice classification? That is, if the voice changes gradually and slowly, will a tenor voice emerge? 3. How does voice training during this period determine the outcome of voice classification? If the high registers of the newly changed baritone voices are exercised, will this eventually produce more tenors? Like-wise, if the lower registers are developed, will there be more basses? 4. When the voice first changes, can notes in the lower part of the bass clef be sung with resonance and power . . . can they be sung at all? 5. Should 30 œ 40% of all newly changed male voices be considered basses . . . able to sing in the lower part of the bass clef? 6. Can baritones comfortably sing to f (first space, treble clef, above middle c)? 7. Does the singing voice —break“ during its change in adolescence? 8. Is the quality of the changing voice ugly, thin, raucous, and coarse? 9. Is there a —blank spot: in the range (approximately around middle c) where notes can‘t be produced? Does this happen in the first stage of change? 10. After the second change (to baritone), does the voice move up in pitch range? 11. Does the male voice lack flexibility and agility for rapid pitch articulation during its mutation? 12. Are the part divisions in TTBB, SATB music appropriate for junior high school adolescent males? 13. Is there a pattern to the rate, scope, and sequence of voice changes . . . or does mutation apply itself uniquely to each individual? 14. Should teachers only audition junior high school boys in groups so that correct voice classifications can be made? Cooksey recognized the declining enrollment of boys in choirs, and petitioned choral teachers across the country to discuss and focus research efforts on the male adolescent voice and to utilize scientific advancements to clarify what happens during the voice change. In his first article, Cooksey also encouraged those in the choral profession to, —study, assimilate, evaluate, and build upon the ideas of the leading spokesmen in the field.“ He then stated, —We
63 must also look to other sciences such as laryngology, acoustics, speech pathology, and phonetics for ideas.“183 In his second article he presented a review of literature detailing the physiological changes that occur in males during puberty, including new studies on the male adolescent changing voice that had not yet been brought to light in the United States. Cooksey had a recent study translated in to English written by Jan Naidr, Miroslav Zobril, and Karel Sevcik of Czechoslovakia. Because of the well-controlled circumstances of their longitudinal study, it offered new insights into categorization of the male adolescent changing voice. This study, combined with other studies conducted by Austrian researchers F. Frank and M. Sparber, served to substantiate elements of both McKenzie and Coopers‘ theories on voice change.184 In an effort to combine elements of these recent European studies and the work of the Cooper, Swanson, and McKenzie, Cooksey created his Contemporary, Eclectic Theory. This theory contained five separate voice stages, detailing both high and low note singing ranges as well as notes that fit within the singer‘s comfortable tessitura.185 Cooksey included his own experiential findings from his years teaching junior high boys, and presented his own methods of individual and group voice testing. He suggested that boys should be allowed and encouraged to sing and develop a healthy tone and technique as long as they sang within appropriate parameters of the five categories. In his final article he offered suggestions of choral repertoire that fit within these ranges. Cooksey recognized that his own ideas and theories presented in these articles had not yet been tested, and he encouraged those in the profession to do so.
183 J. M. Cooksey, Choral Journal (1977a): 6.
184 J. Naidr, M. Zboril, & K. Sevcik, —Die pubertalen Veranderungen der Stimme bei Jungen im verlauf von 5 Jahren (Pubertal voice changes in boys over a period of 5 years)“ Folia Phoniatrica 17 (1965):1-18; F. Frank & M. Sparber, —Stimmumfange bei Kindern aus reuer Sicht (Vocal ranges in children from a new perspective)“ Folia Phoniatrica 22 (1970a): 397-402; F. Frank & M. Sparber, —Die Premutationsstimme die Mutationsstimme und die Postmutationsstimme in Sonagramm (The permutation voice, mutation voice, and the postmutation voice in the sonogram)“ Folia Phoniatrica 22 (1970b): 425-433.
185 For studies adding credence to Cooksey‘s voice categories see: Mary D. Groom, —A descriptive analysis of development in adolescent male voices during the summer time period“ (PhD diss.,, Florida State University, 1979); Anthony. L. Barresi & Diane M. Bless, —The relation of selected aerodynamic variables to the perception of tessitura pitches in the adolescent changing voice“ paper presented at Research Symposium of the Male Adolescent Changing Voice (Buffalo, NY: State University of New York at Buffalo, 1982); Joseph Rutkowski, —The junior high school male changing voice: Testing and grouping voices for successful singing experiences“ Choral Journal 22 no. 4 (1981): 11-15.
64 Longitudinal Study at California State University, Fullerton
Cooksey was awarded a grant at California State University, Fullerton to conduct a three- year longitudinal study on the male adolescent changing voice in the choral setting. Although this study was never published in its entirety, the majority of his findings were presented at the Research Symposium on the Male Adolescent Voice that was held at the State University of New York at Buffalo in 1983, and published in written form the following year.186 More complete results were published again in 1993 in Voice, the Journal of the British Voice Association, and in 1997 a complete summary of its findings were published in Bodymind and Voice, a book published by the VoiceCare Network.187 With the help of speech-voice pathologists Ralph Beckett and Richard Wiseman, Cooksey began a 3-year longitudinal study of 86 seventh grade boys from two different junior high schools in the Orange Unified School District, Orange, California (1977-1980). Participants included 41 boys enrolled in choir, and 45 boys that had no vocal experience or training. Cooksey, Beckett, and Wiseman visited each school once every month (October-June). They measured the following variables: (1) vocal factors: range, tessitura, quality, and register development, (2) physiological factors: sitting and standing height, weight, chest size, waist size, body fat measurement, vital capacity, and phonation time, (3) and acoustical factors: speaking voice fundamental frequency, dynamic ranges of lower/upper modal tones, sonagraphic analysis for formant tones in falsetto notes. This data were collected mainly to provide baseline information to answer the following questions:
1. What are the most reliable and valid vocal criteria for identifying and defining different stages of voice maturation? 2. Is there a predictable pattern to the sequence, distribution, and rate of change for the voice change stages?
186 John M. Cooksey, Ralph L. Beckett, & Richard Wiseman, —A longitudinal investigation of selected vocal, physiological, and acoustical factors associated with voice maturation on the junior high school male adolescent,“ Proceedings: Research Symposium on the Male Adolescent Voice, Maria Runfola ed. (Buffalo, NY: State University of New York at Buffalo Press, 1984): 4-60.
187 V. Leon Thurman & Graham F. Welch, eds., editor‘s note prior to chapter 8, book 5 by John Cooksey, —Male Adolescent Transforming Voices: Voice Classification, Voice Skill Development and Music Literature Selection,“ Bodymind & Voice: foundations of voice education, book five: a brief menu of practical voice education methods, 2nd ed. (Collegeville, MN: VoiceCare Network, 2000), 821.
65 3. Can voice change stages be identified and defined according to selected physiological and acoustical factors? 4. How can sonagraphic analysis contribute to increased knowledge about voice maturation and vocal dysphonias in boys of this age? The study validated aspects of Cooksey‘s Contemporary, Eclectic Theory in that the voice change occurs through five different stages of development.188 Because of the variability between high and low range findings for the different stages (see fig. 6.1), the mean high and low ranges were calculated for each category, then subjects were classified using the revised index categories. Using a one-way analysis of variance significant statistical difference between the five different stages was confirmed. After calculating the mean ranges from this data, Cooksey recorded his revised index for voice change. These categories presently remain the same, and are widely accepted as the most accurate voice index for the male adolescent changing voice.189 (see fig. 6.2)
Figure 6.1. raw data from Longitudinal Study (1984). Bracketed notes are average note ranges; notes in parentheses are notable exceptions (used by permission).190
188 John M. Cooksey, —Do Adolescent voices ”break‘ of do they ”transform‘?“ Voice, the journal of the British Voice Association 2 (1993):23.
189 Jenevora Williams, —Child and Adolescent Voice Development“ Unpublished document, http://www.stephengoss.net/Jenevora/documents/child%20and%20adolescent%20voice%20development%202009.p df (accessed April 17, 2009).
190 J. M. Cooksey, et al. Proceedings: Research Symposium on the Male Adolescent Voice, 20.
66
Figure 6.2. Cooksey Voice Classification Index: Mean Ranges and Tessituras (bracketed notes) for the Voice change Stages with updated terms in stages 4 and 5 (used by permission).191
Besides the index, other notable findings included the confirmation of a whistle register in some boys during the Midvoice II and Midvoice IIA stages by analyzing 6500 sonagraphic images taken from recordings of subjects holding sustained pitches. These findings confirmed those of the Frank and Sparber study of 1970. Of the California longitudinal study, Leon Thurman, voice specialist at Fairview Voice Center, Fairview-University Medical Center in Minneapolis, —[This study] is the landmark by which all systematic studies of male adolescent voices must be judged.“192 Its findings have continued to provide data follow-up studies by Cooksey and others further validating its results.193 Other more recent studies have specifically utilized Cooksey‘s voice index as a tool to study other specific characteristics of the changing voice.194
191 John M. Cooksey, Working With Adolescent Voices (St. Louis: Concordia Publishing House, 1999): 13.
192 V. L. Thurman & G. F. Welch
193 Marydydd. LL. Harries, Maggie Griffin, Jenny Walker, & Sarah Hawkins, —Changes in the male voice during puberty: Speaking and singing voice parameters,“ Lopedics Phoniatrics Vocology 21 no. 2 (1996); John M. Cooksey & Graham F. Welch, —Adolescence, singing development and National Curricula Design,“ British Journal of Music Education 15 no. 1 (1998): 99-119; Susan Monks, —Adolescent singers and perceptions of vocal identity,“ British Journal of Music Education 20 no. 3 (2003).
194 Sally Hook, —Vocal agility in the male adolescent changing voice“ (PhD diss.,, University of Missouri- Columbia, 2005).
67 From Research to Practical Application Choral Methods Courses
For Cooksey, field experience prior to student teaching was essential for students to be successful in the classroom.195 His choral-music-methods courses offered students a guided field experience in the junior and senior high school setting. Through the field experiences, students were able to work with Cooksey and experienced public school teachers in a setting where they could apply principles taught in their methods class(s). Although the curriculum of his methods courses varied slightly throughout his career, his commitment to the field experience remained consistent. The major focus of Cooksey‘s choral methods class provided students with knowledge and experience in the application of his research findings related to the male adolescent changing voice. This included, (1) helping students understand the physiology of the voice before, during, and after its change, (2) teaching students how to create and choose proper music that fit with in his voice index, and (3) teaching students how to apply this knowledge in the classroom. Through diagrams, video, and audio recordings he had collected during his research, Cooksey was able to demonstrate what each voice stage sounded like during the respective stages of each. Before his years at the University of Utah, Cooksey required students to read his articles in the Choral Journal. After publishing his book, Working with Adolescent Changing Voices, Cooksey required it as his text.196 A large percentage of the semester‘s field work was spent at a local junior high school working with a combined seventh and eighth grade boys‘ choir. During the first several visits students observed noted social behaviors, listened for general vocal ranges, and listened for difference in vocal timbre. Following this initial visit, Cooksey discussed what students had observed. During the following visits, students were required to observe Cooksey as he demonstrated his individual voice classification technique using several of the junior high school students. The following represents Cooksey‘s voice classification process: (1) the boys entered
195 John M. Cooksey, —MUSE 4207 Teaching Choral Music in the Secondary Schools,“ Syllabus, Memphis State University, Cooksey personal files.
196 J. M. Cooksey, Working with Adolescent Voices.
68 the room with a completed questionnaire card that was designed to document each boy‘s musical experience and training; (2) Cooksey asked introductory questions, allowing him to hear each boy‘s speaking voices, which was used to begin the classification process. (3) the boys were asked to count backwards from twenty to determine their average speaking pitch, which is generally 2 to 4 semitones above the lowest note of the singing voice. (4) Cooksey played a descending scale having the student match the pitch and then an ascending scale which would reveal vocal timbre and falsetto limitations, and the extent of the whistle register (Cooksey did not advocate using the whistle register except for classification purposes). Using this process, Cooksey categorized each boy in his appropriate stage. After watching Cooksey‘s demonstration, each university student was then given several opportunities to practice the classification technique, with Cooksey providing assistance.197 Subsequent weeks were devoted to learning group classification techniques, arranging the boys in appropriate sections, and rehearsal techniques. Cooksey‘s students were assigned one piece to teach the choir as well as one piece which he/she had previously composed or arranged–an assignment Cooksey gave each student to help students think critically about the appropriate voice ranges during adolescence. To help expand knowledge of appropriate repertoire, Cooksey provided his students with a substantial list of choral repertoire composed or arranged so that each part did not exceed the range limits of his voice index. He felt this music provided students an opportunity to sing where it was comfortable and most healthy. Cooksey made students aware of this music through reading sessions, which he held throughout the semester. Some lists of his recommended repertoire can be found in the posterior sections of his book and journal articles.198 University students were required to accompany their peers on the piano–providing another unique challenge depending on the keyboard abilities of the students. Following each class, Cooksey and the junior high school teacher provided pertinent feedback to the university students–addressing both their successes and points for individual improvement. Suggestions would then be given and specific goals set for subsequent class sessions.
197 Ibid., 30.
198 Ibid.
69 For Cooksey‘s students who later became teachers, this class proved to be one of their most beneficial and many reported that his methods significantly contributed to their success as junior high school teachers. Using the ranges listed in Cooksey‘s voice change index, students were able to pick music appropriate for the specific ranges of each part, thus providing each with a healthy opportunity to sing and feel successful. Teachers also reported placing large posters with the ranges of the voice index on the wall so that the boys were informed about what was happening to them and what they could expect in the future.199
National/International Clinician
After publishing his four-part series in the Choral Journal in 1977, Cooksey‘s reputation as an expert on the male adolescent changing voice began to grow both nationally and internationally. Within several years his work became recognized by a wide variety of choral musicians and voice experts as a landmark in research on vocal development.200 During Cooksey‘s presentations and clinics he shared his research, but spent the majority of his time demonstrating the application of his findings using a local adolescent boy choir. Cooksey‘s unique and positive approach to working with junior-high-age singers began during his years as a public school teacher and continued during his work with the Summer Music Camps at the University of Illinois and the many junior high all-state choirs he conducted. Cooksey used a combination of humor and directness to get the boys to sing confidently. This was important because of the boys‘ vulnerability. He often asked boys to sing in front of large audiences œ like a session held at the Texas Choral Directors Association held on October 28, 1988 where over
199 Alan N. Zabriskie, interview with the author, Tallahassee, FL, April 9, 2009, In the possession of the author; Larry Smith, interview with the author, Bountiful, UT, February 5, 2009, In the possession of the author; Susan D. Thompson to Ted Asmus, January 12, 1988, University of Utah, School of Music Faculty files; Joleen Hemsley to Edgar J. Thompson, February 5, 1989, University of Utah Faculty files.
200 William R. Baldridge to Edgar J. Thompson, October 28, 1988, Cooksey personal files; Jenevora Williams, —Adolescent voice change-boys frequently asked questions“ Unpublished document, http://www.stephengoss.net/Jenevora/documents/Changing%20Voice%20FAQs.pdf (accessed April 17, 2009); Leonard Van Camp to Thomas Carpenter, April 8, 1983, Cooksey personal files; V. Leon Thurman to Chairperson, Tenure Committee, Memphis State University, September 29, 1984. Cooksey personal files; Robert Thayer Sataloff to John Cooksey, July 23, 1984, Cooksey personal files; Anthony L. Barresi to Chairperson, School of Music, Memphis State University, September 6, 1984, Cooksey personal files; Lorena King to John Cooksey, July 18, 1984, Cooksey personal files; Eph Ehly to John Cooksey, September 3, 1986, Cooksey personal files.
70 800 teachers attended.201 Many of the boys who participated were in the height of their voice change. During these demonstrations, Cooksey made every effort to help each boy feel successful as a singer, praising their efforts and contribution to his presentation 202 (see fig. 6.3).
Research and Responsibilities while on Sabbatical (1992-93)
During the 1992-93 school year, Cooksey traveled on sabbatical to London where he was invited to join the faculty as a research/teaching fellow at Roe Hampton Institute. Cooksey was invited to London because of the introduction of a compulsory national music curriculum in England for all students ages 5 to 14 which began fall of 1992. Cooksey, working together with Graham Welch, performed a cross-cultural longitudinal study using singers from the London Oratory School. This study was very similar to his earlier longitudinal study (see appendix F.1). In addition to working on this study, Cooksey taught graduate and undergraduate courses to pre- and in-service teachers. He also visited schools and worked with tutors and teachers sharing his methods and ideas.203 These educational efforts by Welch and Cooksey were important because of new expectations brought about by the national curriculum which required students to continue singing through adolescence when historically boys in England did not.204 Cooksey and Welch worked on changing the English perception that voices —break“ to understand that they actually —transform“ or —change,“ and that adolescents can sing through these years with sufficient understanding of healthy singing techniques205 In 1998 Welch and Cooksey published recommendations for the revised curriculum, based on their findings (1995).
201 W. R. Baldridge to E. J. Thompson.
202 John M. Cooksey, —Strategies For Developing Confidence and Healthy Vocal Development in Adolescent Male Singers“ A workshop given at 1996 Eastern Division Convention, American Choral Directors Association Convention, Mark Custom Recording Service, Inc., Clarence, NY, Dolby B, Audiocassette, 1996; Richard J. Colwell to Tenure Committee, Memphis State University, September 24, 1984, Cooksey personal files.
203 Graham F. Welch to Edgar J. Thompson, January 24, 1992, University of Utah Faculty Files.
204 John M. Cooksey, —Tentative Outline: Sabbatical Project,“ Unpublished document, University of Utah, School of Music, Faculty files.
205 John M. Cooksey & Graham F. Welch, —Adolescence, singing development and National Curricula Design,“ British Journal of Music Education 15 no. 1 (1998): 99.
71 While in England Cooksey made important connections providing him with subsequent opportunities as a conductor, clinician, and teacher in Europe. The following summer (1994) he returned to London to continue work on his longitudinal study. While there he served as guest conductor/clinician of Barnet Community Choir in north London, the Association of British Choral Conductors, and the London Symphony Chorus.
Figure 6.3. Cooksey working with boys in the Kansas, City Boy‘s Choir in 1987 (Cooksey personal files, used by permission)
Clinics and Presentations: An Analysis
Information was collected from different curriculum vitae, published programs, and other publicity relating to Cooksey‘s scholarly activities during his career in higher education (1974- 2006) (conferences, conventions, workshops, clinics, choral festivals, in-service, sabbatical activities, guest lecturer, etc.). Activities he participated in were divided into four large categories: (1) Clinics and workshops where he presented his research and ideas on the male adolescent changing voice, (2) Guest Conductor/Clinician, (3) Adjudicator, and (4) Other activities.
72 Of the 226 reported activities, Cooksey gave 161 different presentations/workshops on the male adolescent changing voice in 38 different states as well as Germany, England, and Korea. He was guest conductor/clinician 36 times in 17 different states, as well as England. The majority of the choirs he conducted featured junior high aged singers, probably invitations given because of his reputation relating his adolescent voice research. His 12 reported adjudication opportunities occurred in 9 different states. —Other“ activities in which Cooksey participated were presentations and courses that involved topics on vocal health, choral performance evaluation, kinesthetics, and choral/rehearsal techniques (17 instances) (see fig. 6.4).
Comparison of Invited Scholarly Activities
ADJUDICATOR, 12, 5% OTHER, 17, 8%
CONDUCTOR, 36, 16%
Male Adolescent Changing Voice 71%
Figure 6.4. Data collected from Cooksey‘s Curriculum Vita and published advertisements or programs.
When looking at all the states to which Cooksey was invited to present, conduct, clinic, etc., his visits to Minnesota totaled the most–29 instances, 13% (see fig. 6.5). This comparatively large percentage of invitations directly correlates to Cooksey‘s involvement with the VoiceCare Network, an organization founded by Leon Thurman in 1982. Cooksey met
73 Thurman at the University of Illinois, while they were both in graduate school. Cooksey has been an actively participating faculty member since the beginnings of the organization which is now based in Collegeville, Minnesota at St. John‘s University.
All Scholarly Activity Invitations by Location
35
30
25
20
Series1
15
10
5
0
J Y IN A ID A MI V A IA IL A AR AZ KS MA MD NB ND N N SC CT SD W WY CO KY L MT N OK WI AL G PA MS OH OR VA FL MO NC UT TX C TN MN States/International tional rna Inte
Figure 6.5. Information collected from Cooksey‘s Curriculum Vitae and published programs and advertisements of clinics.
Graham Welch, another founding member of VoiceCare Network, was influential in bringing Cooksey to London for a sabbatical in 1992-93. As a result of his connections in England, Cooksey has presented more times in Europe than in any state in the United States other than Minnesota (21 times, 9%). His presentations in Europe occurred primarily during the last thirteen years of his career. Presentations in other states correlated with where he worked (TN=19 times, 8%; CA=17 times, 8%; IL=11 times, 5%; UT=10 times, 4%) (see appendix H). Cooksey was invited to present his research at national conventions/conferences of the American Choral Directors Association (1979, 1981, 1983, 1985, and 1997), Music Educators National Conference (1980, 1982), National Association of Teachers of Singing (1983), Music
74 Teachers National Association (1988), American Guild of Organists (1997). He was also featured as the headliner for 21 different state conventions (see table 6.6).
Table 6.6. State conventions where Cooksey was the featured headliner.
Year State and Organization 1980 Idaho (MENC) 1980 California (MENC) 1981 North Dakota (MENC) 1982 Oklahoma (MENC) 1984 Iowa (MENC) 1984 Pennsylvania (MENC) 1985 Louisiana (ACDA) 1986 Ohio (MENC) 1987 Kansas (ACDA) 1992 Illinois (MENC) 1992 Georgia (MENC) 1994 Virginia (ACDA) 1997 Missouri (ACDA) 1998 Virginia (ACDA) 1998 Wisconsin (ACDA) 1999 Iowa (ACDA) 1999 South Carolina (MENC) 2000 Utah (MENC) 2001 Montana (ACDA) 2002 Maryland (MENC)
One possible indicator of Cooksey‘s reputation is the frequency of invitations to participate in national and international scholarly activities. Looking at Cooksey‘s years in higher education, he averaged 8 scholarly activities per year. Earlier in his career while his research was becoming better-known in the country he was invited to present more frequently than he did later in his career. For example, in 1982 Cooksey participated in more scholarly activities than any other year œ totaling 21 separate instances. Comparing how frequently he gave presentations/workshops with how frequently he served as guest conductor/clinician reveals that for which he was better known (see fig 6.7).
75 Conducting Compared with Voice Change Clinics
14
12
10
8
6
4
2
0
8 5 7 79 80 81 83 84 85 9 96 97 98 01 02 03 976 9 9 9 9 982 9 9 9 989 990 994 9 9 9 9 0 0 0 1 1 1 1 1 1 1 1 1 1986 1987 1988 1 1 1991 1992 1993 1 1 1 1 1 1999 2000 2 2 2 2004 2005 MACV CONDUCTOR
Figure 6.7. Chart comparing number of clinics where Cooksey presented his research on the male adolescent changing voice with number of guest conducting opportunities.
76
CHAPTER 7
A STUDY OF THE MIXED COLLEGIATE CHORAL MUSIC PROGRAMMED BY JOHN M. COOKSEY FROM 1980 TO 2006
Just as the composer‘s life can be better understood through a study of his/her compositions, so can a conductor‘s life be understood through a study of music he/she selects. Each choral conductor fulfills different purposes depending on the institution for which he/she works. One purpose of a university choral organization is to expose students to a wide variety of music. Sometimes conductors select music based on the message of text, giving the singers an opportunity to think about and connect with the message of the piece.206 Additionally, conductors may choose music that will stretch the musical abilities of their singers. This exposure provides the students with an opportunity to build their collective knowledge of the repertoire. Because music education majors make up a substantial number of singers in many collegiate choirs, exposure to a wide variety of music will allow them to make informed literature decisions for their own future students. When considering repertoire, the director must consider not only his/her ability to fulfill composer‘s intentions,207 but also the individual students‘ abilities, and the collective abilities of the choir to successfully bring the music to life. If music is not selected dependant on the abilities of the singer and choir, it will not matter how good of a teacher or musician the conductor is.208
206Gerald R. Knight, —The Music Philosophies, Choral Concepts, and Rehearsal Practices of Two African American Choral Conductors.“ (PhD. diss.,, Florida State University, 2006), 16.
207 Ibid.
208 Alfred J. Swan, The Music Director‘s Guide to Musical Literature. (New York: Prentice Hall, 1949), Preface.
77 Conductors also consider the type of audience that will be listening. For example, university administrators might request a choir to sing for the inauguration of a president, or the dedication of a new hall. The cultural profile of an audience may also determine the program as well as the purpose of the concert.209 Accompaniment personnel or resources are significant considerations when selecting repertoire. Many times the composer‘s intention can not be fully realized if the piece is not accompanied by the instruments for which it was written.210 Occasionally adjustments can be made, but this decision must be made with careful consideration. The director might decide to do an all a cappella concert, but some feel that the ratio of accompanied to unaccompanied pieces needs to be considered carefully.211 Finally, the conductor‘s own preference, knowledge, and past experience plays a very significant role in the choice of what music to program. The conductor must determine if the music is exciting to him/her as a conductor; if so, it hopefully will be to the singer and audience as well.212 A conductor primarily enters the field because of great choral music that he/she has experienced. The exciting prospect of having those same experiences again and again can be revitalizing.
Rationale for This Study
Through a study of the life and music a conductor programs throughout his/her career, trends can be recognized to help determine his/her musical values and tastes. Using ACDA convention programs from 1960-1987, Darryl Jones created a database, which he used for comparison and analysis. He used fourteen different fields to categorize the information: title, composer, arranger, publisher, octavo #, text, language, accompaniment, convention/year,
209Tracey Caldwell Hunsaker, —Processes And Criteria Of Nationally Recognized High School Choral Directors For The Selection Of Performance Literature.“ (PhD. diss.,, University of Florida, 2007), 21.
210 Ibid., 147.
211 Ibid., 148.
212 Knight, 16.
78 style, group type, group class, group name, and conductor. 213 Based on Jones‘ objectives, similar objectives were determined for this study: 1. To investigate literature trends in the programming of John Cooksey while at Memphis State University and The University of Utah through looking at, (a) the frequency of programming any one composer or arranger, (b) the frequency of programming any one piece of music, (c) the frequency and comparison of using secular verses sacred texts, (d) the frequency and comparison of the different languages sung, (e) the frequency and comparison of different types of accompaniments, or whether the piece was a cappella. 2. To provide choral conductors and past students a guide through which they may gain an overview of literature programmed by John Cooksey 3. To preserve programming information as part of the history of the choral departments at University of Utah and Memphis State University.
Purpose of Study
The purpose of the present study was to (1) collect choral concert programs from the mixed collegiate choirs conducted by John Cooksey, (2) design a database that would facilitate programming entry and analysis using Microsoft Access 2003, (3) enter information from the programs, and locate information not included in the programs using external resources, (4) analyze and identify programming trends, and (5) create a user-friendly interface facilitating the searching of Cooksey‘s programming to those interested.
Organization of Study
Concert programs for 173 performances were collected from Cooksey‘s years at Memphis State University and the University of Utah. Copies of these programs were acquired from Cooksey‘s personal files, and the archives at the University of Utah. The programs were collated and the information was entered into a Microsoft Access database designed for this project. The categories selected for the present database were the same as those used in the Jones‘ study with the exception the following changes: (1) the field ”convention/year‘ was
213 William Darryl Jones, —An Index of Choral Music Performed During National Conventions of the American Choral Directors Association (1960-1987).“ (PhD. diss.,, Florida State University, 1988), iii.
79 changed to ”performance date,‘ (2) ”publisher‘ was eliminated because no attempt was made to access this information, (3) ”octavo #,‘ ”convention/year,‘ ”group type,‘ ”group class,‘ and ”conductor‘ were eliminated because they were not relevant to this study. (4) The fields ”school,‘ ”performance location,‘ ”concert/event title,‘ ”comments,‘ ”performing ensemble‘ were created to better navigate through the database. The following procedures were designed to find information that was not listed in the programs: (1) The Florida State University Choral Library and the files of the choral professors were used as a resource for looking at scores, (2) respected colleagues in the field were consulted to see if they knew the specific work and the information needed, and (3) composers of the work were contacted when possible. Finally, (4) websites were consulted to locate missing information. The sites most frequently used were the following: ñ http://www.sheetmusicplus.com ñ http://www.jwpepper.com ñ http://www.cpdl.org ñ http://www.lib.fsu.edu/get/naxos ñ http://www.lib.fsu.edu/get/grove-music ñ http://www.youtube.com When information was not available, the fields were labeled —unable to locate“ or —not enough information.“ This occurred because the piece was (1) out of print, (2) performed from manuscript, or (3) could not be located. Prescribed categories used in this study were established by Jones (see table 7.2).214 The language categories were entered using the codes E (English), F (French), G (German), H (Hebrew), I (Italian), L (Latin), O (Other), and S (Spanish). Text was divided into sacred, secular, and mixed (poly-textural). The style periods consisted of Pre-Renaissance, Baroque, Classical, Romantic, Twentieth Century, Jazz/Pop, and Folk/Spirituals/Hymn Tunes. Broadway was added to the —Jazz/Pop“ category because of the number of Broadway pieces performed. Categories under the accompaniment field are a cappella, keyboard, other instruments, electronic tape/CD.
214 Ibid., xvi.
80 Table 7.1. Categories used by Jones with the addition of —Broadway“ under style.
Language Code Language Accompaniment E English A Cappella F French Keyboard G German Other Instruments H Hebrew Electronic Tape/CD I Italian Unable to Locate L Latin O Other Style S Spanish Pre-Renaissance Renaissance Text Baroque Sacred Classical Secular Romantic Mixed (Poly-Textural) Twentieth Century Not Enough Information Jazz/Pop/Broadway Folk/Spirituals/Hymn Tunes
Results
After entering information in the database, comparisons and totals were made between differing fields and categories. Each time a piece of music was performed it was entered into the database–totaling 1881 entries. Of these, 577 were different compositions or arrangements. The music of 211 different composers and 93 different arrangers were performed (see appendix I). Cooksey programmed the music of Handel (64 entries), Victoria (62 entries), Vaughn Williams (60 entries), Palestrina (52 entries), and J. S. Bach (42 entries) most often. All other composers are listed in Appendix J. Cooksey programmed arrangements of Moses Hogan (43 entries) more than any other arranger, followed by William Dawson, Robert Shaw/Alice Parker, and Mack Wilberg (28 entries each), and André Thomas (27 entries) (see appendix K). The two most- performed pieces were Ubi Caritas (22 entries) by Maurice Duruflé., and Shenandoah (21 entries) arranged by James Erb. When comparing the different style periods of music programmed by Cooksey, the style that had greatest representation was the ”Folk/Spiritual/Hymn tunes‘ (33% ); then ”Twentieth Century‘ (23%), ”Renaissance‘(18%), ”Romantic‘ (11%), ”Baroque‘ (8%), ”Jazz/Pop/Broadway‘ (4%), ”Classical‘ (3%), and no pieces in the ”Pre-Renaissance‘ category. (see Appendix L.1)
81 A comparison of the secular, sacred, and mixed texts displayed that 58 % of the musical selections were sacred, 41% secular, and 1% mixed. (see Appendix L.2) Of the 8 language categories, English was performed 61% of the time, followed by Latin ( 21%), German (7%), French and Other (3%); Spanish, Italian, and Hebrew were performed a total of 1% of the time. Languages that fell in the other category were Russian, Slovak, and Japanese (see Appendix L.3). Finally, differing types of accompaniments were compared. These accompaniments were not necessarily how the piece was scored, but how they were performed (i.e. written for choir and orchestra, but performed with keyboard accompaniment). Fifty-three percent of the pieces were performed a cappella, followed by those accompanied by some sort of keyboard instrument (43%). Other instruments were used 3% of the time ranging from one solo instrument to a full orchestra. One percent of the pieces could not be categorized by type of accompaniment (see Appendix L.4). This database was designed so that it could be uploaded to the internet or installed on computers at the University of Utah or University of Memphis (previously Memphis State University) for use by those interested in seeing what Cooksey programmed. Using several queries (i.e. a pre-programmed method of sorting and/or filtering) and forms this information can be searched and browsed easily. This database design could also be expanded to include the programming of multiple conductors, thus creating a powerful resource for future conductors. (Appendix L.5)
Discussion and Conclusion
Recognizing trends in mixed collegiate choral music programmed by John Cooksey can help reveal his philosophies as a choral conductor and music educator. Looking at the music that Cooksey programmed most frequently might reveal (a) what he felt students should be exposed to in terms of music and/or text, (b) what music might be best for the vocal abilities of his students or ensemble, (c) audience considerations, or (d) what Cooksey preferred because of his abilities or likes. By programming the music of Handel more than any other composer, Cooksey‘s preference for these sacred oratorio choruses is revealed. When Handel was programmed, it was usually placed after the Renaissance selections of the concert. This order displayed the contrast
82 between the smooth, long-reaching lines of the Renaissance and the accompanied, dance-like music of the Baroque. Cooksey‘s choirs produce a bright and energetic tone when performing Handel. This choice could demonstrate a tonal concept Cooksey emulated throughout the concert, or simply to program music chronologically. The ratio of accompanied (46%) to unaccompanied (53%) is about equal demonstrating Cooksey‘s desire to have balance between the two types of music. The accompanied music was usually keyboard (organ or piano), with limited use of other instruments (3%). This could reveal a lack of resources or his preference to choose music not requiring accompaniment. Music from the —folk/spiritual/hymn“ style category was programmed 33 percent of the time. This could be a reflection on the communities where he performed, the preference of the students or the audiences, or Cooksey‘s background and heritage. Many times Cooksey preferred to finish a concert with an arrangement of an African American spiritual. Moses Hogan‘s arrangements were performed more than any other arranger‘s music both in and out of the spiritual category. The preference of this genre might also demonstrate the audiences‘ preference in the religious communities where he conducted. All of these considerations can better provide us with answers into what Cooksey‘s ideas and philosophies were as a choral conductor and music educator thus helping future conductors and music educators make decisions of what to program themselves. This information contributes to the history of both Memphis State University, and the University of Utah choral departments as a contributing factor in the musical programming trends of John M. Cooksey.
83
CHAPTER 8
SUMMARY, CONCLUSION, AND RECOMMENDATIONS FOR FUTURE RESEARCH
Summary
John M. Cooksey‘s contributions to the choral music profession, both as an educator and a conductor, were documented using the following research questions: (1) What individuals, events, and experiences lead Cooksey to pursue a career in choral music education? (2) What activities and events shaped Cooksey‘s philosophies and methods while working at Oak Grove Junior High: H. B. Plant High School: University of Illinois, Urbana-Champaign (as a Graduate Student): California State University, Fullerton; Memphis State University; and the University of Utah? (3) What contributed to Cooksey‘s decision to develop the Choral Performance Rating Scale (CPRS), and how did this further his career and influence as a music educator? (4) What individuals, events, and experiences initiated and furthered his interest and contributions to the area of the male adolescent changing voice? (5) What were Cooksey‘s philosophies as a choral conductor, and how did those evolve through out his career? (6) What music did Cooksey program and what trends were demonstrated through his programming? Cooksey was born in Charlotte, North Carolina to parents that encouraged a diverse array of activities. They encouraged him and his brother to participate in private as well as church and school music activities. Rufus and Mary Cooksey taught the importance of hard work to their boys–a model that provided both with opportunities to grow and develop an ambitious work ethic. Cooksey‘s inspiration to follow a career in music was encouraged at an early age by Paul Langston at St. John‘s Baptist Church where Cooksey participated as soloist and choir member through his teenage years.
84 His participation in church led to active participation in high school band, choir, and other musical dramatic productions. During this time he continued his relationship with Langston who recommended Florida State University‘s music program for higher education. Cooksey received a scholarship to attend Florida State University in Tallahassee, Florida. While there his mentors included Betty Jean Grimm, Wiley Housewright, and Irvin Cooper. Each of these mentors provided a foundation upon which Cooksey developed as a successful public school teacher in Tampa, Florida. His further experience as a middle school then high school teacher fostered curiosity in many areas of music education, particularly in the area of choral performance evaluation, and the male adolescent changing voice. These areas became research interests later in Cooksey‘s career. Choral performance evaluation became the topic of Cooksey‘s doctoral work at the University of Illinois, Urbana-Champaign under Charles Leonard. His efforts to develop an objective method to rate high school performance lead him to create his Choral Performance Rating Scale–a scale used by various schools and districts throughout the country. Although this contribution was significant in the country, his most significant research flourished while teaching at California State University, Fullerton where he began his life‘s work–the male adolescent changing voice. Cooksey contributed to this area of research in several ways: (1) he raised awareness and encouraged interest for the topic through a four-series article written in the Choral Journal (1977a-78), (2) brought to light contemporary scientific research in the area of adolescent voice change done in Europe, (3) he performed a three-year longitudinal study of 86 males‘ voices and other physiological changes relating to adolescence which confirmed a voice classification index he had previously presented (the Contemporary, Eclectic, Theory), (4) he presented his research at least 161 times to national and international audiences which included music educators, choral conductors, and voice scientists, (5) his work relating to the male adolescent changing voice is published in at least twenty-two different text books, journal articles, and symposium reports, and (6) in higher education he taught choral methods courses featuring his research findings for 32 years. After working at California State University, Fullerton for six years, Cooksey accepted a position at Memphis State University as Professor of Choral Music Education and Coordinator of Choral Activities. Cooksey‘s recognition expanded beyond his research contributions to include the area of conducting. He expanded the choral program at Memphis State University to
85 include men‘s and women‘s choirs and conducted the University Singers at state and regional conferences of the ACDA and MENC as well as the Worlds Fair in New Orleans. The University Singers traveled to Europe as the United States Representative, In-Residence Choir, of the 1984 Hellbrunn International Music Festival in Salzburg, Austria. In Cooksey‘s final years at Memphis State University, his reputation as a clinician and conductor increased as demonstrated by his frequent invitations to present and guest-conduct all- state and honor choirs through out the country. During this time interdepartmental tension was increasing at Memphis State University where he felt a lack of support from some faculty and administrators. Despite Cooksey‘s blossoming national reputation in Tennessee, Cooksey felt it would be beneficial to leave and accept a position as Professor of Choral Music Education and Director of Choral Activities at the University of Utah (1986). At the University of Utah, Cooksey began to flourish once again as music educator and conductor. His newly formed Concert Chorale contributed to the rich choral tradition previously established at the University of Utah. Cooksey, together with Edgar Thompson, built a unique choral area with two similarly-sized auditioned touring choirs. These choirs provided many singing opportunities for students and valuable podium time for graduate students. Cooksey‘s research regarding the male adolescent changing voice expanded to Europe as he traveled on sabbatical to England (1992-93) to perform a cross-cultural longitudinal study similar to his earlier study at CSUF (1977-80). In 1992 the British government implemented a mandatory compulsory music curriculum for students ages 5 to 14. To help British music educators in this curriculum, Cooksey presented his previous research findings in England as well as instructed music educators on methods to teach music to and classify voices of adolescent singers. Cooksey‘s time in England opened many doors in Europe throughout the remainder of his career, but more than providing him with scholarly opportunities, Cooksey‘s sabbatical provided necessary emotional and psychological stimuli empowering and providing him a level of self-confidence not previously enjoyed. Because of health concerns, Cooksey retired from the University of Utah in 2006 after 32 years of teaching in higher education and 6 years in public school. He still resides in Sandy, Utah. He continues to travel and present his research findings to music educators around the country.
86 Conclusion
This study accomplishes the following; (1) provides current and future choral music educators with a model of what individuals, events, and experiences lead one American music educator to national and international prominence and (2) displays the process by which he developed as a researcher and clinician. In addition to his work as a researcher and educator, Cooksey‘s contributions as a choral conductor provided thousands of singers with opportunities to sing a wide variety of literature for local, national, and international audiences. Cooksey‘s philosophies as a choral conductor not only provided students of all abilities with opportunities to sing great choral literature but also provided future music educators with a model of diverse rehearsal methods and techniques. Although Cooksey experienced some negative interdepartmental conflicts at the universities where he was employed, his continued endurance during times of decision demonstrate the level of commitment necessary to continue in the field of music education. The support of family members, colleagues, and students offered an added dimension to his life and professional development and must be considered in the success of a life-long music educator. It is impossible to quantify the number of music educators and their students that have directly or indirectly benefited from Cooksey‘s influence as a music educator and conductor. It is also impossible to quantify how many adolescent boys continued singing through adolescence resulting from application of Cooksey‘s research and methods, but through the comments of teachers who corresponded with Cooksey, his demanding schedule as a presenter, and his previous students‘ and colleagues‘ claims supporting his techniques, Cooksey‘s work must be considered a landmark in American choral music education.
Recommendations for Future Research
Thousands of junior high teachers across the country have had exposure to Cooksey‘s ideas and methods on the male adolescent changing voice. There is an absence of documentation attempting to quantify the impact that his ideas had on boys‘ voices and whether or not they continue to sing after junior high. Using students who were in classes where Cooksey‘s methods were taught, data could be collected and analyzed to see if males were more likely to sing after being exposed to his methods or not.
87 During his sabbatical leave, Cooksey perceived himself as developing more self- confidence as a researcher and teacher. This perception was also noted by colleagues at the University of Utah upon his return who described him as —taking things less personally“ and —easier to work with.“ This opportunity for him to leave on a long-term basis as well as the many short-term opportunities to leave and present his research at different conferences provided him with opportunities to interact with other people, and present —fresh ideas“ to them. A study on the effects of sabbatical leave and outside clinics upon music professors‘ emotional and psychological welfare could be beneficial to the profession.
88
APPENDIX A
PHOTOGRAPHS FROM COOKSEY‘S EARLY YEARS
89
Figure A.1. Cooksey‘s Childhood Home, 2114 Kenmore Avenue, Charlotte, North Carolina (Cooksey‘s Personal Collection)
Figure A.2. Harry Jr., John, and Rufus Cooksey (John‘s Dad)
90
Figure A.3. Mary Cooksey, John Cooksey (1 year), and Harry Jr. (Cooksey‘s older brother).
91
Figure A.4. Cooksey with his Grandfather Yearton outside of Charlotte, North Carolina
92
Figure A.5. Page from Cooksey‘s baby book. His mother mentions his first attempted song.
93
Figure A.6. Cooksey sings solo in Church, age 11, St. John‘s Baptist Church, Charlotte, North Carolina
94
Figure A.7. 1964 Garinger High School Choir, Charlotte, North Carolina, Paul Sanders Director. (Cooksey Row 2 6th from the right, Garinger High School Year Book)
Figure A.8. Cooksey singing in the Florida State University Collegians, 1963 (Cooksey is third from the left)
95
Figure A.9. Florida State University Singers, 1961 (Cooksey, 2nd row, last male)
96
APPENDIX B
PHOTOGRAPHS FROM PUBLIC TEACHING YEARS
97
Figure B.1. H. B. Plant High School Mixed Chorus, 1969. Cooksey‘s first year at Plant. (Cooksey Row 1, 2nd from right).
Figure B.2. H. B. Plant High School Concert Choir, 1969, Cooksey‘s first year at Plant (Cooksey last person, Row 1)
98
APPENDIX C
ADJUDICATION SHEETS FOR OAK GROVE JUNIOR HIGH SCHOOL 1965
99
Figure C.1. Adjudication Sheet for Beautiful Savior judged by Christine Baker
100
Figure C.2. Adjudication Sheet for Beautiful Savior judged by James Johnston
101
Figure C.3. Adjudication Sheet for Beautiful Savior judged by Wallace Gause
102
Figure C.4. Adjudication Sheet for Great Day judged by Wallace Gause
103
Figure C.5. Adjudication Sheet for Great Day judged by Christine Baker
104
Figure C.6. Adjudication Sheet for Great Day judged by James Johnston
105
Figure C.7. Adjudication Sheet for Great Day judged by Wallace Gause
106
Figure C.7. Adjudication Sheet for Exodus judged by Christine Baker
107
Figure C.8. Adjudication Sheet for Exodus judged by James Johnston
108
Figure C.9. Adjudication Sheet for Sourwood Mountain judged by James Johnston
109
Figure C.10. Adjudication Sheet for Sourwood Mountain judged by Wallace Gause
110
Figure C.11. Adjudication Sheet for Sourwood Mountain judged by Christine Baker
111
APPENDIX D
MEMPHIS STATE UNIVERSITY: PRESS AND DOCUMENTS
112
Figure D.1. Clipping taken from the Newspaper published by the Tennessee State Penitentiary.
113
Figure D.2. Cooksey‘s 1984 European Tour Objectives for Memphis State University Singers
114
Figure D.3. Cooksey working with the Festival Chorus during the Fifth Annual Saudi Arabian Choral Festival in Jeddah, Saudi Arabia (Cooksey Personal Collection, used by permission)
Figure D.4. Leslie Hale (University of Northern Iowa) and John Cooksey in Saudi Arabia
115
APPENDIX E
UNIVERSITY OF UTAH DOCUMENTS
116
Figure E.1. Flyer announcing the new Concert Chorale, 1986.
117
Figure E.2. Acceptance Letter in to Bachelor of Accounting Program when Cooksey was thinking of leaving the music profession.
118
APPENDIX F
DOCUMENTS RELATING TO SABBATICAL ACTIVITIES
119
Figure F.1. Plans submitted to Music Department Prior to Cooksey‘s Sabbatical Approval.
120
Figure F.1.2. Sabbatical Plans Continued.
121
Figure F.1.3. Sabbatical Plans Continued.
122
Figure F.2. Letter from Graham Welch Requesting John Cooksey‘s Services during Sabbatical.
123
APPENDIX G
THE MALE ADOLESCENT CHANGING VOICE: CORRESPONDENCE REGARDING COOKSEY‘S PROMINENCE IN FIELD
124
Figure G.1. Letter from Leon Thurman Substantiating Cooksey‘s Contributions to the profession (Used by permission of University of Utah, School of Music).
125
Figure G.1.2. Thurman continued.
126
Figure G.1.3. Thurman continued.
127
Figure G.1.4. Thurman continued.
128
Figure G.2. Letter from Anthony Barresi Substantiating Cooksey‘s Contributions to the profession. (Used by permission of University of Utah, School of Music)
129
Figure G.3. Letter from Richard Colwell Substantiating Cooksey‘s Contributions to the profession.
130
APPENDIX H
CHRONOLOGICAL LIST OF CLINICS AND PRESENTATIONS
131 Table H.1. Chronological list of Clinics and Presentations (Category: M=Presentations on the Male Changing Adolescent Voice; C=Guest Conductor/Clinician; A=Adjudicator; Other=Other Activities.)
Location Year Sponsor Conference Comments State Category
M California State University, CA 1976 Orange County Spring Conference Exact Date Unknown Fullerton, CA Music Educators Association O Orange City Orange City, CA CA 1978 Orange City School Choral Workshop Exact Date Unknown District M Santa Ana, CA CA 1978 Santa Ana School Exact Date Unknown District O Simi Valley High School CA 1978 Choral Festival/Workshop Exact Date Unknown M Anaheim, CA CA 1979 WDMENC Western Division Music Exact Date Unknown Educators Conference M Colorado State University, Ft. CO 1979 Colorado State Mini (Many) Workshops for He presented with Don Collins, Cambiata Press Collins, CO University Music Teachers (Another Irvin Cooper Graduate) Department of Music C Curtis Hixon Convention FL 1979 Florida Music Clinic Festival Concert Center, Tampa, FL Educators Association M Kansas City, MO MO 1979 ACDA National Convention Exact Date Unknown M Ohio State University, OH 1979 American Choral American Choral Symposium Exact Date Unknown Columbus, OH Symposium M University of Oregon OR 1979 25th Annual Conference on Exact Date Unknown Music Education O Lewis and Clark State OR 1979 American Choral American Choral Symposium Exact Date Unknown College, Portland, OR Symposium M Pacific Union College, Napa CA 1980 Pacific Union Junior High Choral Exact Date Unknown Valley, CA College Workshop M Sacramento, CA CA 1980 California (MENC) State Conference Exact Date Unknown
132 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
A Palm Springs High School CA 1980 Southern California Choral Festival Vocal Association M Pacific Union College, CA 1980 Summer Music Workshops Clinic with Jerald and JoAnn Ottley Angwin, CA 1980 M Sheraton Newport Hotel CA 1980 Orange County "A Professional Day Music Educators Uniquely Designed for the Music Specialist" M Westminster School District, CA 1980 Westminster School The date is uncertain because the information California District Music and was taken from a thankyou letter Fine Arts Education M Miami, FL FL 1980 MENC National Convention Exact Date Unknown M University of Idaho, Moscow, ID 1980 Idaho (MENC) State Conference Exact Date Unknown ID M Boise State University, Boise, ID 1980 Boise State Summer Choral Workshop Exact Date Unknown ID Univesiry O Chicago Musical College, IL 1980 Summer Choral Conductors Roosevelt University Institute M MacPhail Center for the Arts MN 1980 Minnesota Chapter Vocal Pedagogy Workshop It is noted below that he was a change in the of NATS program from an earlier scheduled clinician. Probably because he knew Leon Thurman. A Mississippi University For MS 1980 First North Mississippi Women - Poindexter Music Invitational Building M Memphis, TN TN 1980 Memphis City Professional Day Choral Exact Date Unknown Schools Workshop M University of Wisconson, WI 1980 The Wisconson State Music Madison, WI Conference M Alabama AL 1981 ACDA-AVA (Alabama Vocal
133 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
Association) O Northwestern Univeristy, IL 1981 Exact Date Unknown Evanston, IL O University of Illinois, Urbana IL 1981 Symposium in Music Education C University of Illinois, Urbana IL 1981 1981 Illinois Summer Youth Exact Date Unknown Music M New Orleans, Louisiana LA 1981 ACDA National ACDA Convention Other presenters/Conductors were Harold Decker, Howard Swan, Eph Ely, Paul Salamonavich, and Robert Shaw. A Snowden Auditorium MA 1981 Kappa Delta Disney On Parade "All-Sing" C University of Southern MS 1981 Mississippi Music The Nineteenth Annual Rod Walker, was the High School conductor and Mississippi Educators Gulfshore Choral Music Cooksey was the Junior High Conductor Assocation and Camp Concert State Dept. of Education M Minot, North Dakota ND 1981 North Dakota State Conference (MENC) M Cleveland OH 1981 Ohio MEA OMEA Professional Conference Program A Memphis TN 1981 MTVA (Memphis MTVA Choral Festival 1981 Exact Date Unknown Tennessee Vocal Association?) O Idlewild Presbyterian church, TN 1981 Memphis Presbytery Choral Music Workshop Memphis Christian Education Committee O Memphis State University TN 1981 West Tennessee Exact Date Unknown Education Association
134 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
O Memphis, TN TN 1981 Idlewild West Tennessee Presyteriy Exact Date Unknown Presbyterian Church Church Choral Workshop O Memphis, TN TN 1981 Memphis City In-Service Workshop of Exact Date Unknown Schools Vocal Teachers O Memphis, TN TN 1981 West Tennessee Professional Development Exact Date Unknown Elementary Dat Education Association Professional Day M Altura School, Bartless, TN TN 1981 Shelby County Orff Elementary Workshop Exact Date Unknown Association O Memphis State University, TN 1981 West Tennessee Fall Meeting Exact Date Unknown Memphis, TN Vocal Association C Wooddale High School TN 1981 West Tennessee The Fifth Annual West Lulah Hedgeman was the High School Auditorium Vocal Association Tennessee Junior and Senior Conductor High Choruses in Concert M North Texas State University, 1981 Choral and Research Exact Date Unknown TX Denton, TX Workshop C University of Wisconson, 1981 Twenty-second annual Fall Exact Date Unknown Eau Claire WI Choral Clinic and Festival Concert C Auburn University at 1982 Alabama vocal Alabama All-State Choral Don Neuen was the High School conductor AL Montgomery Association Festival 1982 M Southport High School, 1982 Indiana Music IMEA 1982 Fall Professional Indiana IN Educator's National Conference Association M Southport High School, 1982 Indiana Music IMEA 1982 Fall Professional Indiana IN Educator's National Conference Association
135 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
M Saudi Arabia 1982 Parents' Cooperative Music Festival Choral School - Jeddah Division International C Saudi Arabia 1982 Parents' Cooperative Music Festival Choral School - Jeddah Division International M University of Southern 1982 Dept. of Music and The Twelfth Annual choral This program has extensive Biographical MS Mississippi college of Fine Arts Conductors Conference Information C University of Southern 1982 Dept. of Music and The Twelfth Annual choral This program has extensive Biographical MS Mississippi college of Fine Arts Conductors Conference Information C University of Southern 1982 Mississippi Music The Twentieth Annual Paul Salamunovich was the High School Mississippi Educators Gulfshore Choral Music Conductor MS Assocation and Camp Concert State Dept. of Education C Eastern Carolina University, 1982 East Carolina Summer Music Camp 1982 I'm not sure what his role was here, but I think Greenville NC NC University (First Annual) that he was a choral conductor, but the event was long so he could have done more. C Garder-Webb College, 1982 Department of Fine Twelfth Annual Choral There is no date on this program, but it mentions Boiling Springs, NC NC Arts Clinic Feb 1983 performance so it is probably in the fall of 1982 M SUNY, Buffalo 1982 Summer Session of Research Symposium on the Taken from program NY SUNY Male Adolescent voice M Skirvin Convention Center, 1982 Oklahoma (MENC) State Conference OK Oklahoma City, OK
136 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
C Southeastern Oklahoma State 1982 13th All-District High School Cooksey Conducted the junior high chorus and OK University and Junior High Choruses Walter Britt, conducted the high school chorus. M Memphis, TN 1982 American Guild of Choral Techniques and Exact Date Unknown TN Organists Literature Workshop M WKNO Television, 1982 Marge Thrasher Creative Arts Month Exact Date Unknown TN Memphis, TN Show A Memphis, TN 1982 Tennessee State The Great American Choral TN Level Festival Festival M Knoxville, TN (Hyatt 1982 Tennessee Music 1982 Convention Presented with George Mabry, Austin Peay Regency Hotel) Educators University and had Memphis State University Association and Singers and Austin Peay University Chamber TN Tennessee Choral Singers as a demonstration Group Directors Association A Nashville, TN 1982 American Musuic 1981 Seventh Annual TN Festival American Music Festival C Mid-South collesium 1982 Memphis City All-Memphis City Schools TN Schools Music Night C Memphis State University, 1982 Tennessee Music 29th Annual Convention Memphis, TN TN Teachers Association M San Antonio, TX TX 1982 MENC National Convention Exact Date Unknown A Central High School, Little 1983 Central Region Large Choir this info was taken from a thankyou letter AR Rock, AR Festival M University of Iowa IA 1983 University of Iowa Summer Course Exact Date Unknown C Louiseville, KY 1983 Music Educators Southern Division Performance was at 12:45PM on Thursday KY Conference Conference M Louiseville, KY 1983 SMENC Southern Division KY Conference
137 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
C University of Southwestern 1983 University of Third Annual All-Louisiana The date is uncertain because the information Louisiana LA Southwestern High School Choral Festival was taken from a thankyou letter Louisiana M Hyatt Regency Hotel, 1983 National National Convention Minneaplis, Minnesota MN Association of Teachers of Singing M University of Minnesota, 1983 Adolescent Voice 83 Colloquium Exact Date Unknown MN Minneapolis, MN Symposium M University of Missouri- 1983 Adolescent Voice Exact Date Unknown Kansas City, Kansas City, MO Symposium MO M Portland State University, 1983 Portland State Haystack '83 Cannon Beach, OR OR University, Summer Program in the Arts M Nashville, TN TN 1983 ACDA National Convention Exact Date Unknown O Hyatt Regency Hotel, 1984 ACDA (Southern Southern Division GA Atlanta, GA Division) Conference M University of Iowa IA 1984 Iowa (MENC) State Conference M Southern Illinois University, 1984 Southern Illinois Symposium Exact Date Unknown IL Edwardsville, IL University M Louiseville, KY 1984 Church Music Video Sessions recorded for Exact Date Unknown KY Instinute, Southern classroom instruction Theological Society M St. Cloud State University, 1984 ACDA of MN/ and National Workshop: voice University of Minnesota MN NATS, MN Skills in Choral Conducting and Classroom Music O Hult Center for the 1984 International Society XVI ISME Conference Exact Date Unknown OR Performing Arts, Eugene, OR for Music Education
138 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
M Monroeville Marriott Hotel 1984 Pennsylvania State Conference and Expo-Mart, Pittsburgh, PA (MENC) PA C Mobile, AL 1985 SMENC Southern Division AL Conference M Southern Illinois University, 1985 Southern Illinois Choral Symposium on IL Edwardsville, IL University Adolescent Changing Voice M Baton, Rouge, LA LA 1985 Louisiana (ACDA) State Conference M St. Louis, MO 1985 Suburban St. Louis Conference MO Music Educators Association A Kansas City, MO 1985 Worlds of Fun Eleventh Annual Festival of MO Choirs M University of Missouri, Saint 1985 University of Midwest Choral Clinic Louis, MO MO Missouri, Saint Louis M Philadelphia, PA 1985 National Kodaly National Conference PA Association M Memphis, TN 1985 Memphis City Workshop for Schools Exact Date Unknown TN Schools M University of Texas At 1985 University of Texas Summer Choral Workshop TX Arlington, Arlington, TX at Arlington M Salt Lake City, UT UT 1985 ACDA National Convention Exact Date Unknown M Central College in Pella, 1986 Iowa Choral ICDA Summer Symposium "Sounding Board" a news letter from the Iowa Iowa IA Directors Choral Directors Association Association M Southern Illinois University, 1986 Southern Illinois Adolescent Voice Exact Date Unknown IL Edwardsville, IL University Symposium
139 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
M University of Michigan, Ann 1986 University of Midwest Choral Clinic Exact Date Unknown MI Arbor, MI Michigan M Pontiac, Michigan, Oakland 1986 Oakland Schools Professional Staff MI Schools development Program #172 M St. Cloud State University, 1986 Voice Symposium Exact Date Unknown MN St. Cloud, MN M University of Missouri- 1986 University of International Choral Other conductors/clinicians present were Kansas City Missouri-Kansas Symposium Howard Swan, Albert McNeil, Weston Noble, MO City (Concervatory Gene Brooks, Mark Hayes, Eugene S. Butler, of Music) and Kirby and Markita Shaw. Eph Ehly was the Symposium director M University of North Carolina, 1986 University of North Symposium Exact Date Unknown Chapel Hill, NC NC Carolina, Chapel Hill M Winston-Salem, NC 1986 Winston- Pre-School teachers Exact Date Unknown Salem/Forsyth Workshop NC County Music Teachers M Columbus, OH OH 1986 Ohio (MENC) State Conference Exact Date Unknown M University of South Dakota, 1986 University of South Orff Elementary Music Exact Date Unknown SD Vermillion, SD Dakota Workshop M University of Texas At 1986 UTArlington Voice Symposium Exact Date Unknown TX Arlington, Arlington, TX M University of Texas At 1986 UTArlington Graduate Course in Exact Date Unknown TX Arlington, Arlington, TX Secondary Choral Methods C Chesapeake, VA 1986 Virginia Music District IV Regional VA Educator's Conference Assocation M Sacramento CA 1987 MENC Western Division Music This information was taken from a letter from
140 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
Educators Conference Carl L. Ashby President of the Utah Music Educators Association M Miami Dade Community 1987 Miami Dade Fine Arts Practicum Series Exact Date Unknown FL College, Miami, FL Community College C Southern Illinois University, 1987 Southern Illinois Choir Festival Exact Date Unknown IL Edwardsville, IL University M Southern Illinois University, 1987 Southern Illinois Adolescent Voice Exact Date Unknown IL Edwardsville, IL University Symposium M Hutchinson, KS KS 1987 Kansas (ACDA) State Summer Conference Exact Date Unknown M St. Cloud State University 1987 VoiceCare Network, Sixth Annual International MN The Summer Workshops, The M Montana State University 1987 VoiceCare Network, Sixth Annual International MT The Summer Workshops, The C Appalachian State Univeristy, 1987 North Carolina Summer This was probably a choral clinic where Boone, NC NC Institue of Choral Art different choirs came and Cooksey worked with them. M University of Houston, 1987 University of Distinguished Guest Lecturer Exact Date Unknown TX Houston, TX Houston Series M University of Texas At 1987 VoiceCare Network, Sixth Annual International TX Arlington The Summer Workshops, The M University of Texas At 1987 UTArlington Graduate Course in Exact Date Unknown TX Arlington, Arlington, TX Secondary Choral Methods M St. George, UT 1987 Utah Music Winter Conference UT Educators Association M Los Angeles, CA 1988 ACDA Western ACDA Western Division CA Division Convention Convention M University of Northern CO 1988 VoiceCare Network, Seventh Annual International
141 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
Colorado The Summer Workshops, The M University of Michigan, Ann 1988 University of Midwest Choral Clinic Exact Date Unknown MI Arbor, MI Michigan M St. Cloud State University 1988 VoiceCare Network, Seventh Annual International MN The Summer Workshops, The M St. John's University 1988 VoiceCare Network, Seventh Annual International MN The Summer Workshops, The M University of Texas At 1988 Summer Graduate Summer Graduate Course at Pamphlet with registration information with the Arlington TX Course UT Arlington mailing address of Ms. Norma Collins from McAllen, TX M San Antonio, TX (San 1988 Texas Choral Convention and New Antonio Convention Center) TX Directors Reading Music Session Assocation C St. George, UT UT 1988 UMEA UMEA Conference Exact Date Unknown M Salt Lake City, UT 1988 Music Teachers National Convention Exact Date Unknown UT National Association M St. John's University 1989 VoiceCare Network, Mastery Level Courses MN The A Reno, NV 1989 Upper Nevada Info taken from letter from Charles Canaan, NV Choral Music South Dakota State University, Director of Festival Choral Activities M University of Texas At 1989 Summer Graduate Summer Graduate Course at Pamphlet with registration information with the Arlington TX Course UT Arlington mailing address of Ms. Norma Collins from McAllen, TX M University of Montevallo, 1990 VoiceCare Network, AL Montgomery, AL The M California State University, 1990 Los Angeles NATS Conference CA Fullerton, Fullerton, CA
142 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
M University of Miami, Coral 1990 University of Miami Choral Conference FL Gables, FL C University of Miami, Coral 1990 Dade County Dade County Junior Honor FL Gables, FL Schools Choir M Boise, ID 1990 Northwestern Northwestern Division ID ACDA Conference M Southern Illinois University, 1990 Southern Illinois Adolescent Voice Care IL Edwardsville, IL University Symposium M St. Cloud University, St. 1990 VoiceCare Network, MN Cloud, MN The M Augsburg College 1990 VoiceCare Network, Special Course MN The M Augsburg College, 1990 VoiceCare Network, MN Minneapolis, Minnesota The C Winston-Salem, NC 1990 North Carolina Junior High School Honor NC Music Educators Choir Assocation M Elko, NV 1990 Nevada Music Choral Workshop NV Educators Association M Texas A & M Univerisity, 1990 Texas A & M Adolescent Voice Workshop TX Bryan, TX University C Western State College, 1991 Twelfth Annual Western CO Gunnison, CO Slope choral Festival M St. Paul, MN 1991 College of St. Choral Teacher's Workshop MN Catherine M St. Cloud University, St. 1991 St. Cloud University Health of the Human Voice MN Cloud, MN Symposium M College of St. Catherine, St. 1991 College of St. MN Paul, MN Catherine
143 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
M St. Paul, MN 1991 Duquene University Duquene University Summer Presented with Lynn Gackel, and Alice Pryor MN Music Institutes A Las Vegas, NV 1991 Clark County Las Vegas High School NV School District Choral Festival O University of Akron, Akron, 1991 University of Akron OH OH M University of Puget Sound, W 1991 VoiceCare Network, Lifespan Voice Education in Seattle, WA A The the Real World C Lyman High School, Lyman, 1991 Southwest District Conference High School Male Honor Choir Conductor WY W High School Choral Y Directors Association M University of Miami, Coral 1992 University of Miami Music Education Course on Gables, FL FL Adolescent Voice Devlepment M Savannah, GA GA 1992 Georgia (MENC) State Conference M Savannah, GA GA 1992 Georgia MENC M Peoria, IL IL 1992 Illinois (MENC) State Conference M Whitelands College, West 1992 British Voice International Symposium Hill, London, England Association al al Internation M University of Oklahoma, 1992 University of Adolescent Voice OK Norman, OK Oklahoma Symposium
144 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
O St. John's Church, London, 1993 Barnet Choral England Society al al Internation C Southlands College, 1993 London Oratory Conference and Workshop Roehampton, Institute, Choir
London England al Internation M Southlands College, 1993 Society in Forty-First Conference Roehampton, Institute, Psychology of
London England al Music and Music Education Internation M Archdeacon Cambridge's 1993 Richmond Primary INSET Conference School, Hampton Road, Schools Workshops
Twickenham al Internation C Dame Alice Owen's School, 1993 Barnet Choral Summer Concert Potters Bar, London Society al al Internation M Royal Festival Hall, South 1993 Association of Singposium III Bank Centre, London British Choral
England al Directors Internation
145 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
C England 1993 Wandsworth Workshop Borough Children's
al al Choir Internation M Hartt School of Music, 1994 VoiceCare Network, CT Harfor, CT The M London Oratory School, 1994 London, England al al Internation C London, England 1994 Barnet Choral Society al al Internation M Ramada Renaissance Hotel, 1994 Saskatchewan Arts Education Conference Saskatchewan, Canada Choral Federation al al Internation M Hamburg, Germany 1994 European Council of Annual Conference International
al al Schools Internation M St. John's University, 1994 VoiceCare Network, MN Collegeville, MN The A University of Utah, Salt Lake UT 1994 International Korean Music
146 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
City, UT Festival M Centenary United Methodist 1994 Virginia (ACDA) State Convention VA Churchm Portsmouth, VA A Evanston High Schoo, 1994 Southwest Wyoming High W Evanston, WY School Choral and solo Y Festival M Roehampton Institute, 1995 Advanceced Studies London England in Music Education
al al Center (ASME), Roehampton Internation Institute M St. John's University, 1995 VoiceCare Network, MN Collegeville, MN The M University of Missouri at 1995 VoiceCare Network, Kansas City, Kansas City, MO The MO C University of South Dakota, 1995 University of South Men's Open High School SD Vermillion, SD Dakota Choral Festival M San Jose State University, 1996 Western Division Western Division Conference Exact Date Unknown CA San Jose, CA NATS M Hartt School of Music, 1996 VoiceCare Network, Exact Date Unknown CT Harfor, CT The M Canterbury, England, UK 1996 British Federation of BFYC Conference: The Young Choirs Adolescent Voice al al Internation
147 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
M Canterbury Cathedral, Christ 1996 British Choral Changing Vocie College, Canterbury, England Federation Seminar/Conference al al Internation M St. John's University, 1996 VoiceCare Network, Exact Date Unknown MN Collegeville, MN The M Philadelphia, PA 1996 ACDA of MN/ and ACDA Eastern Division PA NATS, MN Conference M Philadelphia, PA PA 1996 Eastern ACDA Eastern Division Convention M San Diego, CA CA 1997 ACDA National Convention O Atlanta, GA 1997 American Guild of National Convention GA Organists M Iowa State University, Ames, 1997 Iowa State Summer Course IA IA University M Queen Elizabeth Centre, 1997 International International Conference London, England Congress of Voice
al al Teachers Internation M St. John's University, 1997 VoiceCare Network, MN Collegeville, MN The M Jefferson City, MO MO 1997 Missouri (ACDA) State Convention M Oregon State University, 1997 VoiceCare Network, OR Corvallis, OR The
148 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
M Southlands College, 1998 Roehampton Roehampton, Institute, Institute
London England al Internation M St. John's University, 1998 VoiceCare Network, MN Collegeville, MN The M Westminster Choir College, 1998 Westminster Choir Westminster College Rider University, Princeton, NJ College Conductors Symposium NJ C Western Branch High School, 1998 Virginia District IV Choral Festival VA Chesapeake, VA MENC/ACDA M Centenary United Methodist 1998 Virginia (ACDA) State Convention VA Churchm Portsmouth, VA M Hollins College, Roanoke, 1998 VoiceCare Network, VA VA The M Lawrence University, 1998 Wisconson (ACDA) State Convention WI Appleton, WI M Iowa IA 1999 Iowa (ACDA) State Convention M St. John's University, 1999 VoiceCare Network, MN Collegeville, MN The M Montana State University, 1999 VoiceCare Network, MT Bozeman, MT The M Greenville, SC 1999 South Carolina State Convention SC (MENC) M Utah State University, Logan, 1999 Utah State Oren Brown International UT UT University Voice Seminar M Phoenix 2000 Paradise Valley AZ School District,
149 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
Pheonix, AZ C VanCouver, British Columbia 2000 Heritage Music Festivals al al Internation M St. John's University, 2000 VoiceCare Network, MN Collegeville, MN The M Appalachian State Univeristy, 2000 VoiceCare Network, NC Boone, NC The M St. George, UT UT 2000 Utah (MENC) State Convention M Saint John's University, 2001 VoiceCare Network, Impact Courses Pamphlet with registration information MN Collegeville, MN The M St. John's University, 2001 VoiceCare Network, MN Collegeville, MN The M Montana MT 2001 Montana (ACDA) State Convention C Charlotte, NC 2001 Carolinas Concert Choral Arts Festival NC Association M University of Utah, Salt Lake 2001 VoiceCare Network, Impact Courses Pamphlet with registration information UT City, UT The M Baltimore, MD MD 2002 Maryland (MENC) State Convention M St. John's University, 2002 VoiceCare Network, MN Collegeville, MN The M University of Surrey 2003 University of Surrey Roehampton Institute, Roehampton
London England al Institute Internation
150 Table H.1-Continued
Location Year Sponsor Conference Comments State Category
M St. John's University, 2003 VoiceCare Network, MN Collegeville, MN The M Cleveland State University, 2003 Cleveland State OH Cleveland, OH University M California State University, 2004 CA Northridge, CA M St. John's University, 2004 VoiceCare Network, MN Collegeville, MN The M Grand Island, NB 2004 Grand Island School NB District C San Antonio, TX 2004 Heritage Music TX Festivals M Utah State University, Logan, 2004 Utah State Statewide Collegiate Music UT UT University Education Conference C Seatle, WA W 2004 Heritage Music A Festivals M St. John's University, 2005 VoiceCare Network, MN Collegeville, MN The
151
APPENDIX I
PROGRAMMED MUSIC LISTED BY TITLE
152
Table I.1. Programmed music listed by Title, Work, or Movement
Title/Work/Movement Composer Arranger
A ce ioly moy Janequin, Clement A Christmas Carol Ives, Charles A Gaelic Blessing Rutter, John A Many Years Ago (from: Sullivan, Arthur S. H.M.S. Pinafore) A Red, Red Rose Mulholland, James A Red, Red Rose Stroope, Z. Randall A Spotless Rose Howells, Herbert Abendlied Mendelssohn, Felix Abide With Me Hogan, Moses Ach weh des Leiden Hassler, Hans Leo Adelaide's Lament Loesser, Frank Adieu, Sweet Amarillis Wilbye, John Ae Fond Kiss Bailey, Donald Aftonen Alfven, Hugo Agnus Dei Stravinsky, Igor Ain'-a That Good News Dawson, William Ain't Got Time to Die Johnson, Hall Aita Gurea Madina, J. Alexander's Ragtime Band Berlin, Irving Simeone, Harry All Creatures Now Bennet, John All Creatures of our God and Rutter, John King All My Trials Luboff, Norman All that hath life and breath, Clausen, Rene Praise the Lord Alma Llanera Gutierrez, Pedro Calvo, Leonel Alma Redemptoris Mater Palestrina, Giovanni Pierluigi da Amazing Grace Parker, Alice/Shaw, Robert America The Beautiful Ward, Samuel A. Dragon, Carmen Amour se Plaint Arcadelt, Jacques Amyntas, with his Phyllis Pilkington, Francis Fair An den Baum Daphne Strauss, Richard And Draw a Blessing Down Handel, George Frideric (from: Theodora) And So It Goes Chilcott, Bob Angel's Carol Rutter, John Angels We Have Heard On Parker, Alice/Shaw, Robert High Angels We Have Heard On Traditional High
153
Table I.1-Continued
Title/Work/Movement Composer Arranger
Angelus ad Pastore ait Hassler, Hans Leo Annie Laurie Parker, Alice/Shaw, Robert Anyone Can Whistle (from: Sondheim, Stephen Anyone can Whistle) April Is In My Mistress Face Morley, Thomas Arise, Shine, For Thy Light Jennings, Kenneth Has Come As the Bridegroom to his Rutter, John Chosen Au joli jeu Janequin, Clement Autumn (Movement IV) Crosby, Kimberly Ave Maria Biebl, Franz Ave Maria des Prez, Josquin Ave Maria Mendelssohn, Felix Ave Maria Saint-Saens, Camille Ave Maria (from: Vespers) Rachmaninoff, Sergei Ave Maris Stella Greig, Edvard Ave Verum Corpus Byrd, William Ave Verum Corpus Mawby, Colin Ave Verum Corpus, K. 618 Mozart, Wolfgang Amadeus Awake the Harp Haydn, Franz Joseph Away in a Manger Rutter, John Away in a Manger Sjolund, Paul Away in a Manger Traditional Ballad of Green Broom, The Britten, Benjamin Band of Angels Thomas, Andre Bashana Haba'ah Hirsch, Nurit Leavitt, John Battle Hymn of the Wilhousky, Peter Republic, The Battle of Jericho, The Hogan, Moses Be Thou My Vision Hunter, Robert Benedicamus Domino Warlock, Peter Bethlehem Warlock, Peter Bewitched Rogers, Richard & Hart, Lorenz Birds, The Britten, Benjamin Black is the Color of My Churchhill, Frank True Love's Hair Blow, Blow Thou Winter Rutter, John Wind Blue Mountain Ballades Bowles, Paul Bluebird, The Stanford, Charles Villiers
154
Table I.1-Continued
Title/Work/Movement Composer Arranger
Boa Kowu ("White Lotus Boonyaratdcaych, Koon Flower") Ying Bogoroditsye Dyevo Rachmaninoff, Sergei Bon jour mon coeur Lassus, Orlande de (de Lassus, Roland) Bonzorno Madonna Scandello, Antonio Bred Dina Vida Vingar Erikson, Karle Bright Star Dello Joio, Norman Cabaret Kander, John & Ebb, Fred Call, The Vaughan Williams, Ralph Canco a la Verge Casals, Pablo Cantata No. 61, 'Nun komm, Bach, Johann Sebastian der Heiden Heiland', BWV 61 Cantate Domino Hassler, Hans Leo Canticle: The Hungry Harris, Robert A. Angels Canto Negro Montsalvatge, Xavier Caritas Et Amor Stroope, Z. Randall Cats In the Cradle Chapin, Harry Celebrations Cantata No. 3 Persichetti, Vincent Chandos Te Deum Handel, George Frideric Chanson d'Amour Faure, Gabriel Chantez Massenet, Jules Cherubic Hymn No. 7 Bortniansky, Dmitry Chichester Psalms Bernstein, Leonard Choral Dances, from Britten, Benjamin Gloriana Christ lag in Todes Banden Bach, Johann Sebastian (Cantata No. 4) Christmas Cantata Pinkham, Daniel Christmas Carol Charles Ives Christmas Day Holst, Gustav Christmas Lullaby Rutter, John Christmas Prayer Hatton, Gaylen Durham, Thomas Christmas Song, The Torme, Mel & Wells, Robert Cindy Wilberg, Mack Circus Band Ives, Charles City Called Heaven Poelinitz, Josephine Civitas Sancti Tui Byrd, William Clap Your Hands Fissinger, Edwin Come to Me, My Love Dello Joio, Norman
155
Table I.1-Continued
Title/Work/Movement Composer Arranger
Come Ye Sons of Art Purcell, Henry Come, Thou Fount of Every Wilberg, Mack Blessing Come, Ye Sons of Art Purcell, Henry Consecrate the Place and Pfautsch, Lloyd Day Coolin, The Barber, Samuel Coronation Mass (Kyrie, Mozart, Wolfgang Amadeus Gloria) Corpus Christi Carol Britten, Benjamin Cross-Cry Martin, Gilbert Cry Out And Shout Nystedt, Knut Daemon Irrepit Callidus Orban, Gyorgy Dance a Cachuca, Fandango, Sullivan, Arthur S. Bolero (Finale from: The Gondoliers) Danny Boy Flummerfelt, Joseph Das Wort Ward Fleisch Hammerschmidt De los alamos vengo Vasquez, Juan Deck the Hall Rutter, John Deep River Clausen, Rene Deep River Ringwald, Roy Der Abend Brahms, Johannes Der Gang zum Liebchen, Brahms, Johannes Op. 31, No. 3 Der Geist hilft unsrer Bach, Johann Sebastian Schwachheit auf (Motet II) Destruction's Our Delight Purcell, Henry (from: Dido and Aeneas) Didn't My Lord Deliver Hogan, Moses Daniel Die Himmel Erzahlen die Schutz, Heinrich Ehre Gottes Die Nachtigall Mendelssohn, Felix Dies Sanctificatus Palestrina, Giovanni Pierluigi da Dieu! Qu'il la fait bon Debussy, Claude regarde! Ding Dong Merrily On High Cable, Howard Dirait-on Lauridsen, Morten `Dixit Dominus Mozart, Wolfgang Amadeus Dodi Li Chen, Nira Jacobson, Jacob Dona Nobis Pacem Haydn, Franz Joseph
156
Table I.1-Continued
Title/Work/Movement Composer Arranger
Down By the Sally Gardens Vine, John Down By the Sally Gardens Britten, Benjamin Down in MacConnachy Square Down On MacConnachy Lerner and Loewe Square (from: Brigadoon) Drinking Gourd, The Thomas, Andre Duet and Chorale, from Bach, Johann Sebastian Cantata No. 93 Dum Complerentur Palestrina, Giovanni Pierluigi da Dum Complerentur Victoria, Tomas Luis de Dziedot Dzimu Kalnins, Alfred Ease On Down The Road Putnam, M. (from: the Wiz) Ecce Virgo Morales, Cristobol El Grillo des Prez, Josquin El Posito Pierce, Brent El Vito Wilberg, Mack Elijah Rock Hogan, Moses Embraceable You Gershwin, George Empty Chairs and Empty Schoenberg, Claude Michel Tables (Les Miserables) Enatus Est Emmanuel Praetorius, Michael Erev shel shoshanim Klebanow, Jack Erevan Erepooni Hovhanessian, Edgar Es ist Ein Ros Entsprungen Praetorius, Michael Es ist verraten (from One Schumann, Robert has been betrayed) Esto Les Digo Lange, Kinley Evening Watch, The Op. 43, Holst, Gustav No. 1 Ev'ry Time I Feel the Spirit Dawson, William Exultate Deo Palestrina, Giovanni Pierluigi da Exultate Deo Scarlatti, Alessandro Ezekiel Saw De Wheel Dawson, William Ezekiel Saw De Wheel Hogan, Moses Fair Phyllis I Saw Sitting all Farmer, John Alone Feller from Fortune Somers, Harry
157
Table I.1-Continued
Title/Work/Movement Composer Arranger
Finale - O Joy, O Rapture Sullivan, Arthur S. Unforseen (from: H.M.S. Pinafore) Fire, Fire Morley, Thomas First Noel, The Rutter, John First Noel, The Traditional For The Beauty of the Earth Rutter, John Four Carols for a Holy Night Lekberg, Sven Four Slovak Songs Bartok, Bela Frog Went A-Courtin' Dusing, David Fum, Fum, Fum Pierce, Brent Fum, Fum, Fum Schumann, Walter Gaelic Blessing Rutter, John Galatea, Dry Thy Tears Handel, George Frideric Gaude Maria Virgo Gorczycki, Grzegorz Gaudent in caelis Victoria, Tomas Luis de Georgia on My Mind Shaw, Kirby Gesu Bambino Yon, Pietro Gift To Be Simple, The Chilcott, Bob Give Me Jesus Hogan, Moses Gladsome Light Grechaninov, Alexander Gloria Argento, Dominick Gloria Edlund, Lars Gloria Pierce, Brent Gloria Vivaldi, Antonio Glory Of The Father, The Hovland, Egil Go Tell It On the Mountain Traditional Go Where I Send Thee Thomas, Andre Go, Lovely Rose Thiman, Eric God is Gone Up Finzi, Gerald God is Gone Up with a McCray, James Merry Noise God Is Not Dead Parker, Gloria God Is With Us Tavener, John God Rest Ye Merry Adams, Brant Gentlemen Goin' Up to Glory Thomas, Andre Gonna Build A Mountain Newly, Anthony & Bricusse, Leyden, Norman Leslie Haec Dies Byrd, William Hallelujah chorus from Handel, George Frideric "Messiah"
158
Table I.1-Continued
Title/Work/Movement Composer Arranger
Hallelujah, Amen (from: Handel, George Frideric Judas Maccabaeus) Hanerot Halalu Cohen, Baruch Chass, Blanche Happy We Handel, George Frideric Hark All Ye Lovely Saints Weelkes, Thomas Hark the Herald Angels Sing Christiansen, Clay Hark, I Hear the Harps Parker, Alice/Shaw, Robert Eternal Haste On My Joys Finzi, Gerald Hava Netzy B'machol Goldman, Maurice He Came Here For Me Nelson, Ron He Gave Them Hailstones Handel, George Frideric He Watching Over Israel Mendelssohn, Felix Heaven Thomas, Andre Highland Mary Mulholland, James Hodie Christus Natus Est Poulenc, Francis Hosanna to the Son of David Gibbons, Orlando How Can I Keep From Staheli, Ronald Singing How Deep is the Ocean Berlin, Irving Shaw, Kirby How excellent Thy Name Handel, George Frideric How Still He Rests Pierce, Brent Hymn to the Virgin Britten, Benjamin I Been in the Storm so Long DeCormier, Robert I Can Tell the World Hogan, Moses I Gondolieri Rossini, Gioachino I Got Me Flowers (from: Johnson, Mark David Easter Song) I Hear an Army Barber, Samuel I Know My Love Parker, Alice/Shaw, Robert I Love My Love Holst, Gustav I Remember Sondheim, Stephen I Shall Not Die Without Thompson, Randall Hope (From: Testiment of Freedom movment 4) I Think I May Want To Shire, David & Maltby Jr., Remember Today Richard I Was Glad Parry, C. Hubert H. I Write the Songs Johnston, Bruce/Manilow, Barry If Ever I Would Leave You Lerner and Loewe (Camelot)
159
Table I.1-Continued
Title/Work/Movement Composer Arranger
If Music Be the Food of Belmont, Jean Love If Music Be the Food of Dickau, David Love Ihr Musici Hassler, Hans Leo Il bianco e dolce cigno Arcadelt, Jacques Il est bel et bon Passereau, Pierre I'm Gonna Let It Shine Powell, Rosephanye I'm Gonna Sing 'til the Spirit Hogan, Moses Moves in My Heart In Every Place Morley, Thomas In Our Deep Vaulted Cell Purcell, Henry (from: Dido and Aeneas) In the Bleak Midwinter Darke, Harold Infant Holy, Infant Lowly Rutter, John Intermezzo Nos. 1, 2; Op. Brahms, Johannes 118 I'se the B'y Swift, Robert Jacob's Dream Pierce, Brent Jagdlied Mendelssohn, Felix Jagerchor Schubert, Franz Jazzman King, Carole/Sandburg Jenny, My Lovely One Anderson, Joyce Jingle Bells Langford, Gordon Johanna (Sweeney Todd) Sondheim, Stephen John Saw Duh Numbuh Thomas, Andre John the Revelator Caldwell, Paul & Ivory, Sean Joseph Dearest, Joseph Mine Helvey, Howard Joshua Luboff, Norman Joy to the World Wilberg, Mack Jubilate Deo Lassus, Orlande de (de Lassus, Roland) Jubilate Deo Walton, William Just As The Tide Was Vaughan Williams, Ralph Flowing Kas Tie Tadi (Latvian folk Sametz, Stephen Song) Kyrie "From Memorial" Clausen, Rene Kyrie, Sanctus, Benedictus, Faure, Gabriel Agnus Dei (from: Messe Basse)
160
Table I.1-Continued
Title/Work/Movement Composer Arranger
Lamb, The Mac Davis, William Lamb, The (from: Two Hoiby, Lee Songs of Innocence) Last Rose of Summer, The Bellefeuille, Andre Laudate Dominum Mozart, Wolfgang Amadeus Le Baylere Richards, Goff Le Beau Du Monde Le Jeune, Claude Le Chant Des Oyseaux: Janequin, Clement Réveillez vous Leave, alas, the Tormenting Morley, Thomas Lebe wohl Distler, Hugo Lebenslust Schubert, Franz Lerchengesang, Op. 48, No. Mendelssohn, Felix 4 Let It Be Forgotten Mecham, Kirk Let Me Fly DeCormier, Robert Let the Child be Born Durham, Lowell Let the People Praise Thee, Mathias, William O God Liebeslieder Waltzes Brahms, Johannes (Selections from) Like as the Hart Howells, Herbert Linden Lea Vaughan Williams, Ralph Little Road to Bethlehem, Head, Michael The Lobet den Herrn alle Heiden, Bach, Johann Sebastian BWV 230 Loch Lommond Vaughan Williams, Ralph Locus Iste Bruckner, Anton Londonderry Air Chilcott, Bob Lonely Boy Gershwin, George Lonsome Dove Hall, William D. Lord Is My Shepherd, The Wilberg, Mack Lord is My Shepherd, The Rutter, John Lord, I Trust Thee Handel, George Frideric Lord, if I Got My Ticket Gibbs, Stacey V. Love Came Down at Gawthrop, Daniel E. Christmas Love Divine All Loves Wilberg, Mack Excelling Love Walked In Gershwin, George
161
Table I.1-Continued
Title/Work/Movement Composer Arranger
Luke Havergal (from Three Duke, John Poems of E.A. Robinson) Lullay, Litel Child (Lullaby, Korte, Karl Little Child on program) Lux Aeterna Fissinger, Edwin Lux Aurumque Whitacre, Eric MacPherson's Farewell Scottish Traveller's Song Rash, Daniel Magic To Do (from: Pippin) Schwartz, Stephen Putnam, Mark Magnificat Durante, Francesco Magnificat Gabrieli, Andrea Magnificat Pergolesi, Giovanni Battista Magnificat Septimi Toni Franco, Fernando (Gloria & Sicut erat) Make Our Garden Grow Bernstein, Leonard Page, Robert (Candide) Marianne Wilby, Philip Marry The Man Loesser, Frank Marshes of Glynn, The Welch, Jay Mass in C Major Mozart, Wolfgang Amadeus "Coronation" Masters in this Hall Willcocks, David Matona, Mia Cara Lassus, Orlande de (de Lassus, Roland) Mentre Il Cuculo Caimo, Gioseppe Metelitsa (Snow Flurries) Varlamov, Aleksandr Mid-Winter Chilcott, Bob Miniver Cheevy (from Three Duke, John Poems of E.A. Robinson) Missa aeterna Christi Palestrina, Giovanni mun\era, Kyrie and Gloria Pierluigi da Missa aeterna Christi Palestrina, Giovanni munera, Kyrie and Gloria Pierluigi da Missa Brevis in Bb (Kyrie, Mozart, Wolfgang Amadeus Gloria, Sanctus) Missa Brevis in C, (K. 220) Mozart, Wolfgang Amadeus Missa Brevis St. Joannis de Haydn, Franz Joseph Deo Mon coeur se recommande a Lassus, Orlande de (de vous Lassus, Roland) Mon coeur se rocommande a Lassus, Orlande de (de vous Lassus, Roland) Money-o Head, Michael Motherless Child Johnson, Craig Hella
162
Table I.1-Continued
Title/Work/Movement Composer Arranger
Music Down in My Soul Hogan, Moses Music, Spread Thy Voice Handel, George Frideric Around (from: Solomon) Musica Dei Donum Optimi Lassus, Orlande de (de Lassus, Roland) Musicians Wrestle Carter, Elliot Everywhere Musik dein ganz lieblich Jeep, Johann Kunst My God is A Rock Parker, Alice/Shaw, Robert My God is A Rock Berg, Ken My Heart's in the Highlands Schultz, Donna Gartman My Long White Robe McNeil, Albert My Master Hath a Garden Thompson, Randall My Romance Hales, Bernell My Shepherd Will Supply Wilberg, Mack My Need My Soul's Been Anchored in Hogan, Moses the Lord My Spirit Sang All Day Finzi, Gerald My Sweetheart's Like Venus Holst, Gustav Ne Timeas Maria Victoria, Tomas Luis de Neckereien, Op. 31, No. 2 Brahms, Johannes Neighbor's Chorus Offenbach, Jacques Nicolette Ravel, Maurice Ninth Symphony Beethoven, Ludwig Van Non Nobis Domine Powell, Rosephanye Non Nobis, Domine Quilter, Roger Nos Qui Sumus Lassus, Orlande de (de Lassus, Roland) Not a Day Goes By Sondheim Tichotsky, Marina Notre Amour Faure, Gabriel Notre Pere (The Lord's Durufle, Maurice Prayer) Now Is The Month of Morley, Thomas Maying Now Sleeps the Crimson Larkin, Michael Petal Nun Danket Alle Gott Pachelbel, Johann Nun ist das Heil und die Bach, Johann Sebastian Kraft (BWV 50) O Altitudo Asola, Giammateo
163
Table I.1-Continued
Title/Work/Movement Composer Arranger
O Be Joyful Fissinger, Edwin O Beata Gloriosa Trinitas Palestrina, Giovanni Pierluigi da O Come, All Ye Faithful Jones, Derrick O Come, All Ye Faithful Parker, Alice/Shaw, Robert O Come, All Ye Faithful Robertson, Leroy J. O Come, All Ye Faithful Rutter, John O Come, O Come Parker, Alice/Shaw, Robert Emmanuel O Crux Ave Victoria, Tomas Luis de O Gladsome Light, from: Grechaninov, Alexander The Seven Days of Passion O Holy Night Adam, Adolphe O Little Town of Bethlehem Warland, Dale O Magnum Mysterium Gabrieli, Giovanni O Magnum Mysterium Lauridsen, Morten O Magnum Mysterium Poulenc, Francis O Magnum Mysterium Victoria, Tomas Luis de O Mistress Mine Vaughan Williams, Ralph O Nata Lux Lauridsen, Morten O Quam Gloriosam Victoria, Tomas Luis de O Quam Gloriosum Victoria, Tomas Luis de O Sacrum Convivium Messiaen, Oliver O Schone Nacht Brahms, Johannes O Tannenbaum Elliot, Richard O Vos Omnes Victoria, Tomas Luis de O Yes! Has Any Found A Thompkins, Thomas Lad? Of Crows and Clusters Dello Joio, Norman Of the Father's Love Chenoweth, Wilbur Begotten Officium Defunctorum Morales, Cristobol (Parce Mihi, Domine) Oklahoma Rogers, Richard Old Joe Clark Wilberg, Mack On Christmas Night All Helvey, Howard Christians Sing Once In Royal David's City Herbolsheimer, Bern One (From: A Chorus Line) Hamlish, Marvin Kerr, A. One Voice Manilow, Barry Os Justi Bruckner, Anton Parce Domine Nowowiejski, Felix
164
Table I.1-Continued
Title/Work/Movement Composer Arranger
Passion with Tropes Freund, Don (Chorale of the Bread, Chorale of the Wine) Passion with Tropes Freund, Don (Selections: Chorale of the Bread, Chorale of the Wine) Petite Nymphe Folastre Janequin, Clement Phyllis, Farewell Bateson, Thomas Poor Man Lazrus Hairston, Jester Praise His Holy Name Hampton, Keith Proba Me Deus Lassus, Orlande de (de Lassus, Roland) Promise of Living, The Copland, Aaron Psalm 23 McElfresh, Clair Quem vidistis, Pastores? Victoria, Tomas Luis de Qui Sedes Haydn, Michael Quia fecit mihi magna Bach, Johann Sebastian (From: Magnificat in D Minor) Quick! We Have but a Standford, Charles Villiers Second Quittez, pasteurs Rutter, John Raduytesia pravednii, o Chesnokov, Pavel Ghospode (Rejoice in the Lord) Regina Coeli Mozart, Wolfgang Amadeus Regina Coeli Palestrina, Giovanni Pierluigi da Rejoice in the Lord O You Chesnokov, Pavel Righteous Religious Medley (Sung in Unknown German) Remembrances of Love McCray, James Requiem Howells, Herbert Rest Vaughan Williams, Ralph Rest Sweet Nymphs Pilkington, Francis Richard Cory (from Three Duke, John Poems of E.A. Robinson) Ride On, King Jesus Hogan, Moses Ride The Chariot Parker, Alice/Shaw, Robert Ring Out, Wild Bells Nelson, Ron Riu, Riu, Chiu Anonymous Riu, Riu, Chiu Anonymous Greenberg, N. (editor)
165
Table I.1-Continued
Title/Work/Movement Composer Arranger
Road Not Taken, The Thompson, Randall Romance Swingle, Ward Saints Bound for Heaven Parker, Alice/Shaw, Robert Saints Bound for Heaven Wilberg, Mack Salvation is Created Chesnokov, Pavel Samson Handel, George Frideric Scendi dal Paradiso Marenzio, Luca See Amid the Winter's Snow Goss, John Willcocks, David See Dat Babe Gibbs, Stacey V. See What Love Hath the Mendelssohn, Felix Father (from: St. Paul) Selig sind die Toten Schutz, Heinrich Set Me As A Seal Clausen, Rene Set Me As A Seal Fissinger, Edwin Set Me As A Seal Walton, William Shaffe in mir, Gott, ein rein Brahms, Johannes Herz Shcho to za predivo Barvinskiy, V (Ukrainian carol) She Walks in Beauty Barnum Eric She Walks in Beauty Foltz, David Shenandoah Erb, James Shenandoah Helvey, Howard Shepherd, The (from: Two Hoiby, Lee Songs of Innocence) She's Like the Swallow Lock, William Short People Newman, Randy Carrington, Simon Shout Glory Smith, Byron Sicut Cervus Palestrina, Giovanni Pierluigi da Sigh No More Ladies Clausen, Rene Silent Night Elliot, Richard Silent Night Sjolund, Paul Silent Night Gruber, Franz Silver Swan, The Gibbons, Orlando Sine Nomine Vaughan Williams, Ralph Sing a Mighty Song Gawthrop, Daniel E. Sing Joyfully Unto God Byrd, William Sing Lullaby Helvey, Howard Sing Me To Heaven Gawthrop, Daniel E. Sing Noel (from: Four Lekberg, Sven Carols for a Holy Night)
166
Table I.1-Continued
Title/Work/Movement Composer Arranger
Sing On! Dance On! Bock, Fred Sing Unto God (from: Judas Handel, George Frideric Maccabaeus) Sing We at Pleasure Weelkes, Thomas Sing We to This Merry Rutter, John Company Singet dem Herrn (Sing, Ye, Distler, Hugo the Lord) Singet dem Herrn ein neues Bach, Johann Sebastian Lied, BWV 411 Singet Frisch und Distler, Hugo Wohlgemut Sinnuh, Please Don't Let Dis Simpson, Eugene T. Harves' Pass Sir Christemas (Ave Rex) Mathias, William Skazhi mi, Ghospodi, Bortniansky, Dmitry konchinu moyu (Concerto No. 32) Sky Can Still Remember, Gray, Michael The Slava vishnikh Bogu (Glory Rachmaninoff, Sergei be to God) Sleep Whitacre, Eric Sleep Now Barber, Samuel So Have I Seen A Silver Diemer, Emma Lou Swan Soldier Boy, The Parker, Alice/Shaw, Robert Someone to Watch Over Me Gershwin, George Schmutte, Pete Sometimes I Feel Like a Parker, Alice/Shaw, Robert Moanin' Dove Song at Dusk Clausen, Rene Song for Athene Tavener, John Song of Democracy Hanson, Howard Song of Thanksgiving Vaughan Williams, Ralph Songs of Love McCray, James Soon-Ah Will Be Done Dawson, William Sound the Trumpet Purcell, Henry Sounds of Young America Werle, Floyd Spaseniye sodelal (Salvation Chesnokov, Pavel is Created) Spring Wind Thiman, Eric Springtime Love Peterson-Berger, Wilhelm Stabat Mater Penderecki, Krzysztof
167
Table I.1-Continued
Title/Work/Movement Composer Arranger
Star Spangeled Banner, The Smith, John Stafford Pfautsch, Lloyd Strings in the Earth and Air Richards, Howard Summertime Gershwin, George Sure on this Shining Night Barber, Samuel Surgens Jesus Lassus, Orlande de (de Lassus, Roland) Sussex Carol Willcocks, David Sweet Day Vaughan Williams, Ralph Sweet Georgia Brown Bernie, Ben; Maceo Pinkard; Shaw, Kirby Casey, Kenneth Sweet Home Whalum, Wendell Sweet Was the Song Clausen, Rene Tantum Ergo Durufle, Maurice Te Deum Mozart, Wolfgang Amadeus Tears of Wax Hulse, Brian C. There Is A Lady Purcell, Henry Snyder, Audrey There is No Rose Bargreen, Melinda There Is No Rose of Such Young, Robert H. Virtue There Is No Rose of Such Joubert, John Virtue There Is No Rose of Such Mahy, Kenneth Virtue There Shall A Star from Mendelssohn, Felix Jacob There Will Be Rest Butler, Eugene Think on Me Mulholland, James Those Were the Days Leyden, Norman Three Carols Warlock, Peter Three Little Maids from Sullivan, Arthur S. School To All Our Hearts Are Now Handel, George Frideric Returning (Julius Ceaser) To Music Schubert, Franz To Shorten Winter's Sadness Weelkes, Thomas To the Hills and the Vales Purcell, Henry (from: Dido and Aeneas) Tomorrow Shall Be My Gardner, John Dancing Day Tomorrow Shall Be My Willcocks, David Dancing Day Tomorrow Shall Be My Gardner, John Dancing Day (Op. 75, No. 2)
168
Table I.1-Continued
Title/Work/Movement Composer Arranger
Totus Tuus Gorecki, Henryk Tramp, Tramp, Tramp Root, George Robertson, Leroy J. Trzy Kolysanki (Three Gorecki, Henryk Lullabies) Op. 49 Turn the World Around Farrow, Larry Two Japanese Part Songs Hirose, Ryohei (Umi Wa Nakatta, and Etopirika) Two Nocturnes Lundvik Ubi Caritas Durufle, Maurice Unusual Way Yeston, Maury Va, Pensiero Verdi, Giuseppe Velvet Shoes Sanborn, Jan Vere Languores Victoria, Tomas Luis de Verleih' Uns Frieden Mendelssohn, Felix Versus 2, from Cantata No. Bach, Johann Sebastian 4 Vesperae solennes de Mozart, Wolfgang Amadeus confessore Vexilla Regis Prodeunt Bruckner, Anton Victimae paschali laudes Victoria, Tomas Luis de Vigra Jesse Floruit Bruckner, Anton Vinea mea electa Poulenc, Francis Virga jesse floruit Bruckner, Anton Vive L'Amour Parker, Alice/Shaw, Robert Vorspruch Distler, Hugo Wade in the Water Hogan, Moses Walk Him Up (from: Purlie) Geld, Gary Bower, "Bugs" Walking On the Green Grass Hennigan, Michael Wassail Song Fissinger, Edwin Wassail Song Vaughan Williams, Ralph Wasserfahrt Mendelssohn, Felix Wassial Song Vaughan Williams, Ralph Water is Wide, The Clausen, Rene Waternight Whitacre, Eric Wayfarin' Stranger Martin, Gilbert We Will Rejoice In Thy Handel, George Frideric Salvation We Wish You A Merry Willcocks, David Christmas We Wish You A Merry Tavener, John Christmas
169
Table I.1-Continued
Title/Work/Movement Composer Arranger
Weep O Mine Eyes Bennet, John Welcome Yule Fissinger, Edwin Wexford Carol Warland, Dale What Child Is This An Old English Melody What I Did For Love Hamlish, Marvin Simeone, Harry What If I Never Speed Dowland, John What Poor Astronomers Dowland, John What Sweeter Music Rutter, John What Would You Do if You Wilberg, Mack Married A Soldier? When I Survey the Martin, Gilbert Wondrous Cross When October Goes Manilow, Barry Plain, Ken When the Foeman Bares His Sullivan, Arthur S. Steel Whence is that Goodly Wilberg, Mack Fragrence? Whether Men Do Laugh or Vaughan Williams, Ralph Weep White Christmas Berlin, Irving White Moon, The Butler, Eugene Why, This Child Keopke, Allen Wie kann ich froh und lustig Mendelssohn, Felix sein? Will Ye No Come Back Sirett, Mark G. Again Willow Song Vaughan Williams, Ralph Winter Love Stevenson, Bruce Winter Morning, A Pierce, Brent Winter Wonder Land Johnson, Derric Wohlauf, ihr Gaste! Widmann, Erasmus Ya Ba Bom Goldman, Maurice Yankee Doodle Dandy Cohan, George M. Hunter, Robert Ye Banks and Braes Calvert, Stuart Ye Ke Omo Mi de Paur, Leonard Your Voices Tune (from: Handel, George Frideric Alexander's Feast) Zigeunerleben, Op. 29, No.3 Schumann, Robert Zigeunerlieder, Op. 103 Brahms, Johannes (Selections)
170
APPENDIX J
FREQUENCY OF COMPOSERS PROGRAMMED
171
Table J.1. List of Composers that Cooksey Programmed sorted by highest to lowest frequency.
Composer Frequency Programmed
Handel, George Frideric 64 Victoria, Tomas Luis de 63 Vaughan Williams, Ralph 60 Palestrina, Giovanni Pierluigi da 54 Bach, Johann Sebastian 46 Brahms, Johannes 41 Rutter, John 41 Mozart, Wolfgang Amadeus 36 Mendelssohn, Felix 34 Lassus, Orlande de (de Lassus, Roland) 33 Durufle, Maurice 30 Clausen, Rene 29 Janequin, Clement 29 Byrd, William 28 Bruckner, Anton 28 Distler, Hugo 26 Finzi, Gerald 25 Purcell, Henry 23 Sullivan, Arthur S. 21 Hassler, Hans Leo 21 Fissinger, Edwin 20 Morley, Thomas 19 Mulholland, James 17 Pfautsch, Lloyd 16 Haydn, Franz Joseph 15 Whitacre, Eric 14 Pierce, Brent 13 Britten, Benjamin 13 Schumann, Robert 13 Weelkes, Thomas 13 McCray, James 13 Rachmaninoff, Sergei 12 Berlin, Irving 11 Ives, Charles 11 Dello Joio, Norman 11 Gibbons, Orlando 10 Poulenc, Francis 10 Carter, Elliot 9 Gershwin, George 9 Tavener, John 9
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Table J.1-Continued
Composer Frequency Programmed
Chesnokov, Pavel 9 Biebl, Franz 9 Scarlatti, Alessandro 8 Holst, Gustav 8 Offenbach, Jacques 8 Gawthrop, Daniel E. 8 Barber, Samuel 8 Schubert, Franz 8 Lauridsen, Morten 8 Hamlish, Marvin 7 Stanford, Charles Villiers 7 Howells, Herbert 7 Haydn, Michael 7 Argento, Dominick 6 Adam, Adolphe 6 Messiaen, Oliver 6 Stroope, Z. Randall 6 Head, Michael 6 Rossini, Gioachino 6 Arcadelt, Jacques 6 Newly, Anthony & Bricusse, Leslie 5 Scottish Traveller's Song 5 Harris, Robert A. 5 Duke, John 5 Stevenson, Bruce 5 Madina, J. 5 Warlock, Peter 5 Thiman, Eric 5 Praetorius, Michael 5 Gorecki, Henryk 5 Pilkington, Francis 5 Schutz, Heinrich 5 Morales, Cristobol 5 Faure, Gabriel 5 Verdi, Giuseppe 5 des Prez, Josquin 5 Caimo, Gioseppe 5 Thompson, Randall 5 Pergolesi, Giovanni Battista 4 King, Carole/Sandburg 4 Bernstein, Leonard 4 Hulse, Brian C. 4
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Table J.1-Continued
Composer Frequency Programmed
Penderecki, Krzysztof 4 Lange, Kinley 4 Hirose, Ryohei 4 Sondheim, Stephen 4 Bennet, John 4 Marenzio, Luca 4 Stravinsky, Igor 4 Edlund, Lars 4 Quilter, Roger 4 Newman, Randy 4 Gutierrez, Pedro 4 Hirsch, Nurit 4 Copland, Aaron 4 Walton, William 4 Peterson-Berger, Wilhelm 4 Dickau, David 4 Bortniansky, Dmitry 4 Nystedt, Knut 3 Johnson, Mark David 3 Cohen, Baruch 3 Freund, Don 3 Montsalvatge, Xavier 3 Franco, Fernando 3 Johnston, Bruce/Manilow, Barry 3 Yon, Pietro 3 Lekberg, Sven 3 Passereau, Pierre 3 McElfresh, Clair 3 Manilow, Barry 3 Butler, Eugene 3 Grechaninov, Alexander 3 Bowles, Paul 3 Berg, Ken 3 Massenet, Jules 3 Schultz, Donna Gartman 3 Goss, John 3 Powell, Rosephanye 3 Pinkham, Daniel 2 Nelson, Ron 2 Thompkins, Thomas 2 Gruber, Franz 2 Geld, Gary 2
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Table J.1-Continued
Composer Frequency Programmed
Hoiby, Lee 2 Schwartz, Stephen 2 Loesser, Frank 2 Strauss, Richard 2 Beethoven, Ludwig Van 2 Chilcott, Bob 2 Chapin, Harry 2 Gray, Michael 2 Gabrieli, Giovanni 2 Chen, Nira 2 Bargreen, Melinda 2 McNeil, Albert 2 Keopke, Allen 2 Jennings, Kenneth 2 Greig, Edvard 2 Dowland, John 2 Hovhanessian, Edgar 2 Lerner and Loewe 2 Foltz, David 2 Hampton, Keith 2 Mathias, William 2 Le Jeune, Claude 2 Mac Davis, William 2 Farmer, John 2 Hatton, Gaylen 2 Mahy, Kenneth 2 Vasquez, Juan 2 Charles Ives 2 Richards, Howard 1 Varlamov, Aleksandr 1 Chenoweth, Wilbur 1 Debussy, Claude 1 Korte, Karl 1 Parry, C. Hubert H. 1 Kalnins, Alfred 1 Boonyaratdcaych, Koon Ying 1 Belmont, Jean 1 Joubert, John 1 Sanborn, Jan 1 Mecham, Kirk 1 Mawby, Colin 1 Larkin, Michael 1
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Table J.1-Continued
Composer Frequency Programmed
Nowowiejski, Felix 1 Schoenberg, Claude Michel 1 Widmann, Erasmus 1 Diemer, Emma Lou 1 Wilbye, John 1 Smith, Byron 1 Crosby, Kimberly 1 Root, George 1 Bernie, Ben; Maceo Pinkard; Casey, Kenneth 1 Alfven, Hugo 1 Jeep, Johann 1 Smith, John Stafford 1 Bateson, Thomas 1 Hall, William D. 1 Bartok, Bela 1 Barnum Eric 1 Orban, Gyorgy 1 Hovland, Egil 1 Vivaldi, Antonio 1 Asola, Giammateo 1 Gorczycki, Grzegorz 1 Durante, Francesco 1 Shire, David & Maltby Jr., Richard 1 Kander, John & Ebb, Fred 1 Rogers, Richard & Hart, Lorenz 1 Johnson, Craig Hella 1 Casals, Pablo 1 Yeston, Maury 1 Hanson, Howard 1 Pachelbel, Johann 1 Anderson, Joyce 1 Cohan, George M. 1 Saint-Saens, Camille 1 Torme, Mel & Wells, Robert 1 Welch, Jay 1 Persichetti, Vincent 1 Ravel, Maurice 1 Gabrieli, Andrea 1 An Old English Melody 1 Rogers, Richard 1 Ward, Samuel A. 1 Scandello, Antonio 1
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APPENDIX K
FREQUENCY OF ARRANGERS PROGRAMMED
177 Table K.1. List of Arrangers Programmed by Cooksey sorted by highest to lowest frequency.
Arranger Programmed Frequency
Hogan, Moses 43 Dawson, William 31 Parker, Alice/Shaw, Robert 31 Thomas, Andre 28 Wilberg, Mack 28 Erb, James 21 Rutter, John 17 Martin, Gilbert 14 Simpson, Eugene T. 12 Chilcott, Bob 12 Willcocks, David 12 Ringwald, Roy 11 Luboff, Norman 11 Helvey, Howard 9 Goldman, Maurice 7 Johnson, Hall 7 Swift, Robert 7 Hennigan, Michael 6 Simeone, Harry 6 Bellefeuille, Andre 5 Caldwell, Paul & Ivory, 5 Sean Erikson, Karle 5 Flummerfelt, Joseph 5 Gardner, John 5 Hunter, Robert 5 Kerr, A. 5 Leyden, Norman 5 Rash, Daniel 5 Robertson, Leroy J. 5 Schmutte, Pete 5 Shaw, Kirby 5 Sjolund, Paul 5 Snyder, Audrey 5 Bailey, Donald 4 Calvo, Leonel 4 Carrington, Simon 4 DeCormier, Robert 4 Leavitt, John 4
178 Table K.1-Continued.
Arranger Programmed Frequency
Staheli, Ronald 4 Parker, Gloria 3 Wilby, Philip 3 Calvert, Stuart 3 Chass, Blanche 3 Churchhill, Frank 3 Clausen, Rene 3 Dusing, David 3 Elliot, Richard 3 Farrow, Larry 3 Gibbs, Stacey V. 3 Schumann, Walter 3 Somers, Harry 3 Standford, Charles Villiers 3 Vine, John 3 Warland, Dale 3 Adams, Brant 2 Barvinskiy, V 2 Bock, Fred 2 Bower, "Bugs" 2 Darke, Harold 2 Durham, Lowell 2 Durham, Thomas 2 Greenberg, N. (editor) 2 Jacobson, Jacob 2 Jones, Derrick 2 Langford, Gordon 2 Putnam, Mark 2 Sametz, Stephen 2 Sirett, Mark G. 2 Young, Robert H. 2 Cable, Howard 1 Christiansen, Clay 1 de Paur, Leonard 1 Dragon, Carmen 1 Hairston, Jester 1 Hales, Bernell 1 Herbolsheimer, Bern 1 Johnson, Derric 1 Klebanow, Jack 1
179 Table K.1-Continued.
Arranger Programmed Frequency
Lock, William 1 Mulholland, James 1 Page, Robert 1 Pfautsch, Lloyd 1 Pierce, Brent 1 Plain, Ken 1 Poelinitz, Josephine 1 Powell, Rosephanye 1 Putnam, M. 1 Richards, Goff 1 Swingle, Ward 1 Tichotsky, Marina 1 Werle, Floyd 1 Whalum, Wendell 1 Wilhousky, Peter 1
180
APPENDIX L
FIGURES WITH PROGRAMMING COMPARISONS
181
Style Periods
Classical 3% Jazz/Pop/Broadway 4% Baroque 8%
Folk/Spirituals/Hymn Tunes 33% Romantic 11%
Renaissance 18%
Twentieth Century 23%
Figure L.1. Musical Style Periods Represented in Cooksey‘s Programming.
Text Types
Mixed (PolyTextural) 1% Not Enough Info 0%
Secular 41%
Sacred 58%
Figure L.2. Text Types Represented in Cooksey‘s Programming
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Languages Programmed
Spanish 1% Other 3%
Latin 20%
Italian 1% Hebrew 1% German English 9% 62%
French 3%
Figure L.3. Languages Represented in the Music Programmed by Cooksey.
Accompaniment Types
Unable to Locate 1% Other Instruments Electronic tape/CD 3% 0%
Keyboard 43% a cappella 53%
Figure L.4. Accompaniment Types Represented in the Music Programmed by Cooksey.
183
Figure L.5. Main Menu for Database Containing Data which Cooksey Programmed.
184
APPENDIX M
LETTERS OF PERMISSION
185
Figure M.1. Letter of Permission from Heldref Publications.
186
Figure M.1. Letter of Permission from The Tampa Tribune.
187
BIBLIOGRAPHY
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188
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BIOGRAPHICAL SKETCH
Roger H. Hale was born in Bountiful, Utah on January 20, 1976. He was raised in a home where music was encouraged and fostered. He began playing the trumpet in late elementary school–a skill which he continued to foster through his secondary education and most of his college years at the University of Utah. Initially, Hale majored in instrumental music education, but after several years switched his focus to choral music education. He received his bachelor degree from the University of Utah in choral music education in fall of 2001. Following graduation, he accepted a job as middle and high school band and choir teacher in Montpelier, Idaho where he taught for two years. While there he was active directing the Bear Lake Community Choir and other community musical productions. In 2004 Hale returned to the University of Utah to continue his education by pursuing a master‘s degree in choral conducting, and in 2006 moved to Tallahassee, Florida to pursue a PhD in choral music education at The Florida State University, which he received summer semester of 2009. Roger, his wife KayDe, and their four children will relocate to St. Joseph, Missouri where he will teach at Missouri Western State University as assistant professor of choral music education, and director of the Chamber Singers.
193