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A Conductor's Guide to Amass by Jocelyn Hagen

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A Conductor's Guide to Amass by Jocelyn Hagen Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School March 2020 A Conductor's Guide to amass by Jocelyn Hagen Matthew J. Myers Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Composition Commons, Music Education Commons, Music Performance Commons, Music Theory Commons, and the Other Music Commons Recommended Citation Myers, Matthew J., "A Conductor's Guide to amass by Jocelyn Hagen" (2020). LSU Doctoral Dissertations. 5176. https://digitalcommons.lsu.edu/gradschool_dissertations/5176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CONDUCTOR’S GUIDE TO AMASS BY JOCELYN HAGEN A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Matthew J. Myers B.A., Luther College, 2009 M.M., Northern Arizona University, 2017 May 2020 Acknowledgements The author would like to thank the following individuals for their support in the formation of this monograph: Dr. John Dickson, who provided academic, professional, and personal guidance throughout this degree and this project. Dr. Trey Davis, Dr. Christian Fernandez-Palacios, and Dr. Ann Marie Stanley, whose questions and feedback helped to unify this monograph’s message. Kim Henderson and Dr. Dominique Petite, who took the time to proofread this monograph. My graduate colleagues, who offered encouragement throughout this busy project. Mrs. Melanie Brink, Mrs. Cathy Britton, Dr. Timothy Peter, Dr. Sandra Peter, Dr. Craig Arnold, Dr. Edith Copley, and Dr. Ryan Holder, who fueled my passion for choral music and encouraged me to keep learning. My family, for their endless love and patience. Jocelyn Hagen, for her willingness to share her music, for opening her home for an interview, for her honesty about her spiritual journey, and for her devotion to crafting expressive and meaningful choral music. ii Table of Contents Acknowledgements ...................................................................................................................... ii List of Tables ................................................................................................................................ vi List of Examples and Figures .................................................................................................. viii Abstract .......................................................................................................................................... x Introduction ................................................................................................................................... 1 Need for This Study ......................................................................................................... 2 Delimitations ..................................................................................................................... 3 Methodology ..................................................................................................................... 4 Structure ............................................................................................................................. 5 Chapter 1. Biographical Information ......................................................................................... 8 Early Influences ................................................................................................................. 8 Formal Undergraduate Study ....................................................................................... 10 Early Career Commissions and Graduate Study ....................................................... 13 amass ................................................................................................................................. 16 Major Projects after amass .............................................................................................. 18 Graphite Publishing ....................................................................................................... 19 Compositional Style ....................................................................................................... 21 Accolades ......................................................................................................................... 27 Chapter 2. amass and the Choral Mass Tradition ................................................................... 29 The Mass vs. amass .......................................................................................................... 29 The “Credo” Problem .................................................................................................... 31 Masses and Other Sacred Works with Additive Libretti .......................................... 34 Chapter 3. Textual Analysis of amass ....................................................................................... 37 Catholic Mass Texts in amass ......................................................................................... 38 Settings of Spiritual Poetry in amass ............................................................................ 44 iii Chapter 4. Musical Analysis of amass ...................................................................................... 58 I. Prologue: Solo Cello and Cello Quartet ................................................................... 58 II. The Essence of Desire: Tenor Solo, Cello Solo, and Cello Quartet ..................... 63 III. Kyrie: SATB Choir ................................................................................................... 65 IV. Use the Geometry: Soprano Solo, Cello Solo, Cello Quartet, and Marimba .... 68 V. Gloria: SATB Double Choir ...................................................................................... 72 VI. Inventing Truths: Tenor Solo and Cello Solo ....................................................... 80 VII. Certainty: Soprano Solo, SAT Double Choir, Cello Solo, and Bells ................. 81 VIII. Where All Are Welcome: SATB Choir and Bells ............................................... 84 IX. So Precious: Baritone Solo, Cello Solo, Cello Quartet, and Percussion ............ 86 X. Sanctus: SSATBB Choir and SA Soli ........................................................................ 89 XI. Benedictus: SSAATTBB Choir and SATB Soli ...................................................... 92 XII. The Hope: STB Soli, Cello Solo, Guitar, and Marimba ...................................... 93 XIII. In My Soul: Baritone Solo, Cello Solo, and Guitar ............................................ 96 XIV. Agnus Dei: SATB Choir, Cello Solo, Cello Quartet, and Vibraphone ........... 97 XV. Everything: SATB Choir, STB Soli, Cello Solo, Cello Quartet, Guitar, and Percussion .......................................................................................................... 102 Chapter 5. Considerations for Conductors and Teachers ................................................... 107 Concert Logistics ........................................................................................................... 107 Rehearsal Preparation .................................................................................................. 108 Instrumental Considerations ...................................................................................... 110 Gestural Considerations .............................................................................................. 112 Composer’s Recommendations .................................................................................. 114 Excerpted Versions of amass ........................................................................................ 117 Chapter 6. Overview of Jocelyn Hagen’s Choral Works .................................................... 120 Songs for Muska .............................................................................................................. 120 The Notebooks of Leonardo da Vinci ............................................................................... 121 Dance Collaborations with Penelope Freeh .............................................................. 123 Collaborations with Timothy Takach ........................................................................ 124 Collaborations with Dessa ........................................................................................... 125 Other Works .................................................................................................................. 125 Conclusion ................................................................................................................................. 128 Appendix A. LSU IRB Exemption Approval ........................................................................ 129 Appendix B. Interview Consent Form ................................................................................... 130 iv Appendix C. Musical Example Consent ............................................................................... 132 Appendix D. Biographical Information for Poets ...............................................................
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