TTHOE lUTNTT/igaUSITY OF GRADUATE COLLEGE TFniPL^NK)hFUSDC(XFPT3W:Y(]RAJNT%ER: /U%VUNAJJYS1S(}FTT3N()RIGINA1,9/0FU{S A DOCUMENT SinTknTTT%3TM3TnTE<3RAT)U7GnEfVU:UIJrf in partial fulfillment of the requirements for the IX}CTTXR()FAdIK%CVULVURTS By KEITH WHITMORE hforman, (Dklahcnrm 2004 UMI Number: 3135695 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3135695 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 © Copyright by Keith Whitmore, 2004 All Rights Reserved /uNjAJSUVI.lfSIS (DFTEÜN ()RICMDNVH, Tp/CDRBZS ADOCUMENT V\irBRC)\rEI) f%)Il ri]IS:5C]HK:K)I.(3]F]V[lJSI(: By I Dr. Edward Gates, Major Professor Dr. Barbara Fast />/%% Dr. JeongwonJHam Dr. Eugwe Enrico Fagan ACKNOWLEDGEMENTS I wish to thank my committee for their time and guidance during this project. Special appreciation goes to my committee chair Dr. Edward Gates for his persistent prodding and excellent editing. Particular thanks to Dr. John Fagan for his unique expectations, and thanks to Dr. Michael Rogers for his timely guidance. I couldn’t have begun the project without the wonderful inspiration of my mentor and teacher Dr. Digby Bell, and I greatly appreciate the personal encouragement of Dr. Barbara Fast, who convinced me that Percy Grainger’s legacy is alive and well in London. Thank you all. My friends and colleagues at Oklahoma Baptist University have been great sports, regularly encouraging the sluggish steps of my journey through the doctorate and allowing for my many absences and distractions. Dr. Ron Lewis, Dr. Carol Bell, and Rhetta Hudson have been especially empathetic and constantly reminded me of my purpose in obtaining the doctorate. Other faculty and students were invaluable, coming to my rescue when applying Finale programs to this document completely baffled me. Thank you. I must express my deepest gratitude to my wife Laura and her patient support of my progress. Her belief in me has resounded in our four sons Kenneth, Stephen, Thomas, and Benjamin, who keep the bugs coming. Such love and devotion can never be repaid. Thank you. IV TABLE OF CONTENTS ACKNOWLEDGEMENTS.................................................................................... iv LIST OF FIGURES................................................................................................. vi ABSTRACT................................................................................................................ ix CHAPTER I INTRODUCTION........................................................................1 Rationale for the Study ..................................................................4 Purpose of the Study ......................................................................5 Organization and Procedure ............................................................. 6 CHAPTER n HISTORICAL PERSPECTIVE AND RELATED MATERIAL Biographical Profile ..................................................................... 8 Research and Related Materials.................................................. 14 CHAPTER m GRAINGER THE MUSICIAN Sources of Grainger's Compositional Style ................................19 Performing Style ................................. 27 Musical Philosophies .....................................................................30 Grainger as Teacher .......................................................................31 Grainger’s Influence .......................................................................34 CHAPTER IV TEN ORIGINAL WORKS.......................................................... 36 Walking Tune ................................................................................. 40 Mock Morris ..................................................................................47 Arrival Platform Humlet .............................................................53 Gay hut Wistful ............................................................................ 58 Pastoral..................................................................... ...................... 62 'The Gum-sucker's' March ............................................................ 68 Easkm iMfgrmgzzo ........................................................................ 74 To a Nordic Princess ......................... ............................................77 Harvest Hymn .................................................................................83 The Immovable D o ........................................................................87 CHAPTER V SUMMARY.................................................................................. 92 BIBLIOGRAPHY........................................................................................................96 APPENDIX A: PIANO WORKS OF PERCY GRAINGER............................... 102 APPENDIX B: SELECT DISCOGRAPHY OF RECORDINGS....................... 110 APPENDIX C: COPYRIGHT CREDIT FROM G. SCHIRMER........................112 LISTOFRGURES Reure 1. Walking Tune, mm. 1-10. Tune ‘a’. .........................................................................42 2. Walking Tune, mm. 11-14. Tune ‘b’................ 42 3. Walking Tune, mm. 34-37. Chromaticism in the second setting of ‘b’ ..................43 4. Walking Tune, mm. 38-41. Tune ‘c’ ..........................................................................43 5. Walking Tune, mm. 44-47. Tune ,‘c’ in the climax...................................................43 6. Walking Tune, mm. 50-55. Descent of tune ‘d’ ................................. .....................44 7. Walking Tune, mm. 70-75. Tune ‘e’..........................................................................44 8. Walking Tune, mm. 114-121. End of Coda ................................................................45 9. Mock Morris, mm 1-20. First period of section A. ......................................... 50 10. Mock Morris, mm. 33-36. First counter-melody ................................................... 50 11. Mock Morris, mm. 41-44. Second counter-melody. ..................................... 51 12. Mock Morris, mm. 53-56. First phrase of section B ............... 51 13. Arrival Platform Humlet. Six main tunes..................................................................55 14. Arrival Platform Humlet, mm 16-20. Transitional motive of section 1 .................55 15. Arrival Floÿhrm AfwWgt, mm 26-28. Drumming cadence..................................... 56 16. Arrival f lat/brm ^wmler, mm 97-100. Increased rhythm and harmony ............... 57 17. Arrival Flof^rm Hwrnlgf, mm 131-134. Grand fin ish . .......................................... 57 18. huf MjQhl, mm 1-4. Tune 'a' ........................................................................... 59 19i Gay hot mm 9-12. Time 'b' ........................................................................ 59 20. Gay but Wistful, mm 19-26. Tune ‘c’ .....................................................................60 21. Gay but Wistful, mm 27-30. Tune ‘d’.................................................................... 60 VI 22. Gay Wüf/ùZ, mm. 34-39. End of chorus, with transition .................................. 60 23. Gay mm. 65-69. New setting of tu n e 'd ' ..............................................61 24. Gay W mm. 115-117. Final drumming tag ............................................................61 25. Pastoral, mm.1-3. Tune ‘a’......................................................................... 63 26. fastoroZ, mm. 9-12. Second setting of tune 'a ' ........................................................ 63 27. Pastoral, mm. 13-15. Transition to section B ................ 63 28. Pastoral, mm. 18-20. Chromatic accompaniment of tune ‘b’ .................................64 29. Pastoral, mm. 21-23. Chordal accompaniment of tune ‘c’ ...................................... 64 30. Pastoral, mm. 60-63. Rhythmic irregularity ......................................... 65 31. Pastoral, mm. 121-123. Final sonority ......................................................................66 32. Gum-sucker’s March, mm. 1-4. Tune ‘a................. 69 33. Gum-sucker’s March, mm. 33-36. Tune ‘b’........................................................... 70 34. Gum-sucker’s March, mm. 45-48. End of first B section ......................................70 35. Gum-sucker’s March, mm. 65-68. Tune ‘c’ ......... 71 36. Gum-sucker’s March, mm. 73-76. First Transition in section C ........................ 71 37. Gum-sucker’s March, mm. 89-92. Second transition in section C ....................... 71 38. Gum-sucker’s March, mm. 116-119. Tune ‘d’ ....................................................... 72 39. Gum-sucker’s March, mm. 136-139. End of section D ......................................... 72 40. MarcA, mm. 156-159. Counter-melody in final B section .............73 41. Gwm-swctgr’s MorcA, m m 188-192. Rnal