Leonard de Paur's arrangements of spirituals, work songs, and African songs as contributions to choral music: A black choral musician in the mid-twentieth century Item Type text; Dissertation-Reproduction (electronic) Authors Woods, Timothy Erickson, 1958- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 18:42:48 Link to Item http://hdl.handle.net/10150/282726 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ami Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 LEONARD DE PAUR'S ARRANGEMENTS OF SPIRITUALS, WORK SONGS, AND AFRICAN SONGS AS CONTRIBUTIONS TO CHORAL MUSIC: A BLACK CHORAL MUSICIAN IN THE MID-TWENTIETH CENTURY by Timothy Erickson Woods Copyright © Timothy Erickson Woods 1998 A Dociiment Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN CONDUCTING In the Graduate College THE UNIVERSITY OF ARIZONA 19 9 8 T3MI Number; 99 017 07 Copyright 199 8 by- Woods, Timothy Erickson All rights reserved. UMI Microform 9901707 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Timothy Erickson Woods entitled Leonard de Paur's Arrangements of Spirituals, Work Songs, and African Songs as Contributions to Choral Music: A Black Choral Musician in the Mid-Twentieth Century and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts Date ^'1 i-' 3/ Dr!~iteverrTTeTke Date XL \U9/9? • Brcrb^k Da?e / / ^ Dr. Maurice Skones Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Date 3 STATEMENT BY AUTHOR This doctunent has been submitted in partial fulfillment of requirements for am advemced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library- Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGEMENTS The author would like to thank first and foremost, Mr. Leonard de Paur, for his interest, materials, and the support he has given for this project. I also thank Mrs. Norma Childs de Paur for facilitating the interviews and for her hospitality. Friends and colleagues of Mr. de Paur were most helpful in this project; Jim Bjorge, Howard Scott, Luther Saxon, Hamilton Grandison, and especially Walter Gould, Mr. de Paur's publisher. I thanks at the University of Arizona begin with Dr. Roy Johnson who gave me the initial assistance and support for this project. I also thank the members of my committee who all assisted me; Dr. Maurice Skones, Dr. Kenneth Jennings, Thomas Hilbish, Dr. Jerry McCoy, Dr. Josef Knott, Dr. Steven Zielke, Dr. John Brobeck, Grayson Hirst, and Dr. Larry Day. I thank Diane Follet for her assistance in the theoretical analysis, and Lyneen Elmore for her help with the transcripts. Thanks to my parents for their support, interest, and their copy of the de Paur Infantry Chorus' "Spirituals and Work Songs," and to Amy, for her appreciation of the delicacies at the de Paur dinner table. 5 DEDICATION I dedica-be this effort to all who have joyfully persevered in the midst of adversity, particularly Leonard de Paur and Patrick. 6 TABLE OF CONTENTS List of Illustrations p. 8 Abstract p. 13 CHAPTER 1 Leonard de Paur: His Life and Art p. 14 CHAPTER 2 Part I: A Discussion of the Historical Background of Black Folk Music and Musicians Important to Leonard de Paur p. 36 Part II: Tendencies cuid Stylistic Characteristics Found in Leonard de Paur's Arrangements of Spirituals and Work Songs p. 46 CHAPTER 3 Leonard de Paur's Arrangements of Spirituals p. 57 "A City Called Heaven" p. 59 "All 'Round De Glory Manger" p. 78 "Oh, Po' Little Jesus" p. 91 CHAPTER 4 Leonard de Paur's Arrangements of Work Songs p. 108 "Don't You Hear Yo' Po' Mother Callin'?" p. Ill "Tol' My Cap'n" p. 125 "Jerry (Lord Dis Timber Gotta Roll)" p. 130 "Water Boy" p. 141 CHAPTER 5 Leonard de Paur's Arrangements of African Songs .. p. 150 "Ose Yie" p. 151 "Kro, Kro, Hinh, Hinh!" p. 154 "Alexander" p. 159 "Ye Ke Omo Mi" p. 164 CHAPTER 6 Summary and Conclusions p. 168 7 TABLE OF CONTENTS - Continued APPENDIX A Arremgements of Leoneird de Paur and Discography .. p. 181 APPENDIX B Letters of Permission p. 188 REFERENCES p. 191 8 List o£ Illustrations: ige 1 Pitch/octave designations 12 2 "In Bright Mansions Above," melody 50 3 "Bright Mansions, " cadential harmony ..... 50 4 "Jerry," 1st verse, mm. 11-12 53 5 de Paur's "A City Called Heaven," mm. 3-4 53 6 Johnson's "A City Called Heaven," mm. 1-4 61 7 Johnson's "City," mm. 5-8 62 8 de Paur's "A City Called Heaven," mm. 1-4 64 9 de Paur's "City," mm. 5-8 66 10 Johnson's "City," refrain, mm. 9-11 67 11 Johnson's "City," refrain, mm. 12-16 ..... 68 12 de Paur's "City," refrain, mm. 9-11 69 13 de Paur's "City," refrain, mm. 12-16 70 14 Johnson's, "City," mm. 17-20 71 15 Johnson's, "City," mm. 21-24 72 16 de Paur's, "City," mm. 17-18 73 17 de Paur's, "City," mm. 19-20 74 18 de Paur's, "City," mm. 21-24 74 19 "All 'Round de Glory Manger," mm.1-2 80 20 "All 'Round," mm.3-4 81 21 "All 'Round," mm.5-6 82 22 "All 'Round," mm.7-8 83 23 "All 'Round," refrain, mm.9-10 84 9 Figures Page 24 "All 'Round," refrain, nnn. 11-12 85 25 "All 'Round," mm. 13-14 87 26 "All 'Round," mm. 15-16 87 27 "All 'Round," mm. 17-18 88 28 "All "Round," mm. 19-20 90 29 "Po' Little Jesus," mm. 1-2 93 30 "Po' Little Jesus," mm. 3-43 94 31 "Po' Little Jesus," mm. 44-6 95 32 "Po' Little Jesus," mm. 7-8 97 33 "Po' Little Jesus," interlude, mm. 9-10 98 34 "Po' Little Jesus," mm. 11-12 99 35 "Po' Little Jesus," mm. 13-143 100 36 "Po' Little Jesus," mm. I44-I6 101 37 "Po' Little Jesus," mm. 16-18 102 38 "Po' Little Jesus," mm. 19-20 103 39 "Po' Little Jesus," comparison of harmonic progressions 104 40 "Po' Little Jesus," mm. 21-223 104 41 "Po' Little Jesus," mm. 224-24 105 42 "Po' Little Jesus," mm. 25-28 107 43 "Don't You Hear Yo' Po' Mother Callin'?" mm. 1-3 112 44 "Don't You Hear," mm. 4-9 113 45 "Don't You Hear," mm. 10-14 114 46 "Don't You Hear," mm. 15-19 115 47 "Don't You Hear," mm. 20- 48 "Don't You Hear," mm. 26- 49 "Don't You Hear," mm. 31-35 . 50 "Don't You Hear," mm. 47- 51 "Don't You Hear," mm. 58-60 . 52 "Don't You Hear," mm. 63- 53 "Don't You Hear," mm. 74-78 . 54 "Don't You Hear," mm. 116-121 55 "Don't You Hear," mm. 122-126 56 "Don't You Hear," mm. 127-131 57 "Tol* My Cap'n," mm. 1-4 58 "Tol' My Cap'n," mm. 4-8 59 "Jerry," mm. 1-4 60 "Jerry," mm.