Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1978 The Operas of Samuel Adler: an Analytical Study. Joan Dawson Lucas Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Lucas, Joan Dawson, "The Operas of Samuel Adler: an Analytical Study." (1978). LSU Historical Dissertations and Theses. 3207. https://digitalcommons.lsu.edu/gradschool_disstheses/3207 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to r*ght in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 7815631 LUCAS, JOAN DAMSON t h e OPERAS OF SAMUEL ADLER i a n ANALYTICAL, STUDY. THE LOUISIANA STATE UNIVERSITY AND AGRICULTURAL *NO MECHANICAL COL., PH.D., 1978 University M icrofilm s International 300 n z i e b m o a d , a n » a h b o h . m io s io s © 1978 JOAN DAWSON LUCAS ALL RIGHTS RESERVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE OPERAS OF SAMUEL ADLER: AN ANALYTICAL STUDY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music Joan Dawson Lucas B.M., Texas Tech University, 1970 M.M., Texas Tech University, 1972 May, 1978 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS The author wishes to express her grateful appreciation to her advisor, Professor Paul Louis Abel, for his countless hours, unceasing efforts, and patient guidance during the preparation of this dissertation. The author also wishes to acknowledge the meaningful and thoughtful suggestions offered by a second committee member, Dr. Donald Wilson. The author wishes to thank Samuel Adler for his assis­ tance and cooperation in personally responding on cassette tapes to questions about his life and works, which made it possible to gain a perspective on the composer's life and attitudes. The author sincerely thanks the following music publishers for supplying scores of the operas and choral works: Oxford University Press, Southern Music Company, Southern Music Publishing Company, Inc., and Transcon­ tinental Music Publications. Finally, the author wishes to express her sincere appreciation to her husband, Bill, for his abundant patience and encouragement. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGMENTS................................. ii LIST OF FIGURES................................. v ABSTRACT ....................................... xii Chapter I. INTRODUCTION.............................. 1 II. SAMUEL A D L E R .............................. 10 III. THE OUTCASTS OF POKER F L A T ................. Description of the O p e r a ................. y\ N ot a t i o n ............................... 39 M e l o d y ................................. 39 Harmony................................. 56 Meter and Rh y t h m ........................ 72 Texture................................. 80 Language and Tonal Organization ............ 9^ F o r m ................................... 107 IV. THE WRESTLER.............................. 120 Description of the O p e r a ................. 120 N o t a t i o n .................. 128 M e l o d y ................................. 1^6 Harmony................................. 160 Texture................................. 172 Meter and Rh y t h m ........................ 188 Language and Tonal Organization ........... 198 F o r m ................................... 203 V. MUSICAL DELINEATION OF. THE DRAMAS............ 207 VI. COMPARISON OF THE OPERAS WITH OTHER WORKS FOR VOICES AND ORCHESTRA...................... 217 VII. THE TWO OPERAS IN COMPARISON: A SUMMARY . 2 iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY................................... 258 APPENDICES........................... 262 VITA ........................................... 289 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES Figure 3-1— Adler, The Outcasts of Poker Flat, p. 7, mm. 3-1 5 , vocal score, vocal melody . 3-2— Adler, The Outcasts of Poker Flat, p. 3 (mm. 12-l6)-p. 4 (mm. 1-7), vocal score, chorus part .......................... 3-3— Adler, The Outcasts of Poker Flat, p. 13, mm. 10-12, vocal score ............... 3_4 — Adler, The Outcasts of Poker Flat, p. 21 (m. 15)-p. 22 (mm. 1-7), vocal score . 3-5— Adler, The Outcasts of Poker Flat, p. 75» mm. 6-12, vocal score 3-6— Adler, The Outcasts of Poker Flat, p. 18, mm. 2-8, vocal score ................. 3-7— Adler, The Outcasts of Poker Flat, p. 29 (mm. 15-19)“P* 30 (nun* 1-10), vocal score 3-8— Adler, The Outcasts of Poker Flat, p. 4 (mm. 7 -12)-p. 5 ( mm. 1-3), vocal score, vocal p a r t .......................... 3-9— Adler, The Outcasts of Poker Flat, p. 24, mm. 4-6, vocal score, vocal melody . 3-10— Adler, The Outcasts of Poker Flat, p. 11 (mm. 12-15)-p. 12 (mm. 1-5), vocal score 3-11— Adler, The Outcasts of Poker Flat, p. 47, mm. 7 -1 3 , vocal score, vocal melody . 3-12— Adler, The Outcasts of Poker Flat, p. 10, mm. 3-11, vocal score....... 3-13— Adler, The Outcasts of Poker Flat, p. 69 (mm. 8 -9)-p. 70 ( mm. 1-4), vocal scare, vocal iE@Xodi6s 3-1^— Adler, The Outcasts of Poker Flat, p. 70 (mm. 6-12)-p. 71 (mm. 1-8), vocal score, vocal melody ........................ 3-15— Adler, The Outcasts of Poker Flat, p. 4, mm. 7-12, vocal score . ............... 3-16— Adler, The Outcasts of Poker Flat, p. 6, mm. 8-10, vocal score, vocal parts . 3-17— Adler, The Outcasts of Poher Flat, p. 3i mm. 1-10, vocal score ................. 3-18— Adler, The Outcasts of Poker Flat, p. 5> mm. 9-12, vocal score ................. 3-19— Adler, The Outcasts of Poker Flat, p. 30» mm. 2-10, vocal score ................. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission 3-20— Adler, The Outcasts of Poker Flat, p. 49, mm. 5"6, vocal score, accompaniment .... 70 3-21— Adler, The Outcasts of Poker Flat, p. 17, m. 10, vocal score......................... 71 3-22— Adler, The Outcasts of Poker Flat, p. 16, mm. 9~H, vocal score, accompaniment.... 72 3-23— Adler, The Outcasts of Poker Flat, p. 70, mm. 6-1 2 , vocal s c o r e ................ 74 3-24— Adler, The Outcasts of Poker Flat, p. 26, mm. 5-91 vocal score . ; . ............ 76 3-25— Adler, The Outcasts of Poker Flat, p. 39, mm. 5-1 1 , vocal score, vocal part .......... 76 3-26— Adler, The Outcasts of Poker Flat, p. 3 6 , mm. 4-12, vocal score ...................... 78 3-27— Adler, The Outcasts of Poker Flat, p. 33» mm. 11-13, vocal score ................... 79 3-28— Adler, The Outcasts of Poker Flat, p. 18, mm. 6-8 , vocal score, accompaniment .... 79 3-29— Adler, The Outcasts of Poker Flat, p. 7» mm. 14-15, vocal score...................... 80 3-30— Adler, The Outcasts of Poker Flat, p. 72, (mm. 13-15)-p. 73 ( m, 1), vocal score . 81 3-31— Adler, The Outcasts of Poker Flat, p. 4, mm. 7 -1 1, vocal score ...................... 82 3-32— Adler, The Outcasts of Poker Flat, p. 24, mm. 10-1 2 , vocal score............... 82 3-33— Adler, The Outcasts of Poker Flat, p. 19, mm. 7-11, vocal score ...... .......... 84 3-34— Adler, The Outcasts of Poker Flat, p. 44, mm. 1-4, vocal score . 85 3-35— Adler, The Outcasts of Poker Flat, p. 6l, 111111 • 3“7 , vocal score................. 86 3-36— Adler, The Outcasts of Poker Flat, p. 3, mm. I3-I6 , vocal score . ............ 86 3-37— Adler, The Outcasts of Poker Flat, p.