Three Portraits of Choral Repertoire: Evolutions of Choral Music, Frank Martin Mass for Double Choir, and Ted Hearne Sound from the Bench by Joseph K. Kemper A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Conducting) in the University of Michigan 2021 Doctoral Committee: Associate Professor Eugene Rogers, Chair Professor Naomi André Professor Colleen Conway Professor Michael Haithcock Assistant Professor Mark Stover Joseph K. Kemper [email protected] ORCID iD: 0000-0001-9945-1378 © Joseph K. Kemper DEDICATION For Abby and Cecilia ii ACKNOWLEGEMENTS The completion of this document is the culmination of the collective efforts of my many mentors who have shepherded me along my path as a musician and human being. First, I owe a great amount of gratitude to Dr. Eugene Rogers who has guided me with great love and encouragement over the past three years. I am thankful for the invaluable lessons he taught about music, service, collaboration, integrity, and professionalism. I would like to thank Ted Hearne and Donald Nally for so generously offering their time to help me better understand Sound from the Bench. Their insight, wisdom, and thoughtful responses to my questions made a tremendous impact on this document. It is an honor to engage with this incredible composition and to bring to life its first scholarly writings. I am grateful to all of my conducting mentors who have each had a profound impact on my development as a conductor, educator, and person. I am forever indebted to Anton Armstrong, Christopher Aspaas, Marguerite Brooks, Jeffrey Douma, and so many more. I strive every day to be a conduit of each of their abundant kindness, talent, and grace. A deep thank you to all of my dear conducting colleagues who have supported and inspired me beyond what words can describe. I am so grateful to have been able to work with such a fantastic cohort that has also become a family. On a personal note, I am so blessed by my family and friends who have given me strength and guidance throughout my entire life. I would not be where I am today with this village of support constantly cheering me on. Lastly, and most importantly, I am thankful for my wife Abby and daughter Cecilia, both of whom are my rock, light, and most powerful and constant source of joy. iii TABLE OF CONTENTS DEDICATION ii ACKNOWLEDGMENTS iii LIST OF MUSICAL EXAMPLES v LIST OF FIGURES vii ABSTRACT ix RECITAL I: Evolutions of Choral Music Program 1 Notes, Texts, and Translations 2 Bibliography 29 RECITAL II: Frank Martin Mass for double choir Program 30 Notes, Text and Translation 31 Bibliography 38 RESEARCH PAPER: Ted Hearne Sound from the Bench Preface 39 Introduction 40 Biography 41 Work overview 44 Textual Analysis 46 Musical Analysis 60 Conducting Considerations 90 Performance Considerations 94 Conclusion 96 Appendix 98 Bibliography 107 iv LIST OF MUSICAL EXAMPLES Example 1.1 Hearne Sound from the Bench, no. 1, mm. 1–3 62 Example 1.2 Hearne Sound from the Bench, no. 1, mm. 14–17 63 Example 1.3 Hearne Sound from the Bench, no. 1, m. 19 63 Example 1.4 Hearne Sound from the Bench, no. 1, m. 58 63 Example 2.1 Hearne Sound from the Bench, no. 2, m. 8 67 Example 2.2 Hearne Sound from the Bench, no. 2, mm. 69–70 68 Example 2.3 Hearne Sound from the Bench, no. 2, mm. 81–86 68 Example 2.4 Hearne Sound from the Bench, no. 2, mm. 152–153 69 Example 2.5 Hearne Sound from the Bench, no. 2, m. 44 69 Example 2.6 Hearne Sound from the Bench, no. 2, mm. 105–110 69 Example 2.7 Hearne Sound from the Bench, no. 2, m. 65 70 Example 2.8 Hearne Sound from the Bench, no. 2, m. 96 71 Example 2.9 Hearne Sound from the Bench, no. 2, m. 130 71 Example 3.1 Hearne Sound from the Bench, no. 3 mm. 1–2 73 Example 3.2 Hearne Sound from the Bench, no. 3, mm. 24–27 74 Example 3.3 Hearne Sound from the Bench, no. 3, mm. 39–41 74 Example 3.4 Hearne Sound from the Bench, no. 3, mm. 130–141 75 Example 3.5 Hearne Sound from the Bench, no. 3, mm. 238–244 76 Example 3.6 Hearne Sound from the Bench, no. 3, mm. 69–70, harmonic reduction 76 Example 3.7 Hearne Sound from the Bench, no. 3, m. 359 77 v Example 3.8 Hearne Sound from the Bench, no. 3, m. 246 77 Example 3.9 Hearne Sound from the Bench, no. 3, mm. 270–271 77 Example 3.10 Hearne Sound from the Bench, no. 3, mm. 174–176 79 Example 3.11 Hearne Sound from the Bench, no. 3, mm. 336–344, rhythmic procedure 79 Example 4.1 Hearne Sound from the Bench, no. 4, m.1 81 Example 4.2 Hearne Sound from the Bench, no. 4, mm. 5–6 81 Example 4.3 Hearne Sound from the Bench, no. 4, mm. 60–62 82 Example 4.4 Hearne Sound from the Bench, no. 4, mm. 81–82 82 Example 4.5 Hearne Sound from the Bench, no. 4, mm. 2–6 83 Example 4.6 Hearne Sound from the Bench, no. 4, mm. 54–55 83 Example 4.7 Hearne Sound from the Bench, no. 4, melodic theme rhythmic variations 84 Example 4.8 Hearne Sound from the Bench, no. 4, mm. 46–47 84 Example 5.1 Hearne Sound from the Bench, no. 5, mm. 1–5 86 Example 5.2 Hearne Sound from the Bench, no. 5, mm. 30–31 86 Example 5.3 Hearne Sound from the Bench, no. 5, m. 38 87 Example 5.4 Hearne Sound from the Bench, no. 5, mm. 51–53 87 Example 5.5 Hearne Sound from the Bench, no. 5, mm. 73–78 87 Example 5.6 Hearne Sound from the Bench, no. 5, mm. 55–56 88 vi LIST OF FIGURES Figure 1.1 “How to Throw Your Voice” from WikiHow, step no. 1 98 Figure 1.2 “How to Throw Your Voice” from WikiHow, step no. 2 98 Figure 1.3 “How to Throw Your Voice” from WikiHow, step no. 3 98 Figure 1.4 “How to Throw Your Voice” from WikiHow, step no. 4 98 Figure 2.1 “First National Bank of Boston v. Bellotti” from 99 Corporate Relations (2014) by Jena Osman, page 15 Figure 2.2 “First National Bank of Boston v. Bellotti” from 99 Corporate Relations (2014) by Jena Osman, page 16 Figure 2.3 “First National Bank of Boston v. Bellotti” from 99 Corporate Relations (2014) by Jena Osman, page 17 Figure 2.4 “First National Bank of Boston v. Bellotti” from 99 Corporate Relations (2014) by Jena Osman, page 18 Figure 2.5 “Citizens United v. Federal Election Commission” from 100 Corporate Relations (2014) by Jena Osman, page 23 Figure 2.6 “Citizens United v. Federal Election Commission” from 100 Corporate Relations (2014) by Jena Osman, page 24 Figure 2.7 “Citizens United v. Federal Election Commission” from 100 Corporate Relations (2014) by Jena Osman, page 25 Figure 2.8 “Citizens United v. Federal Election Commission” from 100 Corporate Relations (2014) by Jena Osman, page 26 Figure 2.9 “Manchurian Candidate” from 101 Corporate Relations (2014) by Jena Osman, page 27 Figure 3.1 “The Agrarian” from 101 The Character (1999) by Jena Osman, page 50 Figure 4.1 Ventriloquism by Charles Henry Olin, page 24 102 vii Figure 4.2 Ventriloquism by Charles Henry Olin, page 26 102 Figure 4.3 Ventriloquism by Charles Henry Olin, page 89 102 Figure 4.4 Ventriloquism by Charles Henry Olin, page 95 102 viii ABSTRACT Two dissertation recitals and one research paper were presented in partial fulfillment of the requirement for the degree of Doctor of Musical Arts (Music: Conducting) at the University of Michigan. The two recitals chronicle the historical evolution of choral music since the seventeenth century and the research paper is an analysis and conductor’s guide for a piece of repertoire written in the twenty-first century. The first recital is a compilation of one performance with the University of Michigan Chamber Choir, four performances with the University of Michigan Orpheus Singers, one performance with the Chorus America Conducting Institute Chorus and Orchestra, and three virtual choir selections, two recorded by the University of Michigan University Choir and one by the University of Michigan Arts Chorale. All live performances for this recital took place in Stamps Auditorium in the Walgreen Drama Center, with the exception of the Chorus America performance, which took place in Hill Auditorium. The performance with Chamber Choir took place on Thursday, November 12, 2020. Repertoire included one movement from Clara Schumann’s Drei gemischte Chöre, op. 19 and Lili Boulanger’s Hymne au Soleil. The performances with Orpheus Singers took place on Tuesday, April 9, 2019, Tuesday, September 24, 2019, Sunday, October 22, 2019, and Tuesday, February 20, 2020. Repertoire included two movements from Johann Sebastian Bach’s Christ lag in Todes Banden, BWV 4, three movements from Baldassare Galuppi’s Laudate pueri, Johannes Brahms’s Drei Quartette, op. 31, and two movements from Ralph Vaughan Williams’s In Windsor Forest. The performance with Chorus America took place on Sunday, July 21, 2019 and included four movements from Felix Mendelssohn’s ix Elijah, op. 70. The virtual choir pieces with University Choir were recorded on February 21, 2021. Repertoire included Arianne Abela’s Rise and Undine Smith Moore’s Daniel, Daniel, Servant of the Lord.