INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI 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. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand com er and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. 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. Bell & Howell Information and Learning 300 North Zeeb Road, Ann ArtXJr, Ml 48106-1346 USA 800-521-0600 UMI* THE LATE TWENTIETH-CENTURY AMERICAN ORGAN CHORALE: A STUDY OF SIX COMPOSERS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lisa Ann Browne, M.M. ***** The Ohio State University 2001 Dissertation Committee: Approved by Professor Charles Atkinson, Adviser Professor Lois Rosow idvfser Professor Arved Ashby Music Graduate Program UMi Number: 9999374 Copyright 2001 by Browne, Lisa Ann All rights reserved. UMI UMI Microform 9999374 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright by Lisa Ann Browne 2001 ABSTRACT The organ chorale (an organ composition based on a traditional German Protestant hymn) has enjoyed a continuous, 400-year history. Originating in Reformation Germany, it has long since become a universal genre, crossing denominational as well as geographic boundaries. The twentieth century in particular has been witness to a marked flourishing of the genre. But while the organ chorale itself has migrated beyond German- and Dutch-speaking regions, it seems that the bulk of modem research has not. Continued interest in German compositions seems a natural development of the long history of the genre, but this focus has tended to overshadow or neglect organ chorales from other parts of the world. Thus, this dissertation examines chorale-based organ works of six American composers of the late twentieth century: Timothy Albrecht, Michael Burkliardt, Paul Manz, Gerald Near, Charles W. Ore, and Donald Rotermund. In recognition of other scholars' work and in an attempt to ensure exposure of recent compositions, emphasis is placed on works published between 1989 and 2000. The late twentieth-century organ chorales included in this study rely heavily on music and musical traditions of the past; hence, they can logically be discussed within the parameters of the traditional Baroque types: melody, ornamental, and cantus-firmus chorales, and chorale canons, ricercares, fugues, and partitas. The dissertation begins with a historical survey of terminology and concepts associated with organ-chorale typology 11 and a chronological survey of composers of organ chorales since the baroque era. The author has conducted interviews with the six composers treated here. Biographical information on each is presented, together with their thoughts on liturgical context and compositional process. The existence of organ chorales in the late twentieth century prompts the question of their possible relation to their baroque coimterparts. Upon examination, it becomes readily apparent that there are some basic features that present-day settings hold in common with their predecessors. This familiarity with baroque compositional practice extends to the types of organ chorales as well. Despite these commonalities, certain compositional tendencies can be observed in the body of literature examined in this study that signify a break with baroque practice. Ill DEDICATION Dedicated to Fr. John Palmer, C.S.V. and Br. Augustine Mallak, O.S.B. IV ACKNOWLEDGMENTS I would like to thank my advisor. Dr. Charles Atkinson for his intellectual support and encouragement. Thanks also to Dr. Lois Rosow and Dr. Arved Ashby for their significant contributions to my document. I thank my husband, Matthew Fiedler, for his patience, enthusiasm, and, of course, technical support. 1 would like to thank the composers themselves, Timothy Albrecht, Michael Burkhardt, Paul Manz, Gerald Near, Charles W. Ore, and Donald Rotermund, for their time and efforts. Their interviews, letters, and emails made this dissertation. I am grateful to Professor May Schwarz and the faculty and students of Trinity Lutheran Seminary, Bexley Ohio for their assistance during the time I spent there. Thanks to Ms. Carol Francis McLucas for her untiring research and clerical assistance. The music of Michael Burkhardt and Paul Manz appears courtesy of MomingStar Music. The music o f Gerald Near appears with the composer’s permission. The music of Charles W. Ore and Donald Rotermund appears with the permission of Concordia Publishing House, and Timothy Albrecht’s music appears courtesy of Augsburg Fortress. 1 would like to thank the publishers for their kind permission and help obtaining information about the composers. VITA September 20, 1969 .......................... Bom- La Grange, IL 199 1 ......................................................B. A. Music Theory, Illinoas Benedictine College 1992 ......................................................B. A. (second major) Sacred Music Illinois Benedictine Colleg e 1993 ......................................................M.M. Music History and L iterature, Northwestern University 1988-1993 ........................................... Associate Organist St. John the Baptist Catliolâc Church Joliet, IL 1991-199 2 ........................................... Teaching Assistant Northwestern University 1992-199 3 ........................................... Research Assistant to Dr. William Porter Northwestern University 1993-199 6 ........................................... Graduate Teaching Associate The Ohio State University 1996-present ........................................ Lecturer in Music History and Piano The Ohio State University a t Newark PUBLICATIONS Research Publication 1. Sanders, Paul and Lisa Ann Browne. “Music Self-Concept ofNon-Music Majors.” Contributions to Music Education 25/1 (1998): 74-86. FIELDS OF STUDY Major Field: Music VI TABLE OF CONTENTS Abstract.........................................................................................................................................ii Dedication i v Acknowledgments ........................................................................................................................v Vita............................................................................................................................................... vi List of Figures ............................................................................................................................. ix List of Tables ..........................................................................................................................xviii Chapters 1. Introduction ...................................................................................................................... 1 2. Organ Chorale Typology ............................................................................................... 8 3. The Baroque Organ Chorale ........................................................................................35 4. The Organ Chorale After Bach ................................................................................... 52 4.1. The Organ Chorale in the Twentieth Century ........................................................57 5. Six American Composers ............................................................................................ 71 5.1. Timothy Albrecht ........................................................................................................71 5.2. Michael Burkhardt..................................................................................................... 71 5.3. Paul M anz................................................................................................................... 72 5.4. Gerald Near................................................................................................................. 74 5.5. Charles W. O re...........................................................................................................75 5.6. Donald Rotermund ..................................................................................................... 76 6. Compositional Process and Liturgical Context ......................................................... 77 6.1. Importance of the Chorale .......................................................................................