Secondary Teaching Unit Kage Edgar

Salutation to the Dawn by Carl F Mueller

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Table of Contents

Teacher Guide……………………………………………………..3-8 About the Composer………………………………………..4 Analysis……………………………………………………….5-6 Things to Notate…………………………………..…………7 Learning Objectives………….…………………..………….7 Glossary………………………………………………………8

Lessons………………………………………………………….…9-18 Lesson 1: Hinduism………………………………………..9-10 Lesson 2: Arts Integration……………………………..….11-12 Lesson 3: Solfeggio…………………………………….…13-14 Lesson 4: Memorization…………………………………..15-16 Lesson 5: Character Exploration…………………..…….17-18

Student Guide…………………………………………..………19-24 About the Composer………………………………………20 Analysis……………………………………………………..21-22 Things to Notate……………………………………………23 Learning Objectives……………..…………………………23 Glossary………………………………………………..……24

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Salutation to the Dawn Carl F Mueller

[Teacher Guide]

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About the Composer

Carl Frank Mueller was born in Sheboygan, Wisconsin, August 12, 1892. After graduating from Elmhurst College in 1910, he focused on a career as organ recitalist, having studied with C. G. Stranger, Wilhelm Middelschulte, Clarence Eddy and Clarence Dickinson. In 1915 he married Lenore Ann Eckardt and became the Director of Music at Grand Avenue Congregational Church in Milwaukee, Wisconsin. In 1927, he moved to New Jersey where he met John Finley Williamson, founder of Westminster Choir College. Mueller attended Williamson’s Summer Schools for church musicians, studying with Williamson, which greatly enhanced his understanding and interest in choral music.

Mueller began to compose and arrange for choirs. In 1937 Mueller obtained Westminster’s earned Fellowship, a program in effect 1937-1945 designed to give recognition to the church musicians who endorsed the ideals and goals of the Westminster Choir School. Mueller was organist/choir director at the Central Presbyterian Church, Montclair, NJ (1927-53) and First Presbyterian Church, Red Bank, NJ (1953-62). He taught at Montclair State College (1928-54) and also at Union Theological Seminary’s School of Sacred Music. In 1931, he founded the Montclair A Capella Choir, a community choir. When Mueller retired in 1956, the choir changed its name to the Montclair A Capella Chorale. He became an ASCAP member in 1940. The choral compositions were widely used; his “Create in me a clean heart, O God” sold nearly two million copies. Mueller received an honorary doctorate from the Strassberger Conservatory of Music in St. Louis, Missouri. Carl F. Mueller died on November 2, 1982 in Lakewood, NJ.

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Analysis

FormThis piece follows essentially an ABACA Rondo form. The A section is fanfare-like declaration of the more celebratory and galvanizing texts; first being “Look to this day, for it is life”, then “The bliss of growth, the glory of action, and finally “Look well therefore to this day.” The B section focuses on the text “In its brief course lie all the realities of your existence.” Muller strophically repeats the text in an obstinate form in order to evoke the idea of multiple individualities making up the sum of our existence in this world. After the second A section, it transitions to C with a key change to F major and the text “For Yesterday is already a dream and tomorrow is only a vision.” He utilizes triplets and almost a lydian-like mode to express this element of dreams and visions. It then ends with the last A section as an exclamation point to the piece.

RhythmThe piece primarily functions in in duple in 2/4 time. The A sections are mostly homorhythmic and are not rhythmically intricate, but directors must be aware of when they want the choir to breathe together. The B section operates with a rhythmically simple melody in one part while the others accompany with longer sustained harmonies. The C section incorporates dotted eight sixteen rhythms and triplets as it illustrates its dreamlike quality. This section is polyrhythmic with the melody mostly occupied in the soprano. Most of the rhythms in this section are in pairs, either by men vs women or soprano/tenor vs alto/bass.

MelodyThe piece begins with a fanfare-like opening, with the melody in the T1. Then it goes to a call in the alto and response with the basses. Mueller then builds the melody from the bottom up, beginning with Tenor then alto then soprano carrying the melody to the A section, a repeat of the fanfare. The key then changes to F major in the and the melody finds itself in the soprano. The text at this section is “yesterday is already a dream”, and Mueller expresses this in the melody.

HarmonyMueller utilizes suspensions throughout this piece, and you often find it arriving on a cluster chord then resolving shortly afterward. Perhaps the most intriguing aspect of this piece is in the way he handles transitions from section to section. In the beginning he has each voice part sing a different line that lands on a chord that resolves to the tonality in the next section. He then utilizes chromaticism to tonicize the second A section and transition to the dreamlike C section in F major. The piece carries many dense harmonies, but each A section brings the piece back home and helps encapsulates the hopeful and grounded nature of the text presented.

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Historical ContextMany attribute this poem to the great Indian playwright and poet Kalidasa, but no one knows for sure where it came from or where it can be attributed to. Despite that this poem is widely quoted as verse of encouragement and hopefulness toward a new day.

Look to this day!For it is life, the very life of life.

In its brief courseLie all the verities and realities of your existence:

The bliss of growthThe glory of action

The splendor of beautyFor yesterday is but a dreamAnd tomorrow only a vision

But today well lived makes every yesterday a dream of happinessAnd every tomorrow a vision of hope.

Look well, therefore to this day!Such is the salutation to the dawn.

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Things to Notate in Music:

Key

C major m1-m46F major m47-m61C major m62-end

Layout

A: m1 - m12B: m13 - m40A: m41 - m46C: m47 - m68A: m69 - end

Important Rehearsal Checkpoints

m13m29m53

Learning Objectives

• Implementation of character choices as they apply to text and harmonies

• Knowing how to switch characters quickly• Engaging chromaticism and complex harmonic textures• Understanding role with voicing responsibilities• Understanding homophony vs polyphony• Engaging with the Hindu culture and religion• Applying visual art to musical characterization

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Glossary

ArticulationsStaccato- A small dot written above or below a note that makes it brief in duration. (Not to be confused with a rhythm dot, which is written after a note-head).

Staccatissimo- A small wedge or straight comma above a note that creates an exaggerated staccato; a very brief note.Marcato- Informally referred to as simply an “accent,” a marcato makes a note slightly more pronounced than surrounding notes.

Sforzando- Makes a note considerably louder than surrounding notes. When a single note is affected, the abbreviation sfz is used.Legato or Slur- Connects two or more different notes. In piano music, the individual notes must be struck, but there should be no audible spaces between them.

Dynamic Expressionsespressivo- (expressive) Sing with expressionpoco a poco dim- (little by little diminuendo) Decrease volume slowlypoco a poco cresc- (little by little crescendo) Increase volume slowlypoco mosso- (little moved) A slightly faster tempopoco cresc- (little crescendo) Slightly louderpiu cresc- (more crescendo) Louderpiu calmato- (more calm/quiet) Quieter and less aggressivepoco a poco rit e dim- (little by little ritardando and diminuendo) Gradually get softer with a small, gradual decrease in tempo.

Additional ResourcesRecording of Salutation to the Dawn: -https://www.youtube.com/watch?v=9s1BbA7q6Q0Recording with voice part dominant:-https://open.spotify.com/album/3BCUf8b3wo7abaqepVwHf2Additional Hindi poetry-http://www.bhagavad-gita.org/index-english.html-http://scans.library.utoronto.ca/pdf/4/36/raghuvamsaofkali00kliduoft/raghuvamsaofkali00kliduoft.pdf

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Lesson 1: Hinduism Standards Being Addressed: MU:Cn10.0.H.Ia

Materials of Instruction: - http://www.bbc.co.uk/religion/religions/hinduism/ataglance/glance.shtml - Worksheet

Lesson Sequence:

Activity #1: Introduction to Hinduism Objective: Teacher introduces and educates students on the Hindu religion and culture using an article and group discussion (If there is a student in the class that practices the Hindu faith, the teacher will ask if they wish to be included and lead the discussion.)

1. T will put these questions on the board and ask S to think through them: - Where are the majority of Hindu worshippers located? - Who founded the Hindu religion? - What is its central text? - What else do you know about this belief system?

2. T will have S discuss in groups what they know 3. T then hosts group discussion, calling out random S if they don’t want to participate 4. T passes out article with attached worksheet and has S fill it out and turn it in

Assessment: T will grade papers to gauge student understanding of the basics of hinduism, as well as student’s abilities to think of relevant and meaningful questions to engage further with the culture (as identified in the last question).

http://www.bbc.co.uk/religion/religions/hinduism/ataglance/glance.shtml

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The Hindu Religion and Way of Life Read the attached article and answer the questions below

Where are the majority Hindu worshippers located?

Who founded the Hindu religion?

What are the Vedas?

Is this religion monotheistic (one god) or polytheistic (multiple gods)?

What is Diwali?

List some of the tenants of the religion included in this brief article:

List 3 meaningful questions you would ask a practicing follower of this faith

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Lesson 2: Arts Integration Standards Being Addressed: MU:Cn11.0.T.IIa Materials of Instruction: - https://www.youtube.com/watch?v=sbuQNTSkYfU - Image search technology - Salutation to the Dawn by Mueller

Lesson Sequence:

Entry Activity/Transition: ‘Snuffle Bunny of Death’ 1. T plays this video https://www.youtube.com/watch?v=sbuQNTSkYfU 2. T then plays same video but replaces the video with Dies Irae from Verdi’s Requiem 3. T explains the impact that the arts can have on each other, from perfectly describing a video to completely altering how you would feel about it

Activity #1: Visual Art Integration Objective: Students will attach a piece of art to each section of the music, providing a rationale for how that art captures the intent of the music

1. Describes the assignment: You will find art online that you can place into the music and it would perfectly encapsulate the music’s intent

- May utilize any kind of art (clipart to Microsoft paint to 3D imaging) but must use one picture of painting

- May create own art - Must include at least 5 different pieces - Must adhere to school policies (ie no art with nudity, drug paraphernalia, alcohol,

etc) - S may use whatever format they wish and they have full creative license as long as

it includes - Section - Text of the section - Picture - Rationale (minimum 3 sentences)

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Example: A- “Look to this day for it is life, the very breath of life”

Rationale (Example): Sunsets are the indicator that it is the beginning of brand new day. The way that the sunlight breaths life onto this landscape captures the grandiose nature of the first A section of the piece. When I see a sunset, I am reminded of the new day ahead of me.

Assessment:

Text (0-1)

Picture (0-1)

Rationale (0-3)

Formatting (0-1)

Total(0-6)

A

B

A’

C

A’’

/30

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Lesson 3: Solfeggio Standards Being Addressed: MU:Pr5.3.E.IIIa MU:Cr6.1.E.IIIa

Materials of Instruction: - Salutation to the Dawn by Mueller - Pencil

Lesson Sequence:

Entry Activity/Transition: Cascade 1. S sing ascending and descending scale in C major on solfeggio 2. T teaches ‘Cascade’ warmup sequence

- Students sing solfeggio going up the scale then move to a singular vowel - Ascending scale is done in time, Descending is cued by director - Optional notes can be used, and others may be added

Activity #1: Solfeggio Objective: Students will sing through the entire piece on solfeggio syllables to a metronome without stopping for mistakes

1. T instructs S to write in solfeggio syllables above their voice part silently on their own

- m1-m46 C major - m47-m61 F major - m62-end C major - 15 minutes - Circling accidentals

2. T has S speak through piece on solfa syllables with a metronome (80 bpm) - Prioritizing not stopping when they make mistakes

3. T repeats but at a faster tempo (96 bpm), making sure to solidify rhythms

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- Overdo more difficult rhythms (ie lifting dots and accenting triplets if needed) 4. T leads S through Key warmup sequence

5. T has S sing through piece on solfa to a metronome (80 bpm), not stopping for mistakes and allowing them opportunities to recover

- T will, however, stop to reestablish key when it changes to F then back to C

Assessment:

Group: - Does the group fall apart rhythmically?

- If they do, T will either: - slow down tempo - go back to speaking - rehearse the problem area

- Can they handle this tempo? (Y/N) - If NO:

- Slow down tempo - Speak solfa - Speak rhythms on scat syllables or ‘ta’

- Are the parts too difficult in context? (Y/N) - If NO:

- Isolate individual parts, or parts with similar rhythms - Engage problem area at slow tempo then gradually speed up - Break out into sectionals, either lead by capable student leaders or myself and

accompanist

Individual: - When S leave class, T will collect their music and grade the markings they included

Yes(1.0)

Yes but inaccurate/ineligible (0.5)

No(0)

Total

Solfeggio

Accidentals Marked

/2

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Lesson 4: Memorization Standards Being Addressed: MU:Pr5.3.E.8a MU:Pr6.1.E.Ia

Materials of Instruction: - Salutation to the Dawn by Mueller - Video recorder

Lesson Sequence (lessons may have more or less activities as appropriate):

Activity #1: Memorization Objective: Students will sing the piece memorized with no errors

1. S will sing through entire piece 2. T gives S 1 minute to memorize first section 3. T has S sing first section without score in hand 4. T has S look at score and see where they messed up 5. Repeat step 3 6. T will have S repeat this for each section 7. T will then do this for the whole piece

Assessment: Solo Performance - Students will be given two options:

- Performance in front of class - Will perform for class but won’t be critiqued

- Video Recording - Video will be played and class will critique - Must show full body to ensure it is memorized

- Given two days to prepare or submit video

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Rubric

In-Class 2 1 0

Rhythmic Accuracy Three or fewer rhythmic mistakes

Four or more rhythmic mistakes

Incomplete performance

Note Accuracy Three or fewer rhythmic missed notes

Four or more missed notes

Incomplete performance

Musicality Demonstrated musical choices in performance (dynamics, phrasing, articulation, etc)

Demonstrated limited musical choices in performance (dynamics, phrasing, articulation, etc)

Incomplete performance

Video 2 1 0

Rhythmic Accuracy Three or fewer rhythmic mistakes

Four or more rhythmic mistakes

Incomplete performance

Note Accuracy Three or fewer missed notes

Four or more missed notes

Incomplete performance

Musicality Demonstrated musical choices in performance (dynamics, phrasing, articulation, etc)

Demonstrated limited musical choices in performance (dynamics, phrasing, articulation, etc)

Incomplete performance

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Lesson 5: Character Exploration Standards Being Addressed: MU:Re7.2.E.IIIa MU:Pr4.2.E.IIa MU:Pr4.3.E.IIa MU:Pr5.3.E.IIIa

Materials of Instruction: - Salutation to the Dawn by Mueller - Whiteboard

Lesson Sequence (lessons may have more or less activities as appropriate): Warmup: Articulation Exercise

- T passes out this exercise - T has S sing through exercise - T then alters the eight note articulation

- Staccato - Legato

- Marcato - Slurred

- T uses different articulations for different voice parts, and changes this as needed

Activity #1: Character Objective: Students will explore character performance choices and accurately epitomize those characters in context of the piece

1. T will lead a discussion on the importance of character in a choral piece - What role does characterization play in music in general - Which kinds of music really utilize this - What do I mean when I say characterization - What kinds of character adjectives can be used to describe this piece - Why do we want to use characterization

2. T then writes ABACA on the board and asks students which characters they can

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associate with each section in the music (T will leave this up) 3. T then passes out strips of paper, and asks S to put down character words (each will

do 3) 4. T puts those words into a hat, and rewrites the ABACA on a different part of the

board 5. T has 1 S draw a character, and writes that on the board next to each section 6. T has S sing the piece with these new characters, asking them beforehand what kinds

of elements they can explore with each character (ie face, tone quality, timbre, dynamic, etc)

7. T may then use this activity as a warm-up until the concert

Assessment: Group: informal

- Students engage in discussion (Y/N) - Students transition from one character to another seamlessly (Y/N) - Students make creative character choices

- Face - Dynamics - Timbre - Vowels - Posture - Articulation

Activity #2 Objective: Students will sing the piece with the correct character choices

1. T points back to the character qualities written before the exploration exercise 2. T asks how those can be utilized and developed 3. Think Pair Share to facilitate discussion 4. T then asks S to sing the first A section with the correct character choices 5. T repeats with each section 6. T then rehearses two sections at a time to work on immediate character transitions

Assessment: Group: informal

- Students engage in discussion (Y/N) - Students transition from one character to another seamlessly (Y/N) - Students make creative and correct character choices based on discussion

- Face - Dynamics - Timbre

- Vowels - Posture - Articulation

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Salutation to the Dawn Carl F Mueller

[Student Guide]

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About the Composer

Carl Frank Mueller was born in Sheboygan, Wisconsin, August 12, 1892. After graduating from Elmhurst College in 1910, he focused on a career as organ recitalist, having studied with C. G. Stranger, Wilhelm Middelschulte, Clarence Eddy and Clarence Dickinson. In 1915 he married Lenore Ann Eckardt and became the Director of Music at Grand Avenue Congregational Church in Milwaukee, Wisconsin. In 1927, he moved to New Jersey where he met John Finley Williamson, founder of Westminster Choir College. Mueller attended Williamson’s Summer Schools for church musicians, studying with Williamson, which greatly enhanced his understanding and interest in choral music.

Mueller began to compose and arrange for choirs. In 1937 Mueller obtained Westminster’s earned Fellowship, a program in effect 1937-1945 designed to give recognition to the church musicians who endorsed the ideals and goals of the Westminster Choir School. Mueller was organist/choir director at the Central Presbyterian Church, Montclair, NJ (1927-53) and First Presbyterian Church, Red Bank, NJ (1953-62). He taught at Montclair State College (1928-54) and also at Union Theological Seminary’s School of Sacred Music. In 1931, he founded the Montclair A Capella Choir, a community choir. When Mueller retired in 1956, the choir changed its name to the Montclair A Capella Chorale. He became an ASCAP member in 1940. The choral compositions were widely used; his “Create in me a clean heart, O God” sold nearly two million copies. Mueller received an honorary doctorate from the Strassberger Conservatory of Music in St. Louis, Missouri. Carl F. Mueller died on November 2, 1982 in Lakewood, NJ.

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Analysis

FormThis piece follows essentially an ABACA Rondo form. The A section is fanfare-like declaration of the more celebratory and galvanizing texts; first being “Look to this day, for it is life”, then “The bliss of growth, the glory of action, and finally “Look well therefore to this day.” The B section focuses on the text “In its brief course lie all the realities of your existence.” Muller strophically repeats the text in an obstinate form in order to evoke the idea of multiple individualities making up the sum of our existence in this world. After the second A section, it transitions to C with a key change to F major and the text “For Yesterday is already a dream and tomorrow is only a vision.” He utilizes triplets and almost a lydian-like mode to express this element of dreams and visions. It then ends with the last A section as an exclamation point to the piece.

RhythmThe piece primarily functions in in duple in 2/4 time. The A sections are mostly homorhythmic and are not rhythmically intricate, but directors must be aware of when they want the choir to breathe together. The B section operates with a rhythmically simple melody in one part while the others accompany with longer sustained harmonies. The C section incorporates dotted eight sixteen rhythms and triplets as it illustrates its dreamlike quality. This section is polyrhythmic with the melody mostly occupied in the soprano. Most of the rhythms in this section are in pairs, either by men vs women or soprano/tenor vs alto/bass.

MelodyThe piece begins with a fanfare-like opening, with the melody in the T1. Then it goes to a call in the alto and response with the basses. Mueller then builds the melody from the bottom up, beginning with Tenor then alto then soprano carrying the melody to the A section, a repeat of the fanfare. The key then changes to F major in the and the melody finds itself in the soprano. The text at this section is “yesterday is already a dream”, and Mueller expresses this in the melody.

HarmonyMueller utilizes suspensions throughout this piece, and you often find it arriving on a cluster chord then resolving shortly afterward. Perhaps the most intriguing aspect of this piece is in the way he handles transitions from section to section. In the beginning he has each voice part sing a different line that lands on a chord that resolves to the tonality in the next section. He then utilizes chromaticism to tonicize the second A section and transition to the dreamlike C section in F major. The piece carries many dense harmonies, but each A section brings the piece back home and helps encapsulates the hopeful and grounded nature of the text presented.

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Historical ContextMany attribute this poem to the great Indian playwright and poet Kalidasa, but no one knows for sure where it came from or where it can be attributed to. Despite that this poem is widely quoted as verse of encouragement and hopefulness toward a new day.

Look to this day!For it is life, the very life of life.

In its brief courseLie all the verities and realities of your existence:

The bliss of growthThe glory of action

The splendour of beautyFor yesterday is but a dreamAnd tomorrow only a vision

But today well lived makes every yesterday a dream of happinessAnd every tomorrow a vision of hope.

Look well, therefore to this day!Such is the salutation to the dawn.

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Things to Notate in Music:

Key

C major m1-m46F major m47-m61C major m62-end

Layout

A: m1 - m12B: m13 - m40A: m41 - m46C: m47 - m68A: m69 - end

Important Rehearsal Checkpoints

m13m29m53

Learning Objectives

• Implementation of character choices as they apply to text and harmonies

• Knowing how to switch characters quickly• Engaging chromaticism and complex harmonic textures• Understanding role with voicing responsibilities• Understanding homophony vs polyphony• Engaging with the Hindu culture and religion• Applying visual art to musical characterization

�23

Glossary

ArticulationsStaccato- A small dot written above or below a note that makes it brief in duration. (Not to be confused with a rhythm dot, which is written after a note-head).

Staccatissimo- A small wedge or straight comma above a note that creates an exaggerated staccato; a very brief note.Marcato- Informally referred to as simply an “accent,” a marcato makes a note slightly more pronounced than surrounding notes.

Sforzando- Makes a note considerably louder than surrounding notes. When a single note is affected, the abbreviation sfz is used.Legato or Slur- Connects two or more different notes. In piano music, the individual notes must be struck, but there should be no audible spaces between them.

Dynamic Expressionsespressivo- (expressive) Sing with expressionpoco a poco dim- (little by little diminuendo) Decrease volume slowlypoco a poco cresc- (little by little crescendo) Increase volume slowlypoco mosso- (little moved) A slightly faster tempopoco cresc- (little crescendo) Slightly louderpiu cresc- (more crescendo) Louderpiu calmato- (more calm/quiet) Quieter and less aggressivepoco a poco rit e dim- (little by little ritardando and diminuendo) Gradually get softer with a small, gradual decrease in tempo.

Additional ResourcesRecording of Salutation to the Dawn: -https://www.youtube.com/watch?v=9s1BbA7q6Q0Recording with voice part dominant:-https://open.spotify.com/album/3BCUf8b3wo7abaqepVwHf2Additional Hindi poetry-http://www.bhagavad-gita.org/index-english.html-http://scans.library.utoronto.ca/pdf/4/36/raghuvamsaofkali00kliduoft/raghuvamsaofkali00kliduoft.pdf

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