“weep you no more, sad fountains” an original choral work
TRANSCRIPT
Central Washington University Central Washington University
ScholarWorks@CWU ScholarWorks@CWU
All Master's Theses Master's Theses
1964
“Weep You No More, Sad Fountains” an Original Choral Work “Weep You No More, Sad Fountains” an Original Choral Work
Displaying Certain Archaic Compositional Devices Displaying Certain Archaic Compositional Devices
Ray Bert Johnson Central Washington University
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Recommended Citation Recommended Citation Johnson, Ray Bert, "“Weep You No More, Sad Fountains” an Original Choral Work Displaying Certain Archaic Compositional Devices" (1964). All Master's Theses. 406. https://digitalcommons.cwu.edu/etd/406
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"WEEP YOU NO MO~:~UNTADJS 11 AN ORI:HNAL CHORAL '.10RK
DISPLA.YING CE~·rAIN ARCHAIC COMP0,3ITIOtJ AL DEVICES
A Thesis
Presented to
The Graduate Faculty
Central Washington State College
In Partial Fulfillment
of the Requirements for the Degree
Master of Education
by
·::ay Bert Johnson
Au~st 1964
NQ\i03110::l 1'<t\3;h:IS
,' /
APPROVED FOR THE GRADUATE FACULTY
________________________________ Mary Elizabeth Whitner, COMMITTEE CHAIRMAN _________________________________ Joseph S. Haruda _________________________________ Gerald Gage
ACKNOWLEDGMENTS
The writer is grateful to Mrs. Mary Elizabeth
Whitner for her guidance and assistance with the original
composition and the accompanying paper. Appreciation
should also be expressed to Dr. Wayne S. Hertz, Dr. Joseph
s. Haruda, and the Central Washington State College choir
for their constructive criticisms and invaluable reading
of the original choral work.
TABLE OF CONTE~TS
CHAPTER
I. 'rHE PROBLEM AND EXPLANATION OF TERM:S USED . . . . ·rhe Problem . . . . . . . . . . . . . . • •
Explanation of Terms Used • •
Archaic compositional devices
Archaic text • • • • • • • •
Pree accent . . . . . . . .
• • • • • • • • •
• • • • • • • •
• • • • • • • • •
. . . . . . . . . Mode • • • • • • • . . • • . . . . • • • • • •
Modern choral works • • • . . . . . . . . Open harmonies • • • • • • • • • • • • • • • •
Organ um . . . . . . . . . . . . . . . . . . . II. ARCHAIC COMPOSI'rIONAL DEVIC:rES IN MODERN
CHORAL MUSIC • • . . . . . . . . . . . • • • • •
PAGE
1
1
1
1
1
1
1
1
1
2
3
Modes as Used by the Modern Choral Conposer • • 3
Open Harmonies for Archs.ic Effects • • • • • • • 7
Free and Unmeasured Accent in Modern
Choral ~1us i c • • • • • • . . . . . • • • • • • 8
III. THE ARCHAIC TEXT AND ITS MUSICAL REALIZATION • • • 11
IV. OHIGINAL COMPOSITION "WEEP YOU NO MORE,
SAD FOUNTAINS" • • • • • • • • • • • • • • • 13
V. AN ANALYSIS OF 11 \'JEEP YOU NO MORE, SAD
FOUN'rAINS" • . . . . . . . . . . . . . . . . . . 19
CHAPTER
VI. CONCLUSIONS • • • • •
BIBLIOGRAPHY • • • • • • •
• • • •
• • • • •
v
PAGE
21
23
LIST OF EXAMPLES
EXAMPLE
I.
II.
III.
IV.
v. VI.
VII.
The Untransposed Modes • • • • • • • . . . . . . The Phrygian Mode Built on G ••••••••••
The Phrygian Mode Built on A ••••••••••
Open Harrnoni es • •
Un.measured Accent
Rapid Heter Changes
. . . . e G e e e . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Realization of an Archaic Text . . • • • • • • •
PAGE
5
6
3
9
9
12
CHAP'rER I
THE PROBLEM AND EY..PLAl'JATION OF TERMS USED
I. THE PROBLEM
A study of selected contemnorary choral music
revealed that modern composers, seeking new sounds,
frequently use archaic compositional devices. The problem
for the writer became the composition of an original choral
work utilizing archaic devices.
II. EXPL&"JATION OF TERMS USED
Archaic comuositional devices. The term which
indicates those compositional devices used before 1600.
Archaic text. The term which refers to those poems
or verses written around or before 1600.
Free accent. A means of obtaining flexibility by
omission of measure bars (unmeasured) or rapid meter changes.
Mode. A medieval sc~le which forms the basic tonal
substance of a comnosition.
Modern choral wor1cs. Hefers to compositions written
after 1920.
~ harmonies. Refers to the spacing of voices
separated by an interval of a fourth or fifth. In archaic
music: color tones such as thirds are omitted from the
chordal harmony.
Organum. Refers to the earliest type of polyphonic
music in which open harmonies are characteristic.
2
CHAPTER II
ARCHAIC COMPOSITIONAL DEVICES
IN MODERN CHORAL MUSIC
Composers use many musical resources for their
effects, qualities, leading tendencies, and general
impressions. Some compositional devices have been dormant
or obscured in usage and should be recognized and re-examined
for their resource value to the modern composer.
In order to write music that sounds very new and different, the modern composer will oftentimes borrow ideas from the very old and distant past (15).
The specific archaic compositional devices
discussed in the paper and illustrated by the original
composition are: the modes, open harmonies, and free and
unmeasured accent. Examples taken from three published
modern choral works are used to illustrate these composi-
tional devices.
MODES AS USED BY THE MODERN CHORAL COMPOSER
Apel 1 s Harvard Dictionary of Music expands upon the
definition of a mode as a medieval scale which forms the
basic tonal substance of a composition by stating that the
medieval church mode
••• is an octave-segment of the diatonic (C major) scale, with one of its tones playing
the role of a tone center (comparable to the tone C of the C major scale) (1:145).
While listening to new compositions, especially
songs of a folk-like nature, sounds that remind us of
the distant past are quite often heard.
Examination of our great heritage of folk songs discloses a wealth of musical sound based on scales generally unfamiliar to us such as the Aeolian, Dorian, Lydian, Mixolydian, and Phrygian modes (12:ii).
The modes referred to in this paper are those
taken from Dallin' s Techniques of 1rwentieth Century
Composition (4:20).
··---· -------
4
--~-~:~~~1r~·~Uf ti~ ~-~-d ~-5 _______ -- _-:_:_~--------:-::._-_--_-__ _
6 ol Aeo~,,a"2--I : c:z e :
In addition to the untransposed modes, Dallin also
offers a table showing the relationship of each mode to
major or natural minor scales (4:21).
5
Ionian. • • • • • like major Dorian. • • • • • like minor 1·ri th sharp six Phrygian. • • • • like minor with flat two Lydian. • • • • • like major with sharp four Mixolydian. • • • like major with flat seven Locrian • • • • • li1\:e minor with flat two and five
The English composer, Benj&~in Britten, uses modal
resources to emphasize an archaic mood in The Little Sween.
Modal qualities used here have a unique appeal in themselves,
and they unify by relating modern music to the music of the
past.
Re-created modality serves as a strong bridge between the diatonicism of the past and the antidiatonicism of the present and of the present future (9:343).
In the third song of Britten's opera, The Lit~l~ Sweep,
there is a strong usage of the transposed Phrygian mode built
on G (9:56). The folk-like nature of the text in the
following example easily lends itself to the modal setting.
---------------------
6
• Let Us Malm Man In Our Image by Undine Smith Moore
has a section in which the transposed Phryc;i:J.n mode built
on A is used to advantage in imitative and ho'rrophonic
textures (10:4-5).
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Modes were eminently suited to the single melodic
line of the plainsong. When harmony was sdded to modally
oriented melodies, the result was not satisfying to the ear
because the chords did not resolve completely. This is the
prime reason why extended, modal passages are not found in
polyphonic music. Many modern composers use the modes only
as subtle glimpses of musical color, often overlooked in
the total impression of the music. 11 ••• The modes are fond
of hiding their artificiality by just dropping in for a
mor:i.ent or two" ( 9: 3L1-3).
OPEN HARMONIES FOR ARCHAIC EFFECTS
The practice of usinc open harnonies goes be.cl: to
the earliest homophonic and polyphonic music, particularly
to organu..~, the forerunner of ~ol~phony. The vocal lines
were linear in concept, and the resultant harmonies 1-Jere
incidental to the style. Fourths and fifths, the character
istic open harmonies, are, like the modes, used sparingly
for their special quality in modern choral works.
Moore in Let Us Make Man In Our Image makes use of
open fourths and fifths for their starlc quality in the
following piano condensation of the vocal parts (10:6).
7
Discretion is an important element in composition,
especially when showcase devices are used to obtain a
particular mood or feeling. When used judiciously, open
harmonies can enhance a modern work: ·Hi th an impression of
the past.
FREE AND UNMEASUHED ACCENT
IN MODERN CHORl\.L MUSIC
Plainsong style is identified by the lack of measure
bars and irregularity of accent.
The ensemble (vocal) music bar-line wns not introduced until toward the end of the sixteenth century, when notation in simple parts gave way to notation in score arrangement (1:76).
Both the absence and the rapid change of meter
signatures are additional evidences of free accent in
modern music. Let Us Ma.lee Man In Our Image shows a clear
return to the style of the chant in that it is monophonic,
unaccompanied, and in free rhythm (10:?).
8
9
I~ \Hs -------- ----~-
ere -(1.-ted thee. ei..c.
In John Garrish's choral work, The Falcon, of which
only the soprano part is shown in the following example,
rapid changes of meter signatures achieve the freedom
necessary to match the text. In this work the meter is
basically 2 with a contrasting section making use of 2 4'
3 4 and 5 meters (5:6). 4' 4' 8
--------------------------------···-- ---- ----·- - - ------- ------------ ----- -----------·--·----···----·-·-··---
---------------------------------================= ·------------------
The rapid changes of meter signature in the fore-
going example are a means of maintaining the rhythmic
10
flexibility necessary to express the text. It should be
understood in examples of this kind that measure bars and
meter signatures are only reading aids to the performer, and
the device itself serves the same purpose as no meter at all.
CHAPTER III
THE ARCHAIC TEXT AND ITS MUSICAL REALIZATION
In vocal music, the selection of text is one of the
prime concerns of the modern composer.
It may also be noted that modern composers have been very careful in the selection of poetic texts for their songs, choosing only poems of outstanding literary value (1:740).
In the realization of a text, the composer must
consider the accentuation of words in themselves as well
as their importance to the literary phrases. Of more
subtle concern are the musical mood and techniques essential
to proper setting of the text. It is often in good taste
to borrow compositional ideas from the period in which the
text was written or to which the text refers. The archaic
text is best realized by use of archaic compositional
devices.
Richard de Castre 1 s Prayer to Jesus by R. R. Terry
realizes an archaic text by unison passages in the Dorian
mode. Examination of the following excerpt shows how Terry
used simple musical material in a modal flavor to accentuate
a simple archaic text (13:2).
·---
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.p. ------ -:&- -: ,. - - : : - -... - • . • • ~ - -- .
~ - : : - - . - ' I • .
Such texual examples as "thy woundee smerte",
"meek and low of herte", and "on the roode tree" are
typical of the Old English used in Richard de Castre's
Prayer to Jesus. Obvious spelling changes have occurred
since the text was written. Sometimes less obvious
changes in the meanings of words or phrases have also taken
place, which means the composer must carefully study any
text before setting it to music.
Unique in vocal music is its power to enhance and
convey the meaning of words. The text, then, must be
set to music in such a way as to allow the listener the
greatest possible understanding and appreciation of it.
The composer should have at his disposal all the musical
materials and devices from the past to the present to
12
realize the archaic text in the most aesthetically meaningful
way possible.
I
• CHAPTER IV
ORIGINAL COMPOSITION
"WEEP YOU NO MORE, SAD FOUNTAINS"
1fllP YOO HO KORI, !AD FOUITAillS
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CHAPTER V
AN ANALYSIS OF "WEEP YOU NO MORE, SAD FOUNTAINS"
This work employs all the compositional devices
described in the preceding chapters, namely: modally
oriented melody and harmony; free accent for flexible
interpretation; open harmonies for archaic effects; and
the use of an archaic text.
The Phrygian mode was selected for realization of
the text. because it has qualities of brightness and somber
ness expressed by the words of the text. The opening
section from the beginning to rehearsal letter B is in the
Phrygian mode built on F sharp. This transposition of
the original Phrygian mode built on E offers additional
brightness in the soprano and tenor parts.
The section from B to D is Phrygian also, but ends
on a cadence in B Phrygian. At letter B a modulation
begins through the Ionian mode (major) built on F sharp
leading to a cadence suggesting B Phrygian, which becomes
clearly defined in section c. Section D is a modulatory
section leading back to F sharp Phrygian, at letter E where
a return is implied to the original melody for the second
verse.
After a cadence in F sharp Phrygian at letter G,
key center and tonality fluctuate, bringing harmonic
to the final cadence in B Phrygian.
Free accent is apparent in this work in that twenty-
seven meter changes occur in fifty-three measures of music,
thus allowing for additional musical weight or accent to
important words or phrases of the text. Where the text
reads 11 ••• snowy mountains Heaven's sun doth gently waste!"
between letters A and B, the composer wanted to bring out
the words 11 snowy 11 , "mountains", "Heaven's" and 11 sun 11 , so
different meters were used for each word. The dramatic use
of silence as an accent just before letter C resolves a
climactic chord built of fifths.
Open harmonies lend an archaic quality to the
cadences before letters B and G. Parallel fifths are used
between the tenor and bass parts (as in organum) at the
cadence before letter D and the final cadence at the end.
The text, taken from John Dowland's Third and Last
~of Airs written in 1603, has overtones of sadness and
20
also of faith. If these overtones are to be realized in
madrigal style, they must be " ••• tempered with a certain
emotional restraint" (11: 4·). For this reason severe dissonances
and disjunct melodic skips were avoided in this setting.
CHAPTER IV
CONCLUSIONS
The terse and economical style of this paper
required critical self-discipline and the weighing of
each word, thus resulting in improved use of the language.
The investigation of the composition8-l devices brought
forth in the study led to improved techniques of library
research and musical analysis.
The study also refined the writer's judgment in
selecting and performing contemporary choral music. This
background opened an avenue for gaining and maintaining
student interest in the classroom.
vJhile investigating archaic compositional devices,
the writer discovered that the modes are used more
extensively than open harrn.onies or free and unmeasured
accent as a means of obts.ining archaic qualities in modern
choral works.
rrhe practical necessity of composing an orirr,inal
choral work within well defined limitations, and at the
same time bringing about a untfication of several comuosi
tional techniques, called upon all aspects of the writer's
training and critical insight. The relating of each note
and phrase to the total com.position, musically and
aesthetic.si.lly, improved the w-ri ter' s ability to use rrmsical
materiel conservatively.
Most inspiring of all was the sense of personal
growth and self-enlightment as the music took shape and
direction from its beginning in March, 1963, to its
completion in August, 1964.
22
BIBLIOGRAPHY
• BIBLIOGRAPHY
1. Apel, Willi. Harvard Dictionary of Music. Cambridge, Massachusetts: Harvard UniverSTty Press, 1961.
2. Cannon, Beekman C., Alvin H. Johnson, and William G. ·.-1a1te. The Art of Music. New York: Thomas Crowell Company, 1960:- -
3. Copland, Aaron. Our New Music. New York: McGraHHill Book Company, Inc. , 1941.
4. Dallin, Leon. Techniques of 'rwentieth Century Composition. Dubuque, Iowa: ~vm. C. Braim Cor:i.:9any, Inc., 1957.
5. Garrish, John. rrhe Falcon. New Yorlr: Associated Music Publishers, Inc., 1956.
6. Grout, Donald Jay. A. History of Western Music. New York: W. VI. Norton & Company, 1941.
7. Howard, John Tasker. Our Contemuorary Composers. New York: Thoma.s Y. Crowell Com9any, 1941.
8. Krenelr, Ernst. Music Here And Now. lJew York: We W. Norton & Company, Inc., 1939:--
9. Mitchell, Donald, and Hans Keller. Benjamin Britten. New York: Philoso9hical Library, Inc., 1963.
10. Moore, Undine S!1.i th. Let Us Make Man In Our Ima~e. . - - - 7\7-'"'i'\' - --New York: M. \Vi tmark & Sons, l 9o0.
11. Scott, Charles Kennedy. Madrigal Sinroing. London: Oxford University Press, 19Jl.
12. Stevens, Everett. Six Modal Miniatures for Piano.
13.
Bryn Mawr, Penn:Oliver Ditson Company, 1957.
Terry, R. R. New York:
Richard de Castre's Prayer to Jesus. G. Schiraer, Inc., 1923.
14. White, Eric Walter. Benjamin Britten. London: Boosey & Hawkes Limited, 1954.
15. Whitner, Mary Elizabeth. (Central Washington State College, Lecture notes, Harmony III, Pall, 1960).