Presented to the Graduate Council of the North Texas State …/67531/metadc504233/... · premiered in Chicago by Fanny Bloomfield-Zeisler, a distinguished concert pianist of the time

AN ANALYSIS OF ROBERT NATHANIEL DETT'S

IN THE BOTTOMS

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Debra A. Miles, B.S.

Denton, Texas

December, 1983

37q

h8(

sta. cOi

@ 1984

DEBRA ANN MILES

All Rights Reserved

,

Miles., Debra A. , R. Nathaniel Dett's "In the Bottoms" Piano Suite:

An Analysis with Historical Background. Master of Music (Music Theory),

December, 1983, 71 pp., 3 tables, 26 musical examples, bibliography, 24

titles.

The purpose of the thesis is to analyze formally, harmonically and

melodically the five movements of the suite both as separate movements

and inclusively as one cohesive unit.

The thesis will be written in three parts:

Part One will include a biographical sketch of the composer, a

general discussion of his music, background information on the suite

and Dett's antecedents and contemporaries influencing him.

Part Two will discuss the following: A) Form, B) Harmonic Analysis, and

C) Melodic Analysis and the influences of black folk idioms.

Part Three will include the keyboard music of Dett's contemporaries

as compared to his suite in terms of their contrasts and similarities.

----. w-- -

TABLE OF CONTENTS

PageLIST OF TABLES........ ............. r............... ........ vi

LIST OF MUSICAL EXAMPLES ......... ...........................vii

FOREWORD ............. ". ........................ .... 1

Chapter

I. "NIGHT" (The Prelude) . . ........................... 6

II. "HIS SONG"..............a.....................". ...16

III. "HONEY" .............. .... . ...............25

IV. "BARCAROLLE"......................... ............. 29

V. "DANCE" (Juba) .................................. ....34

CONCLUSIONS.. ................... .. ".....".....e... ...39

APPENDIX.-.....-.-.....................................45

BIBLIOGRAPHY- ........-.-... . . . . . ......... .... 70

Y

_ P*-

LIST OF TABLES

Table Page

I. "Barcarolle," Thematic and Tonal Diagram(mm. 1-70). . . . ...... 29

II. "Barcarolle," Thematic and Tonal Diagram(mm. 71-112)................................30

III. "His Song": Breakdown of Motivic Fragments(mm. 1-16) ............... 0...................49

vi

frr- -

LIST OF MUSICAL EXAMPLES

Example Page

1. "Some Ancient Modes" From, "The Authenticityof the Spiritual" in The Dett Collectionof Negro Spirituals (Third Group) . . . . . . . . . 2

2. Robert Nathaniel Dett, In the Bottoms, "Night,"Theme A, mm. 1-19... . .6

3. "Night," mm. 49-56 (Theme B)..... ........ ... 7

4. "Night," mm. 1-4 (motif a) . . . . . . . . . . . . . . . . 9

5. "Night," m. 49 (motif b) . . . . . . . . . . . . . ... ..9

6. "Old Folk Song Scale" . . . . . . . . . . . . . . . . . . . 11

7. "Night," mm. 49-52 . . . . . . . . . 12

8. "Night," mm. 1-8 ....... ............. 12

9. "Night," mm. 65-67 . . . . . . . . . . . . . . . . . . . . 13

10. "Night," mm. 69-72 . . . . . . . . . . . . . . . . . . . . 13

11. "His Song" (Theme A), mm. 1-16 . . . . . . . . . . . . . . 16

12. "His Song," mm. 77-84 . . . 18

13. "His Song," mm. 61-76 . . . . 19

14. "His Song," mm. 1-2 (Motif cx) . . . . . . . . . . . . . . 20

15. "His Song," mm. 3-4 (Motif cY) . . . . . . . . . . . . . 20

16. "His Song," mm. 49-60 . . . . . . . . . . . . . . . . . . . 22

17. "His Song," mm. 58-59 . . . . ... . . . . . . . . . . . . . 23

18. "His Song," mm. 100-101 . . . . . . . . . 23

19. "Honey," mm. 35-40....... . . . 26

20. "Honey," mm. 41-48 . . . . . . . . . . . . . . . . . . .26-27

vii

LIST OF MUSICAL EXAMPLES (Continued)

Example Page

21. "Barcarolle," mm. 57-60 . .... . . ..... 31

22. "Barcarolle," mm. 75-76 ... ... . . . . . . ...... 32

23. "Juba," mm. 1-8 (ThemeA) . . . . .....................35

24. "Juba," mm. 39-48 (first ten measures ofTheme B)................ . . ... ... . . . .36

25. "Night," mm. 65-73 (score) and mm. 65-73(chart) . . . ..................... . . . . . 46

26. "His Song," m. 14 (score), m. 14 (chart) ..............47

viii

. ;. ,

FOREWORD

The In the Bottom suite, subtitled by Dett as "a characteristic

suite for the piano," depicts scenes and moods in the lives of Black

Americans along the river bottoms of the Southern United States. The

suite is comprised of five movements: the "Prelude" ("Night"), "His

Song," "Honey" ("Humoresque"), the "Barcarolle" ("Morning") and "Dance"

("Juba"). It was composed in 1913, during Dett's tenure at Lane College,

and was published later that year by Clayton F. Summy. The suite was

premiered in Chicago by Fanny Bloomfield-Zeisler, a distinguished concert

pianist of the time. The performance of the suite by Percy Grainger on

many programs helped it to achieve popularity. On June 3, 1914, in

Chicago, the In the Bottoms suite (along with Dett's Magnolia suite)

was performed by Dett in an "All Colored Composers' Concert." Also

included in this concert were works by Samuel Coleridge-Taylor, Harry T.

Burleigh, J. Rosamond Johnson and Will Marion Cook. In the June 4, 1914,

issue of the Chicago Evening Post, the Magnolia and In the Bottoms suites

were given very favorable reviews, as was Dett's performance. The

concert was one of two which contributed to Dett's standing as a composer

and pianist. The other, in which he and Burleigh performed, was pre-

sented at the Samuel Coleridge-Taylor Club, and included the Magnolia

suite.

Having been inspired by Dvorak's inclusion of traditional folk

melodies in larger forms, Dett, in In the Bottoms, made use of charac-

teristics indigenous to Black folk music. (These characteristics will

be discussed in ensuing paragraphs) (4, p. 11). Dett felt that not only

I

, .

2

were Black folk melodies worthy of being used in art music, but that

they themselves could be expanded to become larger forms. It was not,

however, until several years later that this concept clearly became his

objective (4, p. 43).

The most obvious and pervasive use of a Black folk idiom in the

suite is that of syncopation. The syncopated pattern (U),}), appearing

first in measure 37 of "Night" labeled as the head motif of the suite

(since it appears in three of the five movements), is a rhythm pattern

which is characteristic of Ante-Bellum folk dances (2). It is used both

melodically and accompanimentally. In "Night," it appears in Theme B as

shown above; in the "Barcarolle," it appears in Theme A in diminution;

in "Honey," it is used both as an accompaniment to Theme A, and once in

the melody of Theme B. In addition to the usage of the syncopated head

motif, other syncopated patterns are an integral part of the first,

third, fourth and fifth movements.

Another characteristic of Black folk music employed in the suite

is the gapped or altered scale. Dett, in his collection of spirituals,

lists seven scale patterns upon which most Black folk music is based,

noting that these scales are also the basis for most American Indian

folk songs (1).

Example 1. "Some Ancient Modes" from, "The Authenticity of TheSpiritual" in The Dett Collection of Negro Spirituals (Third Group)

lentalomlfc a-Od Fok Song Sae 3,yzantne

4Iiungarian Gyjy d c iewih ii) tl i )ira dd

7.Aeolan (mod lx)

3

Supporting Dett's postulates concerning the use of gapped scales is

Krehbiel's research pertaining to the scale structure of Black folk

melodies in which he catalogued 527 Afro-American folksongs. Of these,

111 were found to be built upon the pentatonic scale and 78 contained no

seventh (3, p. 43). These figures and scale structures become signifi-

cant when examining the various elements of the suite, and will be

mentioned later, in discussions of the individual movements.

Stylistically, the suite is Romantic. Dett makes frequent use of

ninth, augmented sixth and appoggiatura chords. His use of a head motif

throughout the suite creates a cyclic effect, a very popular late-

Romantic technique. Also typical of the Romantic era is Dett's use of

remote key modulations, sometimes to and from keys that are in a third

relationship to one another. Pianistically, he uses full sonorities and

a wide pianistic range. The consistent use by Dett of melodically,

harmonically and pianistically Romantic techniques throughout the suite

clearly makes In the Bottoms stylistically anachronistic, placing it more

in a category with the works of Dett's Romantic predecessors than with

those of his contemporaries.

With the exception of "His Song," which is more homophonic, all of

the movements have a melody-with-accompaniment texture. "Honey" and

"Juba" are closely related to one another in mood in that they contain

syncopated melodies, are in the same major key and have a light, bouncy

quality. "Night" has an opening theme that is somber in mood, in

contrast to the lyricism of the second theme. It thus serves a twofold

purpose: to add an air of solemnity to the movement, and to balance the

playful mood of "Honey" and "Juba." "His Song," an anomaly in the suite

4

because it is homophonic, contains no syncopation and begins in a minor

key. In character, it is in direct contrast to the bounciness and

gaeity of the last two movements. The "Barcarolle," although not an

anomaly, is unique. It is written in the pianistic style of Chopin,

but still has the head motif in the melody (Theme A).

CHAPTER BIBLIOGRAPHY

1. Dett, R. Nathaniel. "The Authenticity of the Spiritual ," The DettCollection of Negro Spirituals, third group, Chicago: Halland McCreary, 1936.

2. . "In the Bottoms," The Collected Piano Works ofR. Nathaniel Dett, Suites reproduced from the original editionpublished by C. F. Summy Co., J. Church Co., and Mills Music;Evanston, Illinois: Summy-Birchard Company, c. 1973.

3. Krehbiel, Henry Edward. Afro-American Folksongs - A Study inRacial and National Music, 4th ed., reprint of the 1914 editionpublished by G. Schirmer, New York; Portland, Maine: LongwoodPress.

4. McBrier, Vivian Flagg. R. Nathaniel Dett: His Life and Works(1882-1943), Washington, D.C.: The Associated Publishers,Inc., 1977.

5

: ,

CHAPTER I

"NIGHT" (The Prelude)

There exists just cause for labeling the form of the first movement

ternary, but with some aberrations. The movement contains three sections,

two of which contain themes in distinct contrast to one another.

Example 2. Robert Nathaniel Dett, In the Bottoms, "Night,"Theme A, mm. 1-19

Adagio Sostenuto 54

D - -- E S,----

464

I4 .

M i {4 i v "t .

6

. 4

7

Example 3. Theme B mm. 49-56

.1 1dra~o " 1Ast

~Lpeggeriiiii

3ttU7

The end of Section A at measure 36 is clearly delineated by a perfect

authentic cadence after which there is a 12-measure transition, the

material of which forecasts the contrasting theme of Section B (which

begins at measure 49). Note that until measure 19 the opening melodic

motif and harmonic progression (labeled Aa) appear in both hands.

Beyond this point the motif appears in the left hand only and may be

interpreted either as thematic with ornamental material above it, or

accompanimental. Since, however, motif Aa appeared at the beginning of

the movement it would more than likely be defined as thematic. Also,

until measure 19, a tonal level has been established but the mode has

been established only through harmonic progression and scale usage as

there is no third present in any of these chords. It is at measure 19

that a cadence is arrived at for the first time, thus establishing more

firmly the section's modality as well as its tonality. In Section A'

(mm. 81-115) motif Aa appears in shorter segments as it was used both

in the beginning of Section A (in both hands), and in the latter part of

Section A (in the left hand only).

8

Without further examination it would seem as though the form of

this movement is most decidedly ternary, the two motivically and the-

matically contrasting sections being cited as the determining factor.

However, the tonal scheme, which along with the contrasting themes would

generally constitute ternary form does not exist here. Section B

(mm. 49-80) also begins and ends on the tonic with a rather brief de-

parture to and return from the relative minor key in the middle of the

section (mm. 68-72). Although the lack of contrasting keys is atypical

of ternary form, the closed key scheme and the two strongly contrasting

themes are indicative of it. The resulting segmentation of the movement

into three distinct sections causes the argument to weight heavily in

favor of ternary form.

The closed harmonic structure of the three sections of the movement

is also illustrative of Berry's definition of compound ternary form, in

which each section is harmonically closed, (1, p. 82). Dett, in this

movement, has capitalized upon both binary and ternary form, in that

Section B (mm. 49-80) is in rounded binary form. The first part of the

section (mm. 49-64) is in the tonic key while the second part (mm. 65-72)

begins in the relative minor key (and progresses back to the tonic) and

is based upon the same thematic material as the first part of the section.

The return to the tonic and to the original thematic material in the

third part of Section B constitutes the rounded part of the binary form.

The thematic structure of this section is binary while the tonal

structure is typical of incipient ternary forms - thus, within this

microcosm of formal structure, Dett has incorporated the hybridization

of the binary and ternary forms.

.. -T c-. . .

9

There are two motifs upon which the entire movement is based (Refer

to appendices A-F for detailed motivic information):

Example 4. mm. 1-4 (motif a)

Adagio Sostenutu i 54

Example 5. in. 49 (motif b)

Moderato d 76

4 n a"t.Ln i

,,qtrlegg4er ss

ale"p

The opening motif, labeled a_ is a rhythmically based motif.

Motif bH ("H" denoting the presence of the head motif) is melodi-

cally and rhythmically based and its function is threefold. It serves a

dual function in measures 37-44, acting first as an introductory passage

by forecasting material in section B, and second, as transitional

10

material between sections A and B. Third, motif bH is used themati-

cally, as part of Theme B.

Melodically, motifs a and bH are used quite differently. The

variations of motif a are used exclusively as a theme in sections A

and Al whereas motif bH, when it appears in Section B, has been expanded

and therefore constitutes only part of a theme.

Dett uses open fifths as an important structural element in the

movement, perhaps as a component of the Black folk idiom, the inclusion

of which is a prime characteristic of his music. He observed that the

spiritual is a unique type of song in that it was born already harmo-

nized, and he is of the opinion "after much research" that there are

more open fourths and fifths used in harmonizing spirituals than is

evident in existing records. He observed also that these fourths and

fifths are consistent with the harmony of the music of Africa (2, p. 4).

The syncopation which gives motif bH its strong rhythmic character

embodies the syncopated pattern ( whichh functions as the head

motif of the entire suite (3, p. 33). This pattern, typically present

in Ante-Bellum folk dances, was often "misused for purposes of cari-

cature" instead of used as a characteristic idiom (3, p. 33).

In keeping with the structural conventions of ternary form, motif

a (used as Theme A) returns in Section A' whereas no element of motif b

is restated later.

There is little real stepwise motion in the melodic structure of

Section A, making the scale construction less apparent, but, every degree

of the D major scale is present. In Section B, however, it is quite

easily ascertained that the basic structural element of the melody

11

therein is the D major scale. Upon further examination, however, one

will notice that the seventh scale degree is not used. Dett has

apparently chosen to alter the scale in the manner which he mentions in

the foreword to his collection of Negro Spirituals in which he discusses

various altered scales. He labels the major scale with no seventh as

"The Old Folk Song Scale," which he says is often found in spirituals

(2, p. 33).

Example 6. "Old Folk Song Scale"

Henry Edward Krehbiel categorized a group of 527 spirituals from six

collections according to scale content. Of this number, 78 were found

not to contain a seventh scale step (4, p. 43).

Harmonically, the style of the movement is Romantic. Dett, in this

melody-with-accompaniment texture makes frequent use in Section B of

appoggiatura chords, favoring the use of the dominant ninth chord for

this purpose.

- _ _ - .

12

Example 7.

Moderato 176

p Ieggierissisno

mm. 49-52

0: S

Also, chords built upon the sixth scale degree seem to be a significant

point of departure in this movement. In Section A, the progression

I-IV-ii-iii-vi (the modes of the chords implied only in progression) is

repeated several times, with the vi chord agogically stressed each time.

Example 8. mm. 1-8

Adagio Sostenuto 54

L"~I *: Y IV 1It iii )

It is important to note that the mode of the vi chord is unspecified

until measure 22, at which time it is major (instead of the customary

minor). It is possible that the vi chord used in the major mode fore-

shadows Section A' in which chords built upon the sixth scale degree are

used in various configurations at various levels as a point of departure

into remote key areas, a discussion of which will be pursued presently.

Vs j

.

13

(This type of modal shifting and interchange is typical of compositions

of the Romantic era, which Dett's style parallels.)

In the first part of Section B (ending with measure 64), the vi

chord (used in minor mode) is used only as an appoggiatura chord, but,

beginning at measure 65 its function is expanded so that it becomes an

entire key area.

Example 9. mm. 65-67

A t t s

Iwo

D1 ai Aw

6: iVolY

Note also that the function of the iii chord (which appeared also in

the original progression with its mode unspecified) has also been

expanded to become a secondary key area.


-- ~- ___-- L &L~iIIF4__L__ _ _ - _ _ _A-

d:)-

b V ~: v ~3161-2 ~' I-

= - IIlipp - I IF'

5fir- , uto- I

-- J

- , -. ,..-.-.w-,,,

.

1-01

Ar

1

14

Mentioned earlier in the discussion was the use of chords built

upon the sixth scale degree as a point of departure into remote key

areas. In the climax of the movement which begins at measure 81, the

vi chord in measure 92 is used in its most altered form, functioning as

a German augmented-6th chord leading to the E-flat major key area.

Immediately following, in measure 93, the flatted sixth scale degree of

D major becomes the bass of the I6 chord in E-flat major. In measure

95, the bVI chord in E-flat (enharmonically the VI chord in D major)

also functions enharmonically as the dominant of E major, which occurs

in measure 97. Note that the bass of the I chord which begins the E

major segment is also the sixth scale degree of D major. Referring back

to the augmented-sixth chord in measure 92 which served as the point of

departure to E-flat major, note that it serves a double function.

First, it functions as a #iv German augmented-sixth in the key of E-flat,

but it is spelled as an incomplete dominant seventh in the key of E

major, the final remote key destination before the return to the original

key.

Dett compares Theme B to the "'tumming' of a banjo" and the open

fifths in Theme A to the "stillness of the night." Theme B, he says,

is only "incidental to the gloom" (3, p. 33). Perhaps the reiteration

and evolution of the vi chord is emphasizing the pervading gloom.


1. Dett, R. Nathaniel. "The Authenticity of the Spiritual," The DettCollection of Negro Spirituals, third group, Chicago: Halland McCreary Company, c. 1936.

2. . "In the Bottoms," The Collected Piano Works ofR. Nathaniel Dett, suites reproduced from the original editionpublished by C. F. Summy Co., J. Church Co., and Mills Music;Evanston, Illinois: Summy--Birchard Company, c. 1973.

3. Krehbiel, Henry Edward. Afro-American Folkson s, A Study in Racialand National Music, 4th edit., Portland, Maine: LongwoodPress, 1976.

15

-

CHAPTER II

"HIS SONG"

Though there are deviations from what would be considered the

"normal" formal structure, "His Song" falls most decidedly within the

constraints of binary form. The movement is monothematic (theme A'

being based upon theme A) with each phrase constituting a phrase of the

theme or a fragment derived from it.

Example 11. "His Song" (Theme A) mm. 1-16

J:120Andante non troppo, ma pi6 patetico

-ri-ten - - torid. accel. a Irmpo ss _--

*5 r b . * . *

Ye ~ tvZ 7

-- ' 4 a

atetnpo-u-tr accept . ,~foo acl i Ltnut

_ _ _ _+__ _

* taX:Amd=

uo*,o d

16

at i Ai('0

b

. .-.. 3 -. . :;

ASP

M

17

Because it is monothematic, this movement is not as much of a formal

enigma as the preceding movement though, melodically speaking, it is

divided into three sections. Overall, the form is an asymmetrical

(rounded) binary, Sections A' and A" combined (because of like key)

being significantly longer than the first.

The key scheme follows that which is typcial of binary form in that

the second section centers around the dominant. This is an occasional

exception to binary pieces in' the minor mode in that it centers around

the major dominant (1, p. 37) (A), and later crosses the relative major

(F). As is also the case in binary form the second section traverses

several key areas (see Appendix C [chart]). The theme is restated in

the major tonic in Section A" (measure 85) which constitutes the rounded

part of the binary form. That this restatement, however, is separated

from the second section by transitional material therefore creating a

third section would seem unusual, but it is important for one to notice

that the transitional material (being a fragment of the theme) is remini-

scent of Sections A and A' as well as a forecaster of that which is

about to follow.

18


Another slight deviation from the norm is found at the end of Section A.

This section is harmonically closed, and cadences on the tonic instead

of the dominant.

Though only one section of the movement is labeled as transitional

in the diagram, the passage from measures 61-76 performs a double

function in that it serves as an extension of the last phrase in Section

A' and is also harmonically transitional.

19


Crvsc

41

C:.t t .G t (7V}.T I v e L

By examining both transitional passages (measures 61-76 and measures

77-84) one will notice that they are based respectively upon the last

two and first two measures of the first phrase of the theme. It is a

very interesting thought that in treating each half of the phrase

separately, 'developing' each somewhat, perhaps Dett is hinting at the

hybridization of the binary and sonata forms. Thus using a formal

structure having its origins in a tripartite structure and applying it

to a monothematic structure using the two halves of a phrase as separate

entities.

20

The movement is built upon two motifs which constitute the first

and second halves of the first phrase (and third phrase, since it is the

same), respectively. Neither motif is treated separately until measure

61 as mentioned earlier.

Example 14. mm. 1-2 (Motif cx)

[P: -

p

S

Example 15.

i.

mm. 3-4 (Motif cy)

ri. accel.

The underlying melodic structural element of the theme is the

harmonic minor scale. It is reminiscent of the spirituals (modeling the

plaintive rather than joyful type), and depicts an old man singing a

21

sorrowful song (2, p. 33). The theme of this movement bears a striking

resemblance to a little known version of "Nobody Knows the Trouble I've

Seen" (Appendix G) in scale structure and melodic contour (3). It is

not known, however, if Dett was influenced by this version in the writing

of this movement, or, for that matter, if he had ever seen or heard it.

Perhaps it is the style and idiom that Dett was trying to portray

rather than a specific piece of music, as it was Dett's mission to

include and elaborate upon the Black folk idiom in art music.

A predominating element in the theme and throughout this movement

is that of arch and balance. In the first phrase, the steady upward

movement in half notes of the melody in the first three measures is

counterbalanced by a stepwise descent in triplets in the last (see

example -13). The entire theme reflects a macro-structure in this manner

as the melodic motion in the first three phrases is predominantly upward,

and it is downward in the last phrase.

There is further counterbalancing of melodic elements in Section

A' when the melodic contour of the theme is inverted (mm. 49-60). Note,

however, the absence of the fourth phrase, and in its place the

extension-transitional material. As mentioned before, the material is

derived from the first phrase of the theme.

22


p atempo semplice p .acce. atempo semplice

un p o. pa ;clone , 4iarg pia acel.

Harmonically, "His Song" is closely related to "Night" in that

Dett emphasizes chords built upon the sixth scale degree. In measures

7 and 23 an augmented-sixth chord is built upon the minor sixth scale

degree, and is used in a traditional manner, as a dominant preparation.

(In measures 14 and 30 the same chord is implied in function but is

spelled differently and is in a different inversion). In Section A',

the sixth scale degree is not used as the root of any chord until

measure 69 but in measure 58 plays a most important role as a passing

seventh, affecting a tonicization of (or temporary modulation to,

depending upon one's point of view) F major.

:

23


i0)ne allarg.

c: 78w 4t0-F: 73 ts '

Of primary importance is the role of the sixth scale degree in

Section A" at measure 101 (which is now the flatted sixth scale degree

as the movement has modulated to D major). As B-flat has been emphasized

throughout the movement it seems quite fitting that Dett would affect a

brief tonicicization of it here.

Example 18. mm. 100-101

t&* . tA

t. ciVh

21V Y


1. Berry, Wallace. Form in Music, Englewood Cliffs, N.J.: Prentice-Hall, Inc., c. 1966. Berry points out that this deviationsometimes occurs in the minor mode.

2. Dett, R. Nathaniel. "In the Bottoms ," The Collected Piano Works ofR. Nathaniel Dett, suites reproduced from the original editionpublished by C. F. Summy Co., J. Church Co., and Mills Music,Evanston, Illinois: Summy-Birchard Company, c. 1973.

3. Source of spiritual unknown. In performance, the seventh step wasraised, but it is written without the raised seventh step.

24

CHAPTER III

"HONEY"

"Honey" is a 2-part form (AB); however,, to assign the label of

binary to this particular 2-part fbrm would be somewhat inaccurate,

because the two parts are motivically unrelated (refer to Appendix C).

The two parts of the movement combine to create an asymmetrical form,

with Section A (mm. 1-28) twice the length of Section B (mm. 29-44).

Section A is further divided into two similar sections which are

separated from each other by a brief transition (mm. 17-20). This

division of Section A helps to balance the brevity of Section B.

Section A ends in the tonic (F) and although Section B begins there,

it modulates to A-flat major (m. 36), after which the key of B-flatminor is hinted at, but there is no full cadence therein. Instead, in

measure 39, a #iv 6IT chord in the key of B-flat minor resolves to V.

25

_

Example 19. "Honey," mm. 35-40

molto teneramente e cantabile

a empori express. -t-

I -I v

b; vi*7

r ten - u - to

The dominant chord, however, is not resolved to its tonic, but serves

as a pivot chord in the subsequent movement back to F major which

culminates in a perfect authentic cadence in that key, in measure 48.

Example 20. "Honey," mm. 41-48

tif a tempo quasi ec/o

26

nj r. e p u express.

{

,, I'll- 41 w -owusml , . I ul lq

27

Allegro con brio

I Ill'mm nam. AO L

quasi echo rii. e

( pp pi A espress. sf piz.

There is no actual restatement of Theme A, but the section

beginning with the last two sixteenth notes of measure 44 and extending

to measure 47 serves as both a coda and the rounded part of this binary

form. Although there is no actual restatement of Theme A, the coda

(which is in the original key) is based upon it and is related closely

enough to it to be perceived as a restatement of it.

As in other movements in the suite, the head motif is the source

of motivic materials. It is used accompanimentally in Sections A and

B, and melodically in Section B. (See Appendix D for motivic derivation.)

As in "Night" (and "Barcarolle"), the flatted sixth scale degree is

emphasized but not to so great an extent. It is important to point out

that in this movement, the flatted sixth is merely emphasized and is not

used as a point of departure as in the Prelude. It first appears in

Section A (in measure 19) and, although it is stressed metrically, it is

only used melodically. In Section B (in measures 30 and 32), it is used

:po-

28

harmonically as the root of a flat-VI chord. The chord is emphasized by

means of repetition of the I-bVI chord progression. In measure 35, the

chord built upon this scale degree also appears as a IV chord in the key

of A-flat major. The flatted sixth scale degree is then used for the

last time in measures 43 and 44 as a point of melodic pause, adding a

small amount of tension to the melddy before the final cadence.

'mussia-u- loom,&

CHAPTER IV

"BARCAROLLE"

"Barcarolle," in the style of Chopin, is characterized by the

pervasive use of ninth chords, appoggiaturas and appoggiatura chords.

Also characteristic of Chopin's music and of this movement are the use

of runs in the right hand over the left hand accompanimental pattern,

and the broad pianistic range.

The movement, in an ABA'B' organization, defies further formal

title categorization. The second theme (mm. 21-56) is stated not in a

contrasting key, but in the tonic, and is followed by a four-measure

transition (mm. 57-60) after which the first theme, "A" (derived from

the head motif), is restated. Note that A' is a single, not double,

period as was A.

TABLE I

"Barcarolle," Thematic and Tonal Diagram (mm. 1-70)

mm. 1-4 5-20 21-56 57-60 61-62 63-70Intro. A B Trans. Reintro. A' (cont'd)

T T T T

The second theme, following a 9-measure transition (mm. 71-79), is also

restated as B' in a melodically varied form. This statement of B' is

also in the tonic, beginning with a tonicization of the subdominant,

creating a sense of departure from the tonic. There is no further

29

,.,{. ti .,.. st.rYdulifaW. iilatl i);.r ._...

30

statement of the first thematic group. Although measure 80-112 provide

a coda effect, measures 95-112 (instead of measures 80-112) have been

labeled as the coda for three reasons: In measures 80-94 a variation of

Theme B is stated whereas measures 95-112 are only fragments of the

theme. Another reason is the release of the "C" pedal after measure 98.

It has given measures 80-94 a coda effect but its release causes a

break in the uniformity, thus creating the feel of a new section. The

last consideration is the number of measures the coda would occupy if

it encompassed measures 80-112. A 32-measure coda would constitute a

disproportionately long coda for a movement of this length.

TABLE II

Thematic and Tonal Diagram (mm. 71-112)

mm. 71-79 80-94 95-112

Transition B' Coda

Transient T T

Note that the coda serves a double function, both as a coda and as

a phrase extension of B'.

The transitional material in this movement is of special interest.

There are two transitions, the first of which (mm. 57-60) connects

Theme B to Theme A'. This re-transition, derived from thematic group B,

reflects a harmonic rhythm similar to that in each of the thematic

groups in that it contains no more than two harmonies per measure.

31


dint tHlto tranqutill

The second transition (mm. 71-79) connects Theme A' to B'. Motivically,

it is derived from motif iH. Unlike the first, this transition has arapid harmonic rhythm, containing at least four harmonies per measure

in the first five measures (mm. 71-75). This transition is also

interesting in that it cannot be defined in terms of a specific key,

but may be considered eventually as a chain of French augmented sixth

chords resolving irregularly into one another. For example, the first

chord of measure 75 is an enharmonically spelled French augmented sixth

chord, but the augmented sixth above the bass (spelled as F) and the

tritone (D-flat) resolve down instead of up a semi-tone, and the re-

maining two pitches resolve normally, thus forming another French sixth.

It is important to note that the bass resolves normally. The pattern is

followed for the duration of the measure, thus resulting in the chainwhich ends with a iiFR chord in C major, which resolves to the dominant

of that key.

, , . -, d E

32


Tempo

updolce agrazioso

This second transition assumes importance also, because, even though it

is not in a specific key but traverses several, it is the one portion

of the movement that is most definitely not in the key of C major.

Perhaps Dett uses this section to affect contrast, since it was preceded

by the restatement of Theme A (in the tonic) and will be followed by a

restatement of Theme B (B', also in the tonic).

Also worthy of attention are the comparative lengths of the two

thematic groups, and, consequently, the comparative amounts of space

they occupy within the movement. Note that each thematic group contains

four phrases, but the phrases in Thematic Group B are twice the length

of those Theme A (four and two measures, respectively). Themes B and

B' are sixteen measures in length and occupy sixty-four measures, whereas

Themes A and A' are eight measures in length, and occupy only thirty

measures.

In Section B', as in "Night" and "Honey," Dett emphasizes the

flatted sixth scale degree. However, in this case, it does not assume

INA

33

the harmonic significance that it did in the Prelude. The flatted

sxith (A-flat) in this case is used repeatedly as an appoggiatura to

V, thus emphasizing the dominant.

_, -

CHAPTER V

"DANCE" ("JUBA")

"Juba" exhibits perhaps the most pervasive use of the Black folk

idiom within the suite. It is fashioned from a dance rhythm of the

same name which was popular with the slaves and had its roots in

African music. Reported by European travelers as early as the seven-

teenth century, the practice of "patting juba" (or "juber" as it was

referred to by some) evolved among the slaves because of the prohibition

of the use of drums by slaves in the colonies. Thus it compensated for

the lack of a rhythm instrument (4, pp. 141-143). Juba later developed

into an Ante-Bellum Louisiana folk-dance, which was the inspiration for

this movement. While living on the campus and teaching at Lane College

in Jackson, Tennessee, Dett saw two boys playing outside his cottage.

He captured the rhythm of the game and wrote "Juba." It was only after

completing the composition that he found out that the game was derived

from the Louisiana folk-dance, and thus, gave the composition the same

name (5, p. 16).

The rhythm pattern in the left hand ( ,F2j), which is present

throughout the majority of the movement, depicts the term "juba" which

is a stomping of the foot followed by two short claps of the hand in

two-four meter (3, p. 33). The pattern was used to accompany dancing,

and a fiddler was usually present.

Another interesting feature of this movement that draws upon the

Black folk idiom is the widespread use of the interval of a fourth in

34

35

the right hand throughout Sections A and A'. As was already discussed,

Dett states that the spiritual is unique in that it was born 'already

harmonized' and that his research led him to conclude that its harmon-

ization contained more open fourths and fifths than was evident in

existing records--a characteristic consistent with the harmony present

in African music (2, p. 4).

Also reflective of the Black folk idiom in this movement is Dett's

use of the pentatonic scale in the melody of Theme A. Although there is

some controversy surrounding the belief that its use is indigenous to

Black folk music, there is evidence in support of this belief (1, pp.

15-16).

"Juba" fits well within the boundaries of formal title categor-

ization, though not without some deviation. The movement is in ternary

form with the second theme stated in a contrasting key.

Example 23. "Juba" mm. 1-8 (Theme A)

Non Troppo Allegro ( 1120 -144 )

non le~aL

36

Example 24. mm. 39-48 (first ten measures of Theme B)

ss 4

- S

'ft Y1t 4 . fS

The one departure from conventional ternary form is the statement of

Theme B (mm. 39-56) in the subdominant. In addition to this reversed

tonal relationship between the two themes, Dett once again departs from

convention by beginning Section A' (mm. 57-80) in the supertonic (the

relative minor of B-flat, the key in which Theme B is stated). Theme A

is, however, restated in the tonic (mm. 73-80) before the section ends.

Since Section A begins with a statement of Theme A in the supertonic,

this segment (mm. 61-72) functions as a retransition or false recapitu-

lation to Theme A in the proper key of the tonic. It is interesting to

note that Section A' (in G minor) is related harmonically to Theme B

which it follows, and motivically to the statement of Theme A in the

tonic which it re-introduces.

37

In Section A', the restatement of Theme A is abbreviated, with someof the material (mm. 17-30B) from Section A deleted. Thus, the restate-

ment of Theme A is only twenty measures long; whereas, the length of

the initial statement is thirty-eight measures. This justifies, however,

the use of a rather lengthy coda (mm. 81-103), which balances the

movement.

Although no thematic material is present in the coda, the rhythm

pattern that was present in the bass line throughout Sections A and A'( ,Pj ) is divided between the right and left hands, alternating with

a continuous sixteenth-note pattern. A similar division of this rhythm

pattern between both hands is also present in measures 17-28 of Section

A.


1. Courlander, Harold. Negro Folk Music, U.S.A. New York and London:Columbia University Press, c. 1963.

2. Dett, R. Nathaniel. "The Authenticity of the Spiritual," The DettCollection of Negro Spirituals, third group, Chicago: Halland McCreary, c. 1926.

3. . "In the Bottoms," The Collected Piano Works ofR. Nathaniel Dett, Suites reproduced form the original editionpublished by C. F. Summy Co., J. Church Co., and Mills Music;Evanston, Illinois: Summy-Birchard Company, c. 1973.

4. Epstein, Dena J. Sinful Tunes and Spirituals, Urbana, Chicago &London: University of Illinois Press, c. 1977.

5. McBrier, Vivian Flagg. R. Nathaniel Dett: His Life and Works(1882-1943), Washington, D. C.: The Associated Publishers,Inc., c. 1977.

38

CONCLUSIONS

There are several characteristics which in combination contribute

to the cohesiveness of In the Bottoms.

Dett's use of a head motif is the strongest unifying force within

the suite. As shown previously, the head motif (the rhythmic configur-

ation of which is a part of the Black folk idiom) is used accompanimentally

as well as melodically.

The suite is further unified by other uses of the Black folk idiom

such as syncopation other than the head motif, and the melodic usage of

scales with a configuration other than major or minor, as was seen in

the first, third, fourth and fifth movements.

Three of the movements share formal charactertistics in that they

may be categorized under formal titles. "His Song" is in binary form,

and "Night" and "Juba" are ternary. There are, as discussed earlier,

aberrations within the formal structures, and they are in the form of

tonal, not thematic deviations. While "His Song" is monothematic, the

other movements each contain two themes. A rather interesting occur-

rence is that the second theme in the first, third and fourth movements

all begin in the tonic.

As was mentioned in the introductory paragraphs, Dett's use of

ninth and augmented sixth chords as well as appoggiaturas and

appoggiatura chords is fairly consistent throughout the suite. His

penchant for chords built upon the flatted sixth scale degree is evident

in more than one movement, as was seen in the first, third, and fourth

39

,_ e

40

movements. For example, in "Night," the vi chord is agogically stressed

in Section A. In Section A' a variety of chords built upon the sixth

scale degree are used. In Section B' of the "Barcarolle" the VI chord

is stressed agogically, and the same is true in Section B of "Honey."

The similarities and contrasts in the In the Bottoms Suite have

been combined by Dett in a manner that gives it divergence while main-

taining cohesiveness.

The In the Bottom Suite (and Dett's music in general) parallels

more closely that of his Romantic era predecessors than that of the era

in which he lived and composed. In the Bottoms and the music of both

Dett's European and American contemporaries do, however, share common

elements.

Of Dett's European contemporaries, there are several who incorporated

the Black folk idiom in their music although their compositional styles

and Dett's were unrelated. Debussy in "Golliwog's Cake Walk" uses a

syncopated melody with a steady bass, depicting a ragtime piano piece.

Stravinsky in 1920 wrote Piano Rag Music as well as instrumental music

in Ragtime style. There is, in Hindemith's piano suite of 1922, a

Ragtime finale (3, pp. 331-332). It is interesting to acknowledge what

was taking place in the European compositional mainstream during the time

that In the Bottoms was composed. In addition to impressionists Debussy

and Ravel and the more tonality-oriented composers who exploited tonality

to its limits (such as Hindemith, Richard Strauss and Scriabin)

Schoenberg, Webern and Berg were actively composing. "Juba" was composed

in 1912, the same year as was Schoenberg's Pierrot Lunaire, and

Stravinsky's Sacre Du Printemps was composed in 1913, the year in which

"*WA-

41

Dett composed the remainder of In the Bottoms. The disparity between the

styles of these composers and, that of Dett is obvious.

In America, at the time that Dett was actively composing, there was

a movement toward Ragtime in which large numbers of Black American

composers were involved. These composers had taken a style of music

that was essentially European and added an ethnic flavor to it, thus

creating a new genre, whereas Dett used the Black folk idiom but main-

tained the European style. In some cases he took the idiom and expanded

it to a larger form rooted in the European tradition. Although Dett

was not a composer of Ragtime, it appears that he may have been in-

fluenced by this new genre. There is such evidence in "Juba," with its

steady-beat, eighth-note bass and syncopated melody in Theme A.

Dvorak, who as mentioned earlier influenced Dett with his use of

the Black and Indian folk idioms, encouraged American composers to let

the Black folk melodies be a source of inspiration to them, when he

arrived in America in the early 1890's. Although he espoused the

practice of using the Black and Indian folk idioms in larger forms, it

is said that the material that he used cannot be designated exclusively

American in character because "gapped scales and 'Lombard' rhythms are

also prominent characteristics of Czeck folk music" (1, p. 231).

Edward MacDowell (1861-1908) and Louis Moreau Gottschalk (1829-

1869) were two American composers to whom Dett's compositional style

was closely related. MacDowell, who composed during Dett's lifetime,

believed in composing in continuous forms rather than within the

constraints of traditional forms. Two of the movements of Dett's In the

Bottoms ("Barcarolle and Honey") defy formal title categorization and

42

the remaining three are traditional forms but with aberrations. Like

Dett's, MacDowell's style was Romantic. Influenced by Grieg, he made

use of ninth chords, remote key modulations and very full sonorities,

often emphasizing the lower register. In addition, he used Wagnerian

chromatic harmony, appoggiatura dissonances and frequent enharmonic

modulations--characteristics not as radically employed by Dett. His

music, like Dett's, was often programatic. He was not, however, as

strongly inclined as Dett toward the use of the Black folk idiom in his

music. The idiom is much more pervasive in the piano and instrumental

music of MacDowell's pupil, Henry F. Gilbert (1868-1928), whose piano

music shows the influences of the cakewalk and of ragtime.

Gottschalk, whose piano works were Romantic in style and closely

resemble Dett's, also made use of the Black folk idiom. Measures 171-

186 of "Le Banjo" bear such a striking resemblance to Stephen Foster's

"Camptown Races" that it is difficult to believe that Gottschalk was

in France when it was composed and was therefore unaware of it (1, p.

75). In construction, "Le Banjo" bears somewhat of a resemblance to

"Juba," with its steady eighth-note rag-type bass and the division of

a steady sixteenth note pattern between the right and left hands. In

"Souvenir de Porto Rico" a specific kind of syncopated pattern

(emphasizing J and A1), which is believed to be an essentialcomponent of "patting juba," is present (2, p. 120-121). Like Dett,

Gottschalk made use of Romantic techniques such as ninth chords,; a Wide

pianistic range, runs and remote key modulations. Like MacDowell, he

made frequent use of the lower register.

Dett, in taking the Black folk idiom and incorporating it in (or

expanding it to become part of) a style rooted in the European tradition

43

has, along with his compositional counterparts created a successful

hybridization of two genres, thus making a unique and valuable

contribution to musical composition.

CONCLUSIONS BIBLIOGRAPHY

1. Hitchcock, H. Wiley. Music in the United States: A HistoricalIntroduction, Englewood Cliffs, N. J.: Prentice-Hall, c. 1969.

2. Longyear, Rey M. Nineteenth-Century Romanticism in Music, 2nd ed.,Englewood Cliffs, N.J.: c. 1973, 1969.

3. Southern, Eileen. The Music of Black Americans: A History, NewYork: W. W. Norton & Company, Inc. , c. 1971.

44

APPENDIX A

Chart Information

The information supplied in the following charts is a comprehensive

representation of the formal, tonal, harmonic and motivic elements in

the movement.

The formal information is provided in the top portion of the chart.

There is, however, some duplication of this information, at the bottom

of the chart, which will be discussed later. Each section (and theme)

is demarcated with an upper case letter. This lettering begins anew

with each movement. Note that the appearance of a new upper case letter

signifies the appearance of a new theme as well as a new section. The

information regarding phrase lengths is supplied at the top of the

chart, in the form of measure numbers, with the measure numbers of each

phrase bracketed together.

Information regarding the tonal and harmonic structure of the

movement is supplied in terms of key areas, chords and cadences (see

Appendix for cadence abbreviations and chord symbols). The level of a

cadence is indicated by a Roman numeral in the section of the chart

immediately below the cadence type. At points where some modulations

occur and in instances where there is harmonic ambiguity, layered

analysis is used. 1 For example, in measure 65 of the Prelude, there is

uncertainty as to the tonal level of the section, since there is no real

modulation to or cadence in another key. Therefore, the section may be

45

46

analyzed in terms of D major, the original key, and in terms of b and

f-sharp minor, because both pitches are metrically and agogically stressed.

The layered analysis begins at measure 65 and continues until measure 73

when it is evident that the movement is, once again in the key of D

major.

Example 25. "Night," mm. 65-73 (score) and mm. 65-73 (chart)

AI

" --

1A VWri A_IF I

65 66 'i q9 o 12

(z)

VR

4;v'

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vI

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SectI onPhrasesMeas #

Key Area

Chords .. -m

2

47

Some chords are spelled one way but function enharmonically in

another. Such chords are in parentheses and labeled according to the

manner in which they function. For example, in measure 14 or "His Song,"

there appears to be a V17 chord. Since this chord functions as a #ivGR

(spelled enharmonically), it is in parentheses and thus labeled.

Example 26. "His Song," m. 14 (score) m. 14 (chart)

41

accel.

Implied and non-essential harmonies are also parenthesized.

The motivic information is located at the bottom of the chart and is

divided into those motifs appearing in the right and/or left hand(s). As

mentioned earlier, formal information is also included in this portion of

the chart. The formal and motivic information in this portion of the chart

is consolidated so that each motif is labeled with an upper case letter

indicating the section (and theme) in which it is located, and a lower

case letter indicating the motif's chronological appearance (and

parallelism between phrases). For example, motif "Ac" means that it

is located in Section A of a movement and is the third motif in the

suite. Upper case lettering, demarcating the sections (an themes), as

48

mentioned previously, begins anew with each movement while lettering

for the motifs is continuous throughout the suite. Transitions,

introductions, and codas are listed as such, along with lower case

letters (placed next to them in parentheses) signifying the motivic

derivation (if any). All motivic and thematic material referred to

in the text is referenced by the label assigned to it in the chart.

The information supplied in the charts is in the same order and

format for each movement. However, there may be occurrences in a

movement that are unique or that require further explanation. Such

exceptions are explained below:

Prelude

As mentioned in the discussion of the "Prelude" there are chords

in Sections A and A' that contain no third, and, therefore, cannot be

analyzed according to quality (mm. 1-34 and mm. 81-90, respectively).

These chords have been analyzed according to what the quality of the

complete chord would be in the key of D major. These chords have been

placed within brackets.

His Song

It was not possible to diagram in detail the motivic structure of

this movement in the chart, because this monothematic movement contains

several configurations of motif "c." The motif has been divided into

two fragments, "cXi" and "c," demarcating the first two and second two

measures of the motif, respectively. (The "A" demarcating the theme

has been omitted from the diagram.) As will be discovered by comparing

measures 1-4 to measures 5-8, the "y" half of motif c is varied, thus,

49

labeled "cy'." By examining the diagram below one will see the various

configurations of both halves of motif "C'," as well as parallelism

between phrases.

Table III. - "His Song": Breakdown of Motivic Fragments

mm# 1-2 3-4 5-6 7-8 --- 13-14 15-16

Motif cX c c cx --- cx(inv.) cx2

Barcarolle

Measures 71-75 are tonally transient, a quality best diagrammed

with a layered analysis. The complex tonal structure of this passage,

however, rendered its diagram too involved to be included in the chart.

It has, therefore, been provided below. (See Appendix D-1).

Symbols Used

The following symbols are used in the detailed charts of each

movement of the. suite.

I. MOTIVIC AND THEMATIC INFORMATION

Upper case letters - denote sections and themes, beginning with "A"

in each movement.

Lower case letters (except x and y) - label motifs. The lettering is

continuous, from the beginning to the end of the suite.

(x and Y) - denote the first and second halves of a motif.

Subscripts - denotes variations on a motif. A first variation will be

labeled as "1," a second variation as "2," etc. (Note: if there is a

variation on a motif which begins a theme, a variation on the theme will

also be indicated.)

inv - motif is inverted.

" -

50

II. HARMONIC INFORMATION

Roman Numerals- indicate the function of a chord. Upper case Roman

numerals indicate major chords or triads and lower case Roman numerals

indicate minor triads.

Symbols:

+ - Augmented chord or triad.

o - diminished chord or triad.

Note: Introductory material, transitional material or a coda followed

by a motif name in parentheses signifies that such material is based

upon that motif.

0 - half diminished seventh chord.

Cadences: P.A.C. - Perfect authentic cadence

I. A. C. - Imperfect authentic cadence

H.C. - Half candence

Note: Both the horizontal and diagonal slashes (-, I) are used to

denote secondary function chords such as secondary dominants.

APPENDIX A BIBLIOGRAPHY

1. Arnold Schonberg. Structural Functions of Harmony (New York: W. W.Norton, 1969). Layered analysis as described in illustrationby Schonberg throughout the text is used in the charts.

51

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BIBLIOGRAPHY

Books

Courlander, Harold. Negro Folk Music U.S.A., New York: ColumbiaUniversity Press, c. 1963.

DeLerma, Dominique-Rene. "The Man," The Collected Piano Works of R.Nathaniel Dett, R. Nathaniel Dett, suites reproduced from theoriginal editions published by C. F. Summy Co., J. Church Co. andMills Music; Evanston, Illinois: Summy-Birchard Company, c. 1973.

Dett, R. Nathaniel. The Dett Collection of Negro Spirituals, Chicago:Hall and McCreary Company, c. 1936.

. "In the Bottoms," The Collected Piano Works of R.Nathaniel Dett, suites reproduced from the original editionspublished by C. F. Summy Co., J. Church Co. and Mills Music;Evanston, Illinois: Summy-Birchard Company, c. 1936.

Epstein, Dena J. Sinful Tunes and Spirituals, Urbana, Chicago, London:University of Illinois Press, co. 1977.

Gottschalk, Louis Moreau. Piano Music of Louis Moreau Gottschalk,selected and introduced by Richard Jackson, New York: DoverPublications, c. 1973.

. 10 Compositions for the Pianoforte, New York:Chappell and Co.

Hitchcock, H. Wiley. Music in the United States: A HistoricalIntroduction, Englewood Cliffs, New Jersey: Prentice-Hall, Inc.,c. 1969.

Jones, Bessie and Bess Lomax Howes. Step it Down, New York: Harper &Row Publishers, c. 1972.

Krehbiel, Henry Edward. Afro-American Folksongs, a Study in Racial andNational Music, 4th ed., reprint of the 1914 edition published byG. Schirmer, New York; Portland, Maine: Longwood Press, 1976.

Landeck, Beatrice. Echoes of Africa, New York: David McKay Company,c. 1969, 1961; second printing, September, 1971.

70

i- i -

71

Longyear, Rey. M. Nineteenth-Century Romanticism in Music, Nineteenth-Century Romanticism in Music, 2nd ed., Englewood Cliffs, New Jersey:Prentice-Hall, Inc., c. 1973, 1969.

MacDowell, Edward.Style, Op. 39,c. 1890.

Twelve Etudes for the Development of Technic andBoston, Leipzig, New York: Arthur P. Schmitt, Co.,

. Zwolf Virtuosen Etuden, Op. 46, Leipzig, Berlin,Brussels, London, New York: Breitkopf & Hartel, c. 1894.

McBrier, Vivian Flagg. "The Piano Music," The Collected Piano Works ofR. Nathaniel Dett, suites reproduced from the original editionspublished by C. F. Summy Co., J Church Co. and Mills Music;Evanston, Illinois: Summy--Birchard Company, c. 1973.

.R. Nathaniel Dett, His Life and Works, Washington,D.C.: The Associated Publishers, Inc., c. 1977.

Nettl, Bruno. Folk Music in the United States - an Introduction, 3rded., revised and expanded by Helen Myers, Detroit: Wayne StateUniversity Press, 1976.

Schonberg, Arnold. Structural Functions of Harmony, New York: W. W.Norton & Company, Inc., c. 1969.

Southern, Eileen, The.Music of Black Americans, New York: W. W. Norton& Company, Inc., c. 1972.

Southern, Eileen, editor. Readings fin Black American Music.W. W. Norton & Company, Inc., c. 1972.

Recordings

New York:

Dett, R. Nathaniel.9500096, 1976.

"In the Bottoms," perf. by Clive Lythgoe, Phillips

. "In the Bottoms" in Natalie Hinderas, Pianist PlaysMusic by Black Composers, Desto DC 7102-3.

Gottschalk, Louis Moreau. Great Galloping Gottschalk America's FirstSuperstar, performed by Ivan Davis, piano, Decca cs6943.

MacDowell, Edward. "Twelve Virtuoso Studies, Opus 46,".in Malcom Fragerplays Adolph Martin Foerster,.Henry F. Gilbert, Henry Holden Huss,Ethelbert Nevin, Horatio Parker, Edward MacDowell, John KnowlesPaine; New World Records nw206 stereo.

Documents

Presented to the Graduate Council of the North Texas State …/67531/metadc504233/... · premiered in Chicago by Fanny Bloomfield-Zeisler, a distinguished concert pianist of the time