Central Washington University Central Washington University

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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"

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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).