2
10
193
-
https://archives.library.wcsu.edu/omeka/files/original/Ruth_Steinkraus-Cohen_Collection_MS_056/7989/ms056_01_4.1.pdf
e23e9fd5b0f5c07a2889137b7c71b41b
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Ruth Steinkraus-Cohen Collection, MS 056
Abstract
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The collection is comprised of mostly of sheet music which span the years 1800 to the 1960s. Also included are publicity photographs and other images of Steinkraus in her career as a pianist, radio host and activist for world peace.
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<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms056_steinkraus.xml">Link to finding aid.</a>
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a87904d6-16f8-4e2c-a53d-7b86fd455ead
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A second sett of favorite airs and a march : arranged as rondos for the piano
Creator
An entity primarily responsible for making the resource
Cianchettini, Veronika Dussek, 1769-1833.
Description
An account of the resource
11 pgs
Abstract
A summary of the resource.
Autographed?
https://en.wikipedia.org/wiki/Katerina_Veronika_Anna_Dus%C3%ADkova
Date
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1805?
Subject
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Piano music
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ms056_01_4.1
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London : Goulding, Phipps & D'Almaine, [1800?].
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<a href="https://archives.library.wcsu.edu/relatedObjects/MS056/ms056_01_4.1/#page/1/mode/2up" target="_blank" rel="noopener">Page turner version</a>
IIIF Item Metadata
UUID
9550740c-5999-41ac-b077-4d5fa3e0f759
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Marian_Anderson_Collection_MS_068/5228/ms068_01_02_007.jpg
5aa29889c97e8889a47b73b3bb0e419d
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Marian Anderson Collection, MS 068
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4e1929c5-b058-4ab8-b083-5fc7dbbd9f0e
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Academy of Music, Philadelphia, Jan. 11, 1955 (with Autograph)
Description
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8.5 x 5.5", flier
Abstract
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Folded page from a performance program with a page from an autograph book.
Date
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1955
Subject
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Anderson, Marian, 1897-1993
IIIF Item Metadata
UUID
4fd33971-7316-4ea8-b4e6-b2bdbe034d4d
Marian Anderson
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Truman_Warner_Anthropological_Collection_MS048/5173/ms048_019.jpg
c01ccaf1576470fea76e10a7e59a76b8
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Truman Warner Anthropological Collection, MS048
Description
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This is a small collection of objects from Asia, Africa, the Americas and New Guinea collected presumably from the 1960s and 1980s by Truman Warner to be used in class and for his personal collection. The collection is predominantly made up of musical instruments and masks.
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Davis, Richard
Warner, Truman
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<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms048_warnerArtifacts.xml">Link to finding aid.</a>
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897d200e-cceb-4f59-939c-bc7fe2a80110
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Title
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Akonting
Description
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30 x 9"; Wood and hide
Abstract
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A two-stringed West African musical instrument; consists of a wooden body and a hide membrane which are bound together. On the back is a strap which would allow the musician to stand while playing.
Date
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1960s
Subject
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Musical instruments--Africa, West
Creator
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unknown
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ms048_019
IIIF Item Metadata
UUID
aa7085cf-5798-44e0-8897-fdba653b9198
Africa
Folk lutes
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Truman_Warner_Anthropological_Collection_MS048/5175/ms048_018.jpg
b6a9bed155269d3f0f31519544affb8c
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Title
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Truman Warner Anthropological Collection, MS048
Description
An account of the resource
This is a small collection of objects from Asia, Africa, the Americas and New Guinea collected presumably from the 1960s and 1980s by Truman Warner to be used in class and for his personal collection. The collection is predominantly made up of musical instruments and masks.
Contributor
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Davis, Richard
Warner, Truman
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<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms048_warnerArtifacts.xml">Link to finding aid.</a>
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UUID
897d200e-cceb-4f59-939c-bc7fe2a80110
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Title
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Algaita (2)
Description
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2, 17 x 4"; Wood
Abstract
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Two flute-like woodwinds (Shawms) with expanded ends or bells. They each have 4 finger holes, and one has drone hole on the underside of the fingerboard. Both flutes are damaged; one lacks a reed; while the other lacks its entire mouthpiece.
Date
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1960s
Identifier
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a_18
Subject
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Musical instruments--Africa, West
Creator
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unknown
IIIF Item Metadata
UUID
bfe79bdf-531b-410a-b5d2-4ffc5d5fd0c3
Africa
Art
Music
-
https://archives.library.wcsu.edu/omeka/files/original/James_Furman_Papers_MS_006/7831/MS006_01_14.pdf
5d399444730166ba6fa186b77c8e8ae8
PDF Text
Text
//1,t(k) if£;=
ll!L-
AN ANALYSIS OF THE TECHNIQUE AND STYLE
OF SELECTED BLACK-AMERICAN COMPOSERS OF
CONTEMPORARY CHORAL MUSIC
By
Effie Tyler Gardner
A DISSERTATION
Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of
DOCTOR OF PHILOSOPHY
. 1I.
\
DEPARTMENT OF MUSIC
1978
3!xS-{p.
t:r3f
�h A.. Haas Library
,. _.._..
ticut State ~ - -
Rut
Y,esteffl
e,onnec
TABLE OF CONTENTS
Page
CHAPTER
I.
IDENTIFICATION OF THE PROBLEM • • • • •
Purpose of the Study. • • • • • •
Importance of the Study. • • • • •
Generalizability. • • • • • • • •
Composers to be Studied • • • • ,
Method of Analysis • • • • • o • •
Definition of Important Terms • •
Further Organization of the Study
II.
HISTORICAL PERSPECTIVES
•
•
•
•
•
•
•
•
•
•
5
6
6
7
8
• •
• •
10
10
• • • • • • •
12
A History of Afro-American Choral
Music • • • • • • • • • • • • • • •
Summary • • • , • • • • • • • • • • •
Trends in Contemporary American
Choral Composition • • • • • • • • •
Summary • • • • • • • • • • • • •
III.
1
12
40
..
41
51
ANALYSIS OF THE STYLE AND TECHNIQUE
OF FIVE BLACK-AMERICAN COMPOSERS OF
CONTEMPORARY CHORAL MUSIC • • • • • •
53
George Walker • • • • • • • •
Works • • • • • • • • • • • •
Three Lyrics for Chorus • •
The Bereaved Maid • • • •
Take, 0 Take Those Lips Away •
0 Western Wind • • • • • • • •
Sing Unto the Lord
• •
•
Gloria In Memoriam • • • • •
Summary • • • • • • • • •
•
Ronald Roxbury • • •
•
•
•
•
Works • • • • • • •
• •
•
There Is No Rose of Such Vertu
As Dew In Aprille • • • • • •
Ave Maria • • • • •
• • • •
That Yonge Child •
• •
Summary • • •
•
• • • • •
Hale Smith
• • • •
Works • • • •
• • •
•
Two Kids • • • • • •
• • •
In Memoriam - Beryl Rubinstein
.
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60
64
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76
80
84
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97
100
102
105
108
109
116
�TABLE OF CONTENTS - CONTINUED
Toussaint L'Ouverture - 1803. •
Summary • • • • • • • • • • • •
James Furman • • • • • • • • • •
Works • • • • • • • • • • • • •
Four Little Foxes • • • • • • •
Salve Regina. • • • • • • • • •
The Quiet Life • • • • • • • • •
I Have A Dream. • • • • • • • •
Summary • • • • • • • • • • • •
Ulysses Simpson Kay • • • • • •
Works • • • • • • • • • • • • •
Stephen Crane Set • • • . • • •
Epigrams and Hymn • • • • • • •
Parables
• • • • • • • • • • •
Summary • • • • • • • • • • • •
Summary of Findings • • • • • •
•
•
•
•
,
•
•
•
•
•
•
•
•
•
•
•
124
127
1 JO
1J2
135
143
146
152
159
162
164
170
189
194
204
206
IMPLICATIONS FOR MUSIC EDUCATION.
219
Why Study Afro-American Music?. •
The Use of Twentieth Century
Afro-American Choral Music in
Choral and Non-Choral Situations
Recommendations for Use in
Choral Settings • • • • • • • •
Summary • • • • • • • • • • • • •
219
227
24 J
SUMMARY
• • • • • • • • • • • • •
244
• • • • • • • • • • • • • • • •
247
BIBLIOGRAPHY. • • • • • • • • • • • • • •
APPENDICES
254
IV.
v.
FOOTNOTES
A.
223
Complete Copies of Choral Music
Used In The Study •. • • • • • •
259
B.
Publishers of Choral Music
• • •
397
c.
Thematic Catalog of the Choral
Music of Five Black-American
Composers • • • • • • • • • • •
399
��130
James Furman
Born January 2J, 1937 in Louisville, Kentucky, James
Furman was educated at the University of Louisville where
he received a Bachelors decree in Music Education (1958)
with a major emphasis in piano and voice and a Master of
Music (1965) with a major in Theory and Composition.
Further
studies were undertaken at Brandeis ~.D.) and Harvard
University.
Among his teachers have been Harold Schmidt
and Walter Dahlin (choral), Benjamin Owen and Permelia
Hansbrough (piano), Irvin Fine, Arthur Berger, George Perle,
and Harold Shapero (composition).
In 1967, Furman made
his New York Town Hall debut with the Western Connecticut
State College choir in the area of conducting.
Furman has been the recipient of numerous award and
honors.
In 1958, he received the Omicron Delta Kappa award,
was the first place winner of the Louisville Philharmonic
Society's Young Artists Contest which gave him the honor
of appearing with the Louisv~lle Symphony Orchestra in
1953, and received a Brandeis University Fellowship (1962-64).
The National Federation of Music Clubs awarded him the
Award of Merit for distinguished service to music in 1965-66
and the Award of Merit in the 1967 Parade of American Music.
Furman has been active as a teacher, composer, and
recitalist.
As a composer, his works include several
choral compositions, works for chamber ensembles as ·.w ell
as works for the solo vocal and instrumental mediums.
As a teacher, Furman has served in the public schools of
�131
Louisville, Kentucky and Mamaroneck, New York, at Brandeis
University and is currently engaged as associate professor
of music at Western Connecticut State College (1965-78).
He also served as the choral director for the British Broadcasting Company documentary film on the life of Charles
Ives, as choral director for the American Symphony Orchestra
chorus in a Charles Ives Centennial Concert on July 4, 1974,
in Danbury, Connecticut, as choral director of the Harvard
University summer chorus and chamber chorus in 1961, as
musical director-arranger-pianist for the World Touring Army
Show, "Rolling Along of 1961," and as assistant choral director of the chorus and chamber chorus at Brandeis University
(1962-68).
Furman has been included in the following books and
articles: Contemporary American Composers: A Biographical
Dictionary by Ruth Anderson, Annual Report 1220-71 Center
for Ethnic Music by Vada E. Butcher, AAMOA Resource Papers,
A Monographic Series No. 2: A Name List of Black Composers
by Dominique-Rene de Lerma, Who's Who Among Black Americans,
Harmonic Practice in the Art Music of Black Composers by
Allen Breach and Constance Hobson and Twentieth Century
Black American Composers by Alice Tischler.
One of Furman's most recent and impressive works is
The Declaration of Independence for Narrator and Orchestra.
The work, scored for full orchestra and bagpipes, is based
on the complete text of the independence document.
The
premiere performance was given April 28, 1977 with Governor
�1J2
Ella Grasso of Connecticut as narrator.
This account of the work, cast in eight sections,
was offered in the program notes for the premiere performance,
• • • The opening Fanfare foreshadows the prominent
role assigned the brasses throughout the work.
The bold brass statements are replaced with muted
sounds in anticipation of the ensuing narration. An
incipient, "a la Puccini" lyricism is evident in
the string writing that follows We Hold These Truths.
After an unaccompanied section for narrator, a percussion ostinato provides the framework for the words He
Has Obstructed. A brief interruption of the "Bolero
style" accompaniment is found with the phrase "He
has erected • • • " where the percussionists are instructed to "use your imagination I•• Later, a second
ostinato, based upon a figure in the fanfare, is
introduced in the timpani, cello, and bass. Infernalis
scored for full orchestra and bagpipes, represents
the apex of the work. The march-like quality is
heightened by the introduction of the bagpipes. The
narration returns with He Has Abdicated which features
solo writing for piccolo, two trumpets (one muted),
bassoon, oboe, field drum, and cello (drone). In
Every State is for narrator alone. The organic musical
expression of the finale -- from the opening statement
in the solo strings to the grandiose pronouncement of
the full orchestra with organ -- evokes a deep affirmative spirit that characterizes the document that gave
birth to American freedom.29
A review of this work offered the following comments:
The music always fitted the words with drum rolls
and cymbal brushing; effective pizzicatos in the cellos
and basses and the use of a myriad of percussion instruments.
• •• a climax of greatness com~arable to the
great writing which inspired the piece.Ja
Works:
Chamber Music:
Variants for Violin, Cello, and
Prepared Piano
Incantation for B Clarinet
and Strings
1963
1976
�133
Chamber Music (con't)
Battle Scenes for Winds,
Percussions and Amplified
Harpsichord
1. The Battle
2. Annette
3. Battle of New Orleans
4. Johnson's March
Recitative and Aria for Solo
Horn and Woodwinds
Fanfare and Finale for Brass
and Percussion
1976
1977
Orchestra:
Fantasia and Chorale for Strings
The Declaration of Independence
for Narrator and Orchestra
Cantilena for Strings from
Declaration of Independence
1971
1976
1977
Solo Instrument or Voice,
Songs
and
1.
2.
for Juvenilia for Voice
Piano
Tom,Tom, the Piper's Son
Little Boy Blue
J. Contrary Mary
4. Humpty Dumpty
Roulade for Solo Flute
Suite for Solo BP Clarinet
1. Introi tus
2. Moresca
3. Incantation
4. Motore Musica
Vocalise Romantique for Voice
and Piano
Sonata for Solo Violin
1956
1975
1976
1976
1977
Theatre Music,
Hey Mr. Jefferson
The Virgin Voter
The choral works by Furman, as does his instrumental
music, falls into several categories.
Many of the choral
pieces are based on the black experience.
(Furman
is
a gospel specialist and is currently completing a book
�1)4
entitles Afro-American Gospel Music, a History and Performance Practice.)
Others, however, have been influenced
by the motet style of the early church while some draw upon
twentieth century aleatoric techniques.
Choral Works:
Let Us Break Bread Together
SATB
Trarnpin'
SATB, solo
I Keep Journeyin' On
SATB, solo
The Threefold Birth
SATB, Boys
Voices and Organ
The Quiet Life
SATB
1. Fanfare and Pastorale
2. Quiet by Day
J •• Sound Sleep By Night
4
Thus Let Me Live
Some Glorious Day
SATB
Go Tell It On The Mountain
Spiritual gospelization for
SATB
Ave Maria
SSAATTBB
Come, Thou Long Expected
Jesus
SATB
Four Little Foxes
SATB
1. Speak Gently
2. Walk Softly
J. Go Lightly
4. Step Softly
Hold On
SATE, solo, piano and electronic organ
Hehlehlooyuh, A Joyful
Expression
SATB
I Have A Dream (Symphonic Oratorio)
Mixed Chorus, Gospel Chorus,
Baritone Soloist, Folk Singer,
Gospel Singers I and II,
Rock Combo
1957
1959
1962
1962
1968
1971
1971
1971
1971
1971
1972
1976
1970
For the purpose of this study, only those compositions
which draw upon the techniques outlined in Chapter I will
be examined.
These works include: 1) the four movements
of Four Little Foxes, 2) Salve Regina, J) three movements
of The Quiet Life.
Because of the techniques used in the
oratorio, I Have A Dream, a discussion of this work will
�1J5
also be included.
Four Little Foxes
Four Little Foxes is a cycle of four short pieces
based on the poems by the same name from Covenant with
Earth: A Selection from the Poems of Lew Sarett.
The four
settings are written for unaccompanied mixed choir and
include the following poems: 1) Speak Gently, 2) Walk
Softly, 3) Go Lightly, 4) Step Softly,
Texts:
Speak gently, Spring, and make no sudden sound;
For in my windy valley Nesterday I found
New born foxes quirming on the ground
Speak gently.
Walk softly, March, forbear the bitter blow,
Her feet within a trap, her blood upon the snow,
The four little foxes saw their mother go
Walk softly,
Go lightly, Spring, oh give them no alarm;
When I covered them with boughs to shelter them
from harm,
The thin blue foxes suckled at my arm
Go lightly.
Step softly, March, with your rampant hurricane
Nuzzling one another and whimp'ring with pain,
The new little foxes are shiv'ring in the rain
Step softly.
Speak Gently is written in a syllabic style with
only one example of melisma which occurs on the word
"squirming" (measures 8-9 in the soprano and alto voices).
�136
Example 66.
-
•
p
ing
wf
The entire movement, permeated by changing meters, is
through-composed with a recurrence of the opening phrase
at the end of the piece.
Furman makes extensive use of the triplet in situations
which imply action.
The word "windy" (measure 5, soprano)
is an example, but the most poetic instance occurs on
the word "squirming" which has been cited above.
More
emphasis is given to this word with the imitative manner
in which the composer presents the triplet figure.
In
measure 7, another instance of imitation in falling semitones is effective on the word "New born" which is next
presented syllabically and makes use of the falling
minor second.
Chromaticism is prevalent in this setting.
The pitch
range of the melody of these twelve measures is within
the range of an octave and makes use of eleven of the
twelve notes of the chromatic scale.
The double inflection
occurs as a result of the high degree of chromaticism.
In measure 2, both the E-natural and the E-flat are found
�137
and in measure 5 the first half of the third beat produces
another example.
Example 67.
In
the first two lines, the use of rests breaks
the setting of the poetry into short bits of conversationlike segments.
The overall effect of this setting is
a four-voice narrative.
In
contrast, the last line is a
continuous, uninterrupted flow that extends through
measure 10,
~~
form of Walk Softly is cast in three distinct,
concise sections.
These sections are designated as
AB A, not because of similarities and differences in
musical materials, but because of the use of contrapuntal
contrasted with homophonic treatment.
The setting begins with contrapuntal writing in which
a two note motive is presented by alto, tenor, then soprano,
respectively.
The two notes are not consistently presented
intervallically or rhythmically alike, but the effect is
an imitative motet style.
�138
Example 68.
Andante l~gato
p
J • ca. 66
mp
-===
p
Joco a joco
Walk soft•
"'P cresc. joco a ; oco
--==== ;oco
Soft-ly_ walk ,
p CffSC. Joco
l'rt'SC.
soft • ly,
ti
walk
Joco
Soft · ly walk , walk
soft .
joco
p CffSl'. ;oco a j,oc:o
Walk,
walk-
•
soft
Jy,
The B section beginning in measure 7, is basically
homophonic.
The pedal tone, which is featured frequently
in Furman's music, is found in the soprano voice.
From
the repeated D-flat, a series of vertical structures are
developed into a four-part female texture.
Example 69.
Marcalo con
•p---========
for
Solo
(off stare)
111010
f ~ f f ,if
.
bear the bit • ter
•arcato con «oto
blow;
the bit • ter
blow;
Her
"fl--=== f-=ff
-r
The dominant interval in the third section (measure 14)
is the fifth.
The motive is a falling perfect fifth,
answered by the ascending perfect fifth.
The words of
the text are alternated between the voices.
�139
Example 70 •
I"
eJ
Tutu
•p
Im
-=
~.
Tl
"
The four
--====-
i/
,
~
#if'=-
-
I
moth-er
saw their
•p I
11.
p
.,, ==--
-===;oco
,,
eJ
lit-tlep 'f01' Off#.
l. --
I\ -
r
I
r ' r '
f'
fox . es
moth - er
,, .... on-.
-
l -
V 7'ivp
.,
fox . es
As
"°~-Cft~V .,,, .,
moth • er
in the first movement, the title words, "Walk
softly" are presented in homophonic style in the closing
measure&.
Go Lightly is basically contrapuntal and as in
the preceding setting, three sections are discernable:
Example 71,
I
3
1
I
,
The technique of imitative writing is clearly evident
in section 1 and 2.
The motive is stated by the alto in
measure 1 and answered by the soprano at the fourth.
Example 72,
~~ jJ 1rD ©J) I J
Each of the subsequent entries continues with free counterpoint consisting of duplets and triplets,
This section
is brought to a close in measure 8.
Measures 9-11 have been designated as a bridge because
�140
of the short length and linking character,
The eighth note
figure used in measure 10 is related to material in section
1, but its character is now cha~ed.
Section 2 uses the motive presented at the beginning
of the setting, but it is now sung in inversion.
A texture change takes place at measure 15.
The
soprano presents in unison the first three words of the
text "The thin blue," and from measure 16 to the end, a
syllabic treatment of the words insues.
In measure 17,
the voices sing in octaves, a striking contrast to the six
part chord which follows.
The last measure is reminiscent both in rhythm and
chord ~tructure cf the ending of the previous setting,
Walk Softly.
Example 73.
poco rit.
.111
'I'
-<:
•p==--
.I 11
~
J• ca . .&2
<.Joco>
,~
P,
,.
-'
l
Walk
" '1'
..,
Walk
II
r
soft
.
.i
ly.
Go
-==: •p::=-
r· Jf'
soft . ly.
-<: -,,:::=I J. ~ J
soft • ly.
"
r·
\Valk
soft
,11,
r
.
ly.
~
..,
~
~
p
..
I
light-ly•
<.Jo.:o>
~
.,
.,
Go
light-ly.
p
<Joe?.(
11
,I
Go
fw,p==-
f
I
"
light-ly.
P,
<JOCO>
lo
r -rHght- ly.
I":\
:
This movement is rhythmically more flowing than the
previous settings.
Changing meters are prevalent and
there is a gradual decrease in tempo.
�Step Softly, the only movement in a quick tempo,
has two distinct motives.
The tenor and bass execute a
motive which suggests soft steps and consists of six
vertical dyads that are repeated seven times (measures 1-14).
Example 74.
Step
sort • ly,
step
soft • ly,
step
soft - ly,
p t••ir•
Step
soft • ly,
In measure 15, a different set of harmonies at a higher
pitch level is repeated three times.
Example 75.
soft-• ly,
step
soft• ly,
step
aoft - ly,
step soft - ly,
stell
The same rhythmic pattern in measure 25 is presented in
perfect fourths and seven measures later, the fourth becomes
augmented.
The second motive is a melismatic duet between alto
and soprano.
In measure 6, the melisma is simultaneous
and in octaves.
However, in measure 8, the soprano begins
the melody and is subsequently imitated a sixth below.
The next entrance, an alto solo, is imitated by solo soprano.
Each entry begins alike but becomes free as the line progresses.
The upper voices in measure 25 have an augmented version
�142
of the tenor and bass rhythm.
The hemiola effect con-
tinues for three measures in a gradual increase in tempo.
Intervallically, the tenor and bass have a perfect fourth
(G to C natural) while the soprano and alto sing an augmented fourth (G to C sharp).
The C sharp against a C
natural form a double inflection.
Other examples of double
inflections can be found in measures J8 (tenor and soprano),
measures 17, 19, and 21 (tenor and bass), and measure J4
(alto and tenor).
There are several examples of melismas which are
effectively used in what might be considered.word-painting
situations.
The words "rampant" (measure 9-10, soprano,
and 1.3-14, alto), "nuzzling" (measures 18-19), "whimp'ring
(measures 21-22), "rain" (measures J0-31, alto and soprano),
and perhaps the most significant example, "shiv'ring"
(mreasure 29, alto and soprano), all suggest motion or
action and are treated melismatically.
The fourth and fifth seem to be significant intervals
in this setting.
The fourth in the "step motive" has
already been mentioned. and examples of parallel writing
using these intervals are found in measure 29-JO.
Each of the movements of the Four Little Foxes cycle
is based on tonal centers.
The vertical structures in
homophonic textures consists mainly of seconds, fourths,
fifths, and minor sixths and these intervals comprise
compound chords.
The same type of interval structures
occur as a result of the combination of horizontal lines.
�14.3,
The performance time of the four short, narrative settings
is about three minutes.
Salve Regina
Salve Regina3 1 is a motet written for unaccompanied
mixed choir.
Text:
Salve Regina mater misericordiae
Vita, dulce do et spes nostra, salve.
Ad te clamamus, excules, filii Havae
Ad te suspicamus gementes et flentes in hoc
lacrimarum valle.
Eia ergo, Advocata nostra, illos tuos misericordea
oculas ad nos converte.
Et Jesum, benedictum fructum ventris tui, nobis
post hoc exsilium ostendi.
O clemens: 0 pia: O dulcis Virgo Maris
Translation:
Hail Queen, mother of mercy.
Life, sweetness, and hope of ours, hail.
To thee we cry, exiles, children of Eve.
To thee we sign, groaning and weeping in this tearful
valley.
Ah then, Advocate of ours, those thy merciful eyes
towards us turn thou.
And Jesus, blessed fruit of the womb of thee,
to us after this exile show thou.
O clement: O tender: 0 sweet Virgin Mary.
With few exceptions, each line of this hymn is treated
texturally different so that there are seven variations.
Measures 1-4, which are syllabic, are written in the
key of A minor.
�144
Example 76.
9c>\tl~ Tio..,,11~ ( ... c,r,..., s-a.J
J,
0
o.u•i- c c•••C.
-
.. A
Sop-.,· : :
O
SQ.l•Y&
Alto
,5Q.1· •11e
ll'C. -
The texture at measure 5 changes to a more contrapuntal
style with the triplet figure being the significant rhythm.
In measure 9, a kind of vocal klangfarberunelodie32 is
found.
Each syllable of the text and melody is taken by
a different voice giving a quick succession of timbres to
the melody line.
Example 77.
~
I
'
t.
:
..
~ !:"°t1 "( ....-,':',.~...:..""j.. ..
. ;\J
l
fi
p
I
7
I
- I~ -
.........
...
"
""~
.
S..i~
- - f'"D. .. M--.iJ
»
,..,.,,..
I! Cff~ .
1-4••,;o.C..
s:.- ,,.~'.'~ 1-1•,z.
l
e"' IO
/
--
Sv.
!
"
-
...
II
"
This technique continues through measure 1J.
Still another treatment of text is presented in measure
19.
Here the first soprano and_ tenor sings in a eantabile
7
style while, the inner voices (soprano II and alto) present
a staccato articulation.
changes to five sharps.
The key signature for this section
The tonalities of B major or
�145
G sharp minor in the tertian sense, however, are not
perceivable.
Example 78.
( .l ~
.
c.••~--,o.,,.a,\e
f,I,.}
cl -
-- - -
er -
...
Cll -
vo-
,....,
io..
E
e.l' -
f-
-
r, -
c,or -
,,05
Col\
3.1
-
In measure 23, there is a repeat of the first section
(measures 1-4) to the text, "Et Jesum, benedictum fructum
ventris tui."
Measures 27-29 corresponds to measures 6-8
in texture and in devices used .
i meter
A "sweeping"
is used to presented the last line of supplication.
Example 79
(-': c.,u.. "'')
) p
cl<L • "'t"~:
ao
0
c:.1e. •
Q
C.l<L -
"'~"' ~--
0
0
f'i -
Q,:
0
fl' -
C.'.
p• -
o. :
0
o.·.
01
12
</, r.
0-.1 • i::. i ..
...
~
c.t<;,
cl,.,.I • i;:.i ~
,,
~o
~0'"'·
ri -
M<»-
Mo.·
Q.•
V•T ·
8'"
-1;. -
,o
Mo..
v:.. . c.i~
r-A.t. -
This setting of the Salve Regina is tonal.
34
It
begins in A minor and cadences on the dominant seventh
chord in.measure 4.
I"'.'\
Sonorities then begin to move away
from tertian varieties and vertical structures consisting
0. .
,
�14-6
of seconds, fourths, and sevenths become more frequent.
In measure 23, with the return to the first section, the
A minor tonality is again
perceivable.
The final cadence
has a bass movement that moves down a fourth, the only plagallike cadence in the piece.
The chords however, are basically
built in seconds.
Example
Bo.
I
1
, r
j
I
I
The Quiet Life
The Quiet.Life is a cycle of four movements for
unaccompanied mixed choir.
The first movement, "Fan.fare
and Pastorale," also calls for soprano, alto, tenor, and
baritone soloists.
The text is taken .from the works of
Alexander Pope.
Texts:
I.
Fanfare (Happy The Man) and Pastorale (In Winter
Fare)
Happy the man, whose wish and care
A few paternal acres bound,
Content to breathe his native air
In his own ground, whose herds with milk, whose
fields with bread,
Whose flocks supply him with attire
Whose trees in summer yield him shade, in winter,
fire.
�147
II.
Quiet By Day
Blest who can unconcernedly find hours, days, years
slide soft away, health of body, peace of mind,
quiet by day.
III.
Sound Sleep By Night
Sound sleep by night; study and ease together
mixed; sweet recreation, and innocence, which
most does please with meditation.
IV,
Thus Let Me Live
Thus let me live unseen, unseen unknown
Thus unlamented let me die steal from
the world not a~stone
Tell where I lie.JJ
The opening movement features changing meters and
has no perceivable tonal center.
The composer, through
the use of sixteenth and eighth notes, asks for a non-legato articulation that is further reiterated by the tenor
who syncopes the rhythm by singing on the second sixteenth
of the beat,
A change in vocal timbre occurs in measure 21 as
a four-part male chorus presents the text in a legato
versus staccato treatment which has been found in other
of Furman's works.(See Example 81,)
Another example of
syncoping takes place as the bass voice sings the words
0
whose fields with bread" on either the second or the
third beats (measures 2)-26).
A significant rhythmic motive, .introduced in measure
26, becomes a unifying device for the first three movements.
The thirty-second note followed by the dotted sixteenth
note or the equivalent of that rhythm in other note values,
�148
is first presented by the first bass (measure 26), and is
found again in measures 28 (soprano solo), JO (tenor solo),
and 31 (soprano and alto solo).
It becomes predominant
in measures J2 and JJ and can be found in every measure
after this to the end of the movement including the whispered
rhythm in measure 40.
The movement is through composed with each line of
text written to a different musical idea.
Vertical struc-
tures consist of those miscellaneous intervals which have
no specific tertian function.
Although there are scattered
homophonic measures, the movement is basically linear in
texture.
Lines are interspersed with rests which forms
an almost staccato articulation.
Cadences are virtually
non-existent and the points of rests that do occur are not
suggestive of traditional progressions even though bass
movement is usually by ascending or descending second.
The beginning mood o:_f this movement, marked "with
firm vigor" by the composer, shifts to an adagio that is
free and legato.
The mood then changes to a playful one
and ends with agitation and mystery.
As seen in other
works by Furman, the composer writes into his music a
narrative-like quality which is effected by the use of
rhythmic figures and tempo changes.
Quiet By Day, the second movement of the cycle, is a
through composed work scored for mixed voices.
The bass
voice consists o~ a descending sustained line moving from
�149
c 1 (measure 1) to its lowest point of G flat (measure 18).
The ·only point at which the downward movement is interrupted
occurs in measure 10 where the line moves from F sharp up
to G sharp before continuing to E flat and D.
The upper voices are more active and more imitative.
The imitation in most cases, is not melodic but rather
rhythmic as shown in the first measure between the alto
and tenor.
Example 81.
The rhythmic figure used is from the previous movement.
Further rhythmic imitation using this pattern can be
found in measure 5 (alto and tenor), measures 13-14
(alto and tenor), measure 15 (soprano and alto), and
measures 11-12 (alto, soprano, and alto).
The setting is linearly conceived, but has one
example of homophonic writing which occurs in measure 2.
Spacing between voices tends to be wide thus causing an
overall open sound.
Voice parts, frequently characterized
by large skips, utilize their full range.
Sound Sleep By Night begins with the previously discussed
unifying motive (alto and tenor) and, in the first five
�150
measures, several additional examples can be found.
The alto and tenor lines, presented in measure 1, is imitated a sixth below by the bass in measure 2.
Rhythmic
imitation occurs between soprano, tenor, alto, and bass
in measures 4-6.
Another example in which the bass
answers the alto at the tritone, occurs in measures 14-15
on the text "and innocence."
The composer has chosen the word "together" to pair
voices in unison presentation.
This pairing occurs in
measures 8-9 (soprano and tenor) and 9-10 (alto and bass).
An interesting use of what the composer terms "canon
using contrary motion" is found in measures 12-20.
The
also and bass, in mirror inversion, are imitated by
the soprano and tenor.
This process with some change
in vocal pairing, continues to measure 20 and the last
thought, "with meditation" is sung in unison and in octaves
by bass and tenor.
Thus Let Me Live, dominated by the triplet as a rhythmic
device, is short and narrative and has only two examples
of homophonic writing (measures 6 and 13).
Free counter-
point is prevalent throughout this piece and there is
very little rhythmic or melodic imitation.
Rather, at
the beginning, there seems to be three independent voices
without restraint of contrapuntal rules quietly and freely
delivering the words, "Thus let me live unseen, unseen
unknown."
Only on the text, "Thus unlamented" do these
�151
voices, with addition of the divisi bass, come together
rhythmically and at this point (measure 6), the texture
expands to eight parts.
The composer wishes independence again as the four
voices, each in its own rhythm and unified only by the triplet movement, exclaims the text "Let me die, steal from
the world not a stone."
In measure 12, all voices except
the tenor are dropped and this lone voice acts as a pivot
into the homophonic presentation which follows.
An
interesting effect is achieved as the alto voice sings
"Let me live" while the tenor whispers these words.
The
remaining voices are holding a compound . chord that gradually dies out.
The closing measures are an effective
ending for the cycle.
The Quiet Life, having no perceivable tonal center,
is unified by several devices, 1) a recurring rhythmic
motive,-~• found in each setting, 2) the narrative
quality exemplified by the use of rests between words and
segments of sentences, 3) the use of frequent changes of
tempo and mood, and 4) the almost consistent use of linear
writing.
The composer uses the voice not only in the traditional singing, but calls for occasional whispers, vocal
glissandi (III.
Sound Sleep By Night, measure?), a
falsetto quality from sopranos which he indicates with
string harmonic symbols (V.
Thus Let Me Live, measure 9),
and embellishments which are written into the music.
�152
Furman indicates exact directions for performance of tempi
and moods to enhance the musical narration of his composition.
I Have A Dream
I Have A Dream was the result of a commission by
the Greenwich Choral Society.
The first performance of
the work was given on April 20, 1970 in a program of music
by American composers from revolutionary times to the
present.
The work is scored for orchestra, chorus, gospel
choir, folk singer, banjo guitar, gospel piano, electric
bass, baritone solo, and two gospel soloists.
The libretto
is based on statements and writings of Martin Iuther King
conveying some of today's basic concerns: human dignity,
love, hate, war, peace, beauty, poverty, hope, and freedom.
Part of the text is taken from a Christmas card which King
sent to Furman in 1966.
The three parts of the work are:
In the River of Life,
I've Been to the Mountain Top, which is divided into four
movements, and Let Freedom Ring, consisting of three movements.
Furman has incorporated in his writings many ave-
nues and techniques of twentieth century American music by
combining in one composition twelve tone techniques, gospel and folk style, motive development, twentieth century
vocal innovations, and rock style.
Musically, the work is one of the most inspired
contemporary writings it has been my pleasure to
hear in some time. Furman most successfully com-
�153
bined jungle rhythms, hymns, blue grass, and
marvellous gospel rhythms with symphonic orchestra
and choral writing. All blend dramatically and
perfectly. J4
While it is not within the scope of this discussion
to delve into a detailed analysis of this work, a description of techniques and devices used will be given in order
to provide more evidence of Furman's diversity of style.JS
The first of the three parts begins with bongo rhythms that suggest African overtones.
Very early in the
movement, Furman introduced the first of many motives
which will unify this movement and the entire work.
The
"peace motive" is first played by the lower strings and
is heard a few measures later played by the horn in F.
Example 82.
~j :!J'(=J_i-PfJi-Jti)
"
-
The choir enters with the statement, "I refuse to accept
the idea that man is flotsam, jetsam in the River of Life. • •
The last five words of this text is the source of what
Furman terms the "life motive."
Example 8J.
While the bongos continue to beat somberly and the lower
instruments play an augmented version of the "tragic motive"
which was introduced earlier, Furman effectively writes into
the score effects which include sirens, a jazz clarinet,
II
�154
gospel piano, the chanting of street vendors, and clicking
of tongues.
r:
Example 84.
As the baritone soloist speaks "I want it to be said that
one day I tried to love and serve," the orchestra punctuates
his atatement with jazz rhythms, pizzicatos, mixed with
the chanting of the chorus.
A twelve tone row is presented in the first violin.
Another form of the row, played by the violoncello, will
appear as the main theme of the monologue section which follows and will be transposed down a major seventh.
As the soloist sings the word "life~"' the "life motive"
appears in the orchestra.
Furman also interweaves the civil
rights hymn, We Shall Overcome into the orchestral parts.
The chorus and soloist alternate with the text "love can
defeat evil" until the section closes with an Igbu phrase
which when translated means "evil shall not overcome good.
Amen."
Because of the use of extreme chromaticism in this
movement, there is :no_tonal center.
Furman makes use of
a twelve tone row which is found in other forms in subsequent parts of the work.
He also uses several developmental
techniques with his motives.
Diminution as well as aug-
mentation is evident and both form a harmonic background
for other musical ideas that are being presented.
Through
�155
out this section the three main motives of the movement
are used.
In addition to ~inging, Furman calls upon his
singers to scream, perform glissandi, click their tongues
and whisper,
Part II is divided into four movements.
The first
movement presents the baritone soloist in a monologue,
"I've Been to the Mountain Top,"
The melody is the twelve
tone row that was introduced by the violoncelli in the
first part, here transposed down a major seventh,
The
composer indicates that the line should be sung in oldfasioned long meter style, an effect reminiscent of the improvisatory renditions of rural church ministers and soloists
in the Black church,
The low strings and organ support the
soloist with a tremolo which rises and falls in dynamics
with the level of the voice.
The movement ends with the
muted trumpet playing the familiar opening phrase of the
Battle Hymn of the Republic.
In the Sermon, the second movement of this part,
the baritone soloist continues with words taken from King's
last sermon given in Memphis, Tennessee.
The movement
begins with the same long meter delivery of the chromatic
line over a three part contrapuntal background,
As the
sermon continues, the soloist is required to intone his
text as would a minister with the growing intensity of a
sermon.
The choir supports with the words, "Allah, Allah,"
The string polyphony, which features the third and sixth as
prominent intervals, is extended to four voices and in
�156
addition to the legato line, pizzicato articulation is
frequently used.
The timbre changes after a few measures
as the woodwind family continues the free counterpoint
begun by the strings.
The solist, speaking at a fervent
pitch, is supported by the choir that first talks in an
under tone, then gradually accelerates to a high register.
Strings and voices are high and tense but come to an abrupt
end as the soloist speaks the words "All men are created
equal."
As the pitch level drops to a whisper, the orches-
tra begins the Chorale movement.
In describing this movement, the composer states that
the melodic fibers constitute a ployphonic quodlibet consisting of the hymns, Lead
On
OKing Eternal 1
Stand Up,
Stand Up for Jesus, Onward Christian Soldiers, and a union
army song, Stay In The Field.
During this melodic weaving,
a trumpet using a wah-wah mute intersperses a "mornful,
sorrowful cry in the wilderness" based on a motive consisting of a falling third.
The composer uses modification
of the melody line, inversion, augmentation, and diminution
as the counterpoint progresses.
Of interest is a sudden
intrusion of the gregorian hymn, Veni Creator Spiritus
(Come Holy Spirit) played in the hypodorian mode by the orchestra bells.
This melody is also heard in augmentation
in the lower strings.
The composer in his analysis, comments on this
section:
The intrusion of the Holy Spirit theme is representative of the purity of little children. The
I
�15'7
gong which represented war in the first movement
is n?w subduig to represent Christ, the peaceful
warrier. • .J
The text of the following hymn-like movement comes from the
"I Have A Dream" sermon and is basically a homophonic
setting.
The tonality, beginning in G minor modulates
to B flat major.
In the melodic line, cadence points consists of the
falling third which the composer has designated as the
"cry motive."
In two instances in the hymn the tenor states
the "peace motive."
The use of unison voices singing the
main motive of the hymn is an effective ending to this
movement and to this part of the oratorio.
Part III presents a change of tempo and mood as the
rock combo, gospel chorus, two gospel soloists, a folk
singer, electric guitars, electronic organ, kazoos, and
drums introduce the first segment, Let Freedom Ring.
As in previous movements, Furman introduces a dominant
theme on which the music will be based.
The "freedom
motive" consists of the falling major second and is first
used as the basis of a canon between the two gospel singers.
Example 85.
The singers are later joined by the folk singer who introduces, as the B section of this movement, the blue grass
sounds of the Spirit of Appalachia.
The accompaniment changes
from gospel instrumentation to strings, classical guitar,
�158
and banjo.
The key shifts from the C Major tonality of
the A sectionJ to B flat Major.
The A section returns with
the gospel singers and folk singer joining forces.
B
The
section returns with the Appalachian melody and a reitera-
tion of the peace motive by the horn.
The movement ends on
an A Major chord which acts as a pivot into the bass ostinato
that begins the Poor Peoples' March.
This movement, a soulful musical setting in an improvisatory gospel style, is introduced by the folk singer
who presents the "poor peoples' motive."
The singer is
supported by a gospel chorus emphasizing the word "poverty."
Shortly after the soloist begins, combs and kazoos presentin
the motive, are later imitated by the soloist.
The improvi-
sation continues on these two ideas which are accompanied
by full orchestra, rock combo, guitar, and banjo.
The
opening phrases of the Stars Spangled Banner and America,
the Beautiful, are also heard in the orchestra.
With an
effective modulation to the tonality of G, the gospel
soloist presents a soulful variation of My Country tis of
Thee, each phrase of which is answered by the folk singer
presenting the "freedom motive."
The chorus, supporting
the improvisations of the gospel soloist, continues with
this motive.
The section immediately leads into the gospel spiritual, Free At Last which the composer indicates to be. sung
\
"proud and sassy."
In a typical call and response :fashion
the soloist and choir are accompanied by guitar, bass,
�159
organ and drums.
The last section brings all forces together.
Furman
uses several themes simultaneously: a phrase of America,
the Beautiful (and crown thy good with brotherhood)
in augmentation, and "let :freedom ring" from America
(this also is in augmentation),
Polytonal writing is evi-
dent in the combined uses of B flat and G flat majors.
Ten measures later, a new rhythm suggesting E flat is
introduced, and at another point, the keys of A, B flat,
E, and Fare used simultaneously.
America, the Beautiful
is heard in E Major, Lift Every Voice and Sing is played in
F Major by the violoncelli, My Country tis of Thee is in
retrograde, and the "freedom motive" is sung by the soloist
in A Major.
The work is highly polyrhythmic at this point as well
as polytonal and contrapuntal.
It is difficult without
examining the score to imagine the numerous musical ideas
fused by the composer.
It combines many of the melodies
from the first movements and climaxes with the shouting
chorus "We are free at last."
Summary
James Furman is a composer in imense diversity of
style.
By presenting techniques ranging from gospel
to dodecaphonic idioms, he has in his recent oratorio, l.
Have a Dream. attempted to draw these styles together in
a united effort.
His choral works, in additionlto the
�160
oratorio, consists of thirteen compositions written for
both mixed and boys voices.
When composing without adherence to a tonal center,
Furman tends to use the second, fifth, and fourth, more
frequently than other intervals.
Most of his writings in
this style are linearly conceived and intervals occur as
a result of moving horizontal lines.
Although there are
some instances of homophonic writings, these examples tend
to serve as strategic changes in basically linear compositions.
In his tonal works, homophony is usually the rule
because these compositions are gospel or spiritual oriented
and lend themselves to this type of texture.
Vocally, Furman calls for traditional singing tones
as well as more non-traditional sounds such as whispers,
screams, clicking of tongues, glissandi, and falsetto
quality in female voices.
There are also instances of
graphic notation in his I Have A Dream.
Occasionally, the
composer calls for effects that are usually reserved for
instrumental compositions.
In Salve Regina, a kind of
vocal klangfarbenmelodie is found.
There are stylistic features which seem prevalent in
Furman's compositions.
More frequently than not, treatment
of lines is non-legato rather than legato, particularly
in the lower voices.
There is much use of pedal tones not
only in the bass voice, but in upper voices as well.
Imitation occurs with both melodic lines and motives comprised of as few as two notes.
Among his works, especially
�161
the shorter ones, there is a tendency towards a narrative
style.
In regards to form, Furman allows the text to be
the determining factor.
Usually, he has chosen non-repe-
titive texts and thus his compositions are through composed.
There are only two instances, in the music analyzed in
this study, in which returning musical sections were found,
Unity in the compositions is gained through recurring
rhythms more frequently than by any other device.
The trip-
let and the sixteenth note followed by the eighth note
(or its equivalent in shorter or longer note values) are
especially common.
Changing meters and fluctuating tempi are characteristic in Furman's music.
Although entrances of voices are
usually not rhythmically syncopated, lines beginning on
the second beat are quite frequently found.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
James Furman Papers, MS 006
Description
An account of the resource
1.0 linear feet
Abstract
A summary of the resource.
James Furman was born in Louisville, Kentucky in 1937 and was a college professor/Composer. The collection includes audio recordings of original material, performance programs, and biographical information.
Creator
An entity primarily responsible for making the resource
Furman, James, 1937-1989
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms006_furman.xml" target="_blank" rel="noopener">Link to finding aid</a>
IIIF Collection Metadata
UUID
9a4ae623-69bf-4e19-b67f-dd56f4e997dd
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
An Analysis of the Technique and Style of Selected Black-American Composers of Contemporary Choral Music
Creator
An entity primarily responsible for making the resource
Gardner, Effie Tyler
Description
An account of the resource
36 pages
Subject
The topic of the resource
Choral music
African Americans -- Music
Date
A point or period of time associated with an event in the lifecycle of the resource
1978
Identifier
An unambiguous reference to the resource within a given context
ms006_01_14
IIIF Item Metadata
UUID
38735a6a-d756-4b5f-88b5-35c20984953b
african-american
composers
dissertation
Michigan State University
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Truman_Warner_Anthropological_Collection_MS048/5170/ms048_022.jpg
9e5d6f0e0c5945f0197ce8691c8ecc29
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Truman Warner Anthropological Collection, MS048
Description
An account of the resource
This is a small collection of objects from Asia, Africa, the Americas and New Guinea collected presumably from the 1960s and 1980s by Truman Warner to be used in class and for his personal collection. The collection is predominantly made up of musical instruments and masks.
Contributor
An entity responsible for making contributions to the resource
Davis, Richard
Warner, Truman
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms048_warnerArtifacts.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
897d200e-cceb-4f59-939c-bc7fe2a80110
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Andungu
Description
An account of the resource
16 x 5", Wood and hide
Abstract
A summary of the resource.
A 4-stringed musical instrument; animal hide stretched over a wooden body with an arched neck. Appears similar to examples from Uganda.
Identifier
An unambiguous reference to the resource within a given context
ms048_022
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1960
Subject
The topic of the resource
Musical instruments--Africa
Creator
An entity primarily responsible for making the resource
unknown
IIIF Item Metadata
UUID
a956d377-a6e9-410d-8ace-44ba4081952d
Africa
Folk harps
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Our_Own_Melodies/5428/rg8_realia_os1_Melodies_020.jpg
a9da5aec28cee99b9be26c320568a8f9
https://archives.library.wcsu.edu/omeka/files/original/Our_Own_Melodies/5428/rg8_realia_os1_Melodies_20.wav
d89f5d4382c57f446ae45e681ed34a77
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Our Own Melodies
Abstract
A summary of the resource.
Individual pages of the Danbury Normal School's children's music book written by DNS students. Each page of music is accompanied by a rendering of the melody created by Ann Victor.
Date
A point or period of time associated with an event in the lifecycle of the resource
1925
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="http://archives.library.wcsu.edu/omeka/exhibits/show/our-own-melodies" target="_blank" rel="noopener">Link to a virtual representation of the book.</a>
IIIF Collection Metadata
UUID
bdb1c03a-dbd6-479d-8f1a-48ab61ddd9a2
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
rg8_realia_os1_Melodies_020
Title
A name given to the resource
Apple Pie
Creator
An entity primarily responsible for making the resource
Lindell, Evelyn
Date
A point or period of time associated with an event in the lifecycle of the resource
1925
Abstract
A summary of the resource.
Page 20; A single page from the music book 'Our Own Melodies' and an audio recording of the melody.
Description
An account of the resource
8 x 9"
Subject
The topic of the resource
School music--Instruction and study--United States
IIIF Item Metadata
UUID
a93b5c1c-6bd8-4ad0-aa82-f08d70ffe76e
Art
Danbury Normal School
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Our_Own_Melodies/5526/rg8_realia_os1_Melodies_058.jpg
71bac781c15540119b598f5f8de8e004
https://archives.library.wcsu.edu/omeka/files/original/Our_Own_Melodies/5526/rg8_realia_os1_Melodies_58.mp3
80fb61448e8ff42f71a511d537ca4215
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Our Own Melodies
Abstract
A summary of the resource.
Individual pages of the Danbury Normal School's children's music book written by DNS students. Each page of music is accompanied by a rendering of the melody created by Ann Victor.
Date
A point or period of time associated with an event in the lifecycle of the resource
1925
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="http://archives.library.wcsu.edu/omeka/exhibits/show/our-own-melodies" target="_blank" rel="noopener">Link to a virtual representation of the book.</a>
IIIF Collection Metadata
UUID
bdb1c03a-dbd6-479d-8f1a-48ab61ddd9a2
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
rg8_realia_os1_Melodies_058
Title
A name given to the resource
April Song
Creator
An entity primarily responsible for making the resource
Watson, Dorothy
Date
A point or period of time associated with an event in the lifecycle of the resource
1925
Abstract
A summary of the resource.
Page 58; A single page from the music book 'Our Own Melodies' and an audio recording of the melody.
Description
An account of the resource
8 x 9"
Subject
The topic of the resource
School music--Instruction and study--United States
IIIF Item Metadata
UUID
0a45b226-e2ad-476f-ae1b-27ecb4300968
Art
Danbury Normal School
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Our_Own_Melodies/5534/rg8_realia_os1_Melodies_066.jpg
4abde8a3bb4a40a0ed86de5220e39b6b
https://archives.library.wcsu.edu/omeka/files/original/Our_Own_Melodies/5534/rg8_realia_os1_Melodies_66.mp3
5e0bf1c7899ce0ed225fab09da100c62
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Our Own Melodies
Abstract
A summary of the resource.
Individual pages of the Danbury Normal School's children's music book written by DNS students. Each page of music is accompanied by a rendering of the melody created by Ann Victor.
Date
A point or period of time associated with an event in the lifecycle of the resource
1925
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="http://archives.library.wcsu.edu/omeka/exhibits/show/our-own-melodies" target="_blank" rel="noopener">Link to a virtual representation of the book.</a>
IIIF Collection Metadata
UUID
bdb1c03a-dbd6-479d-8f1a-48ab61ddd9a2
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
rg8_realia_os1_Melodies_066
Title
A name given to the resource
At Evening
Creator
An entity primarily responsible for making the resource
Hamlin, Evelyn M.
Date
A point or period of time associated with an event in the lifecycle of the resource
1925
Abstract
A summary of the resource.
Page 66; A single page from the music book 'Our Own Melodies' and an audio recording of the melody.
Description
An account of the resource
8 x 9"
Subject
The topic of the resource
School music--Instruction and study--United States
IIIF Item Metadata
UUID
e0499a21-c0c9-4ed7-8798-c338b5de4f1e
Art
Danbury Normal School
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Truman_Warner_Anthropological_Collection_MS048/5177/ms048_017.jpg
e28b8bdb6a41a2d5faf031dc9f63f8f8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Truman Warner Anthropological Collection, MS048
Description
An account of the resource
This is a small collection of objects from Asia, Africa, the Americas and New Guinea collected presumably from the 1960s and 1980s by Truman Warner to be used in class and for his personal collection. The collection is predominantly made up of musical instruments and masks.
Contributor
An entity responsible for making contributions to the resource
Davis, Richard
Warner, Truman
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms048_warnerArtifacts.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
897d200e-cceb-4f59-939c-bc7fe2a80110
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Atenteben
Description
An account of the resource
8 x 1"; Wood.
Abstract
A summary of the resource.
A small flute-like instrument with 6 finger holes mostly closely resembling examples from Ghana.
Date
A point or period of time associated with an event in the lifecycle of the resource
1960s
Subject
The topic of the resource
Musical instruments--Africa, West
Identifier
An unambiguous reference to the resource within a given context
ms048_017
Creator
An entity primarily responsible for making the resource
unknown
IIIF Item Metadata
UUID
eabc8900-77b2-435b-8677-5b462224a9d7
Africa
Crafts
Music