Selected Double Chorus Works S PDF

BOSTON UNIVERSITY
COLLEGE OF FINE ARTS
Dissertation
SELECTED DOUBLE CHORUS WORKS SUITABLE FOR THE
ADVANCED HIGH SCHOOL CHORUS
by
SABRINA E. QUINTANA
B.M., Colorado State University, 1984

M.M., University of North Texas, 1994
Submitted in partial fulfillment of the
requirements for the degree of
Doctor of Musical Arts
2009
UMI Number: 3357775
Copyright 2009 by
Quintana, Sabrina E.
All rights reserved.
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© Copyright by
SABRINA E. QUINTANA
2009
Approved by
First Reader
Anthony J. Palmer,
Professor of Mustf: Education
Second Reader
Bernadette Colley, Ed.D. /

Associate Professor of Music Education
Third Reader
Richard Bunbury, Ph.D.

Assistant Professor of Music Education
DEDICATION
To my mother and father, John and Frances
To my siblings, John, Valencio, Christina, Christopher, and Jennifer
To my daughters, Jessica and Kaliah,
and to David, my love.
IV
ACKNOWLEDGMENTS
Several people have played a significant role in the inspiration for this research
and helping to bring it to a point of fruition. I would like to thank my parents, John and
Frances Quintana, for inspiring and encouraging me to pursue my musical interests and
for stressing the value of education. They provided me with a nurturing, secure horne
environment that was positive and supportive. They instilled in me a solid foundation
of faith in God combined with tenacity, ethics, and a centeredness that has propelled me
forward.
1 thank each member of my dissertation committee for their invaluable
contribution. I wish to express my gratitude and appreciation to my dissertation
advisor, Dr. Anthony Palmer. The quality of his style and depth of teaching has
challenged me to expand my views and to grow intellectually. As an expression of his
commitment and dedication, he has offered a wealth of knowledge, experience, and
expertise from which I have personally benefited. He has spent countless hours
overseeing this research. His patience, care, and guidance on my dissertation have been
beyond measure.
I would like to express my appreciation for the professors along my education
paths have had a profound influence in my love for music and from whom I have gained
so much: my conducting teachers: Donald Bailey, the late Robert Garretson, Henry
Gibbons, and Anne Howard Jones; my voice teachers: the late Edward Baird and Laurel
Miller; my musicology professors: Les Brothers, the late John Daverio, and Joel
Sheveloff; my music theory professors: Eugene Cho and Graham Phipps; my

v
composition professors James McCray and Robert H. Young; and my music education
teachers: Steve Demorest, Andre deQuadros, Hildegarde Froelich, Will May, and
Anthony Palmer.
A few people were instrumental in providing historical information about the
commissioning of the Alan Hovhaness work, The Aim Was Song. A sincere thanks to
Hinako Fujihara-Hovhaness, wife of the late Alan Hovhaness, for her support of this
research. She has been so gracious in permitting a limited reproduction of the score for
the purpose of research and reference. She has been a joy to visit with and has willingly
shared information. I also wish to thank my former colleagues from Winchester Public
Schools, MA, for providing their first hand experiences with the commissioning and
premiere performance of the Hovhaness work: Priscilla Miller, who was the high school
band director at that time (and still is), and former Director of Music (now retired),
Lynne Rahmeier, who was the driving force in the project
Finally, I would like to thank my family. I could have not accomplished this
research and my doctoral studies without their support, encouragement, patience,
helpfulness, and the sacrifices they have made: My brothers and sisters, who have
cheered me on enthusiastically through the whole process. David, my love, thank you
for everything... your patience and support, for your helpfulness and challenging me to
complete what I started. Jessica and Kaliah, my daughters: thank you for your love and
support... what a wonderful and challenging journey we have made together.
VI
SELECTED DOUBLE CHORUS WORKS SUITABLE FOR THE
ADVANCED HIGH SCHOOL CHORUS
(Order No. )
SABRINA E. QUINTANA
Boston University College of Fine Arts, 2009
Major Professor: Anthony J. Palmer, Ph.D., Professor of Music Education
ABSTRACT
The purpose of this research was to investigate the use of selected double
chorus works suitable for the advanced high school chorus. To advance this study,
the following questions were posed; (1) What underpinnings will place the use of
double chorus works into a context of repertoire for the advanced high school
chorus? (2) What are the parameters of double chorus repertoire that are suitable
for an advanced high school mixed (SATB) chorus? (3) How can analyses of the
selected works be generalized to the full spectrum of polychoral works, both within
and beyond the specific historical periods that they represent.
A context for the learning environment emphasizes a process-orientation.
Learning musicianship skills and developing artistry through repertoire places
performance in its proper context as a component of curriculum and as a means
through which students learn.
vu
A discussion on setting a standard for an advanced high school chorus
provides insight into the selection of repertoire. Double chorus repertoire that is
appropriate for the advanced chorus is suited for their abilities, creates the
framework for a quality education, challenges the students to grow as musicians,
and provides an aesthetically gratifying performance experience.
A historical overview provides a context for why this genre is significant. A
rationale is offered for why double chorus works should be counted as an integral
part of the high school choral curriculum.
Selected double chorus works are analyzed for their suitability for use in the
choral curriculum and represent the Western historical periods. These are:
1. Renaissance: Hodie Christus natus est a 8, by Giovanni Gabrielli
2. Baroque: Jauchzet dem Herren, (Psalm 100, SWV 36), by Heinrich Schutz
3. Classical: Crucifixus by Luigi Cherubini
4. Romantic: Heilig, by Felix Mendelssohn
5. Contemporary: The Aim is Song, by Alan Hovhaness
Double chorus works display a unique quality because the music emanates
from two different sources, thus magnifying the sonic qualities of this genre of music
that is challenging for the performer and more interesting for the audience. Finding
an appropriate venue is discussed and the attendant problems are examined.
Communication between these groups and the conductor, the relationship between
viii
two interdependent choruses, provides an added challenge from which students can
develop as musicians.
Expanding the curriculum, creating meaningful experiences through the use
of repertoire, and providing a better understanding of the polychoral genre offers a
means of accomplishing musical learning objectives.
IX
TABLE OF CONTENTS
LIST OF FIGURES xv
CHAPTER 1 1
Statement of the Problem . 3
Basic Assumptions . 4
Repertoire Selections 4
Research Questions 6
Cultural, Musical, and Curricular Contexts 6
Parameters of Suitable Double Chorus Works 7
Analysis and Appraisal 8
Need for the Study 9
Definition of Terms 10
Delimitations of the Study 14
Methodology 15
Score Study 15
Procedures 19
Dissertation Overview . . 21
CHAPTER 2: REVIEW OF THE LITERATURE 23
Literature About Polychoral Music 23
Selecting Repertoire for the High School Chorus 25
High School Double Chorus Repertoire 30
x
Summary and Conclusions 32
CHAPTER 3: CHORAL MUSIC EDUCATION AS A PROCESS OF LEARNING . . . . 34
Value of Music Participation 35
Tenets of Comprehensive Musicianship 38
Choral Processes That Lead to Student Growth 41
Two Models of Choral Music Programs 41
Performance as Means and Ends 45
Rehearsal as a Process 51
Focus Upon Student Growth 52
CHAPTER 4: THE SUITABILITY OF DOUBLE CHORUS WORKS FOR
ADVANCED HIGH SCHOOL CHORUS 55
The Advanced High School Choral Ensemble 56
Vocal Skills . . 59
Music Reading 63
Musicianship and Artistry 65
Selection of Suitable Repertoire 70
CHAPTER 5: HISTORICAL OVERVIEW 74
Basilica di San Marco, Venezia 79
St. Mark's: The Center of Musical Activity 82
Processions, Pomp, and Feasts 84
Sixteenth Century Development ofthePolychoral Style at St. Mark's . . . 86
The Polychoral Style 90
xi
Contemporary Editions of Polychoral Music 92
Summary 94
CHAPTER 6: CONDUCTOR'S ANALYSES OF SELECTED
DOUBLE CHORUS WORKS 96
Renaissance: Hodie Christus natus est, by Giovanni Gabrieli 97
Renaissance Notation 97
Temporal Elements 98
Structural Elements 101
Texture, Style and the Relationship Between Choruses 105
Technical Demands 108
Text of Hodie Christus natus est 109
Related Materials 110
Baroque: Jauchzetdem Herren (Psalm 100), SWV 36, by Heinrich Schiitz 112
Historical Background 112
Texture . 118
Text of Jauchzetdem Herren 124
Related Materials 125
Classical: Crucifixus, by Luigi Cherubini 127
xii
Harmonic Material 134
Text of Crucifixus 135
Romantic: Heilig, by Felix Mendelssohn 136
Harmonic Elements 138
Text of Heilig 141
Editions 141
Contemporary: The Aim is Song, Opus 410, by Alan Hovhaness 143
Overview of The Aim Was Song 146
Text of The Aim Was Song 146
Thematic Material 150
Dynamics and Articulations 151
Elements of Pitch 151
Rehearsal and Performance of Double Chorus Works 154

xiii
CHAPTER 7 160
Recommendations for Further Study 161
APPENDICES
A. Reference Scores for Analyses of Selected Double Chorus Works . . . 166
Renaissance: Hodie Christus natus est, by Giovanni Gabrieli . . . . 167
Baroque: Jauchzet dem Herren (Psalm 100, SWV 36)
by Heinrich Schiitz 176
Classical: Crucifixus by Luigi Cherubini 191
Romantic: Heilig by Felix Mendelssohn 203
Contemporary: The Aim Was Song by Alan Hovhaness 208
B. Hovhaness-Winchester Contract: Commissioning of

The Aim Was Song 231
C. Winchester Concert Program: 1988 Premiere Performance of
The Aim Was Song 236
D. Double Chorus Repertoire Suitable for High School Chorus 246
BIBLIOGRAPHY 251
VITAofSABRINAQUINTANA 268
xiv
LIST OF FIGURES
1. Vocal Skills Rubric 60
2. Sight-Singing Rubric 64
3. Artistry Rubric 67
4. Gabrieli Analysis . 104
5. Schutz, ms 72-74 .115
6. Schutz Analysis . 120
7. Cherubini Analysis 133
8. Mendelssohn Analysis 140
9. Hovhaness Analysis 148
XV
1
CHAPTER ONE
Introduction
Quality choral literature is the foundation of a first-rate learning experience
for the high school advanced choral ensemble. Knowing this, a conscientious choral
teacher will spend large amounts of time thoughtfully selecting repertoire of
different genres, types, and ethnic origin to implement and carry out a curriculum.
Placing the emphasis on learning rather than entertainment, it is only then that the
needs of students can be met. Michelle Holt states that
because the repertoire we rehearse in our ensembles is such an important

tool in our curriculum, we need to be sure it allows singers to improve and
strengthen their vocal skills through working on the music we choose for
them on a daily basis (124, 2008).
Frequently, choral repertoire is limited to the normal four- or five-part format in
choral works. Consequently, this study will examine an expanded repertoire
heretofore somewhat neglected in choral offerings, that of the double chorus.
Additionally, contemporary education is driven by curricular standards and
assessments. Since the rehearsal of repertoire dominates the high school choral
class period, one has to consider the relationship between repertoire and other
aspects of the curriculum, such as musicianship, sight-reading, vocal development
and performance processes. The National Association for Music Education (MENC)
offers general content standards that provide a flexible framework for a choral
curriculum.
Content Standard 1: Singing, alone and with others, a varied repertoire of
music.
la. Students sing with expression and technical accuracy a large and varied
repertoire of vocal literature with a level of difficulty of 4 (grades 9-12) on a
scale of 1 to 6, including some songs performed from memory.
lb. Students will sing music written in four parts, with and without
accompaniment.
lc. Students demonstrate well-developed ensemble skills. (MENC, 1996, pp.

91-97)
The foregoing, particularly in paragraphs la and lc, strongly suggests that there are
underlying skills that must be attained to effectively implement a fully developed
choral program: teaching musicianship, developing the voice, learning historically
appropriate performance practice, and artistic presentation.
The components listed serve as the foundation for the advanced choral
curriculum. Carefully selecting repertoire that follows a natural progression of
increasing difficulty in both music and appropriate skills aids the students in
attaining their proper level of development. The goal sought through repertoire is
an integration of musicianship, technical aspects of learning music, musical
elements, and artistic concepts. This writer believes that the pedagogical spectrum
improves with an expansion of musical experiences for the students, that includes a
broader palette of repertoire than is typically considered. There are several
categories of music that might be considered in this vein, for example, choral works
with various instrumental ensembles, dramatic works such as opera and musical
comedy, works that include solo requirements, popular music, various ethnic and
3
folk musics, etc. In examining high school choral music, it seems that the double
chorus genre receives insufficient attention. Not only would this genre expand the
curriculum, but its presence would greatly enhance the opportunities for musical
and cultural understanding. Thus, this study will focus on the issue of expanding the
musical offerings in the high school choral program to include polychoral music.
Statement of the Problem
Standard repertoire for the advanced high school chorus more often is
limited to SATB voicing that occasionally divides the four parts into as many as
eight, but retains the single chorus format. This voicing does indeed cover a large
part of the repertoire for a mixed ensemble. Frequently neglected are polychoral
works that require a much broader historical and musical consideration and one in
which such inclusion would significantly expand the musical, historical, and artistic
experiences of an advanced chorus. Stephan Barnicle states "[although many
contemporary composers are experimenting with directional uses of music... we
seem to ignore both these works and the multitude of compositions written as much
as 350 years ago that call for multidirectional presentations" (45,1979). He then
illuminates the physical placement of different choirs in the performance of a multi-
choral work. While polychoral works have their difficulties, such a work presents
the choral ensemble with specific musical challenges, both in rehearsal and in
performance from which they will benefit.

4
The purpose of this study is to investigate the use of selected double chorus
works as exemplars suitable for the advanced high school chorus. Specific
representative works will be selected that reflect the Western historical sequence
by way of illustrating the importance of using this literature to increase the
educational, musical, and artistic experience. In addition the works will be
examined and analyzed for their unique qualities such as vocal requirements,
melodic and harmonic difficulties, choral balances, intonation, and articulation
problems due to spatial considerations in performance and rehearsal procedures.
Basic Assumptions
This study contains basic assumptions guiding the research:
1. Choral music is a legitimate avenue through which a student may become
educated and a highly skilled musician.
2. Students benefit greatly through deeper understanding of music,
increased vocal capabilities, and keener artistry in performance.
3. Polychoral music is a unique and fruitful path to increase all aspects of a
student's involvement in music.
Repertoire Selections
Polychoral music is not an amorphous body without definition by genre,
composer, geographical origin, liturgical connections, and peculiarities of history.
Specific works form the basis for study in representing the variety of works that a
music director will encounter in expanding the choral curriculum. To properly

5
represent this genre of music, a historical approach is taken. One representative
work from each style period of the Euro-derived culture beginning with the
Renaissance has been selected for their suitability for an advanced high school
chorus and as a means to reflect a common practice:
1. Renaissance: Hodie Christus natus est a 8, by Giovanni Gabrielli
2. Baroque: Jauchzet dem Herren, (Psalm 100, SWV 36), by Heinrich Schiitz
3. Classical: Crucifixus by Luigi Cherubini
4. Romantic: Heilig, by Felix Mendelssohn
5. Contemporary: The Aim Was Song, by Alan Hovhaness
Each of these works was selected for specific qualities, e.g. singability,
educational value, and contributing to the students' artistry and enjoyment of
singing. In addition, each work was examined for its general appropriateness for
the advanced high school choral student, such as vocal ranges and tessitura that are
within the scope of a developing high school singer, difficulties in rhythmic and
melodic configurations, and overall technical requirements.
As well, only works by master composers were considered in light of their
contribution to the historical significance to the teaching and learning process. For
example, Hodie Christus natus est was selected to represent the grand contributions
by Giovanni Gabrielli to this important genre. Schiitz's Jauchzet dem Herren is a
significantly well-known, accessible piece that exemplifies the maturity of
polychoral works in the early Baroque. And, The Aim Was Song, by Alan Hovhaness,
was selected because it was specifically written for the high school chorus, and
6
coincidentally, is an unpublished work unknown to the choral profession. Through
means of a dissertation, the work may find viability and possibly publication for
performance. 1 These master polychoral works can make significant contributions to
advanced choral students by appropriately challenging students' musical and
artistic skills.
Research Questions
The following questions will serve to advance the purpose of this research:
1. What underpinnings will place the use of double chorus works into a
context of repertoire for the advanced high school chorus?
2. What are the parameters of double chorus repertoire that are suitable for
an advanced high school mixed (SATB) chorus?
3. How can analyses of the selected works be generalized to the full
spectrum of polychoral works, both within and beyond the specific historical
periods that they represent?
Cultural, Musical, and Curricular Contexts
Repertoire must be viewed in the context of the total curriculum: the
historical and geographical existence of the music, what matters of authenticity are
to be explored, and what learning opportunities the expansion represents to the
students. Further, definition and qualities of the advanced high school chorus and
1
Approval was granted by Mrs. Hinako Fujihara-Hovhaness for the author of this dissertation to utilize
Alan Hovhaness' unpublished work, "The Aim Was Song" in this research.
7
development of repertoire selection criteria are components that must be brought
to bear on the questions this research will answer.
Moreover, the advanced high school choral group has certain considerations
to explore in laying the ground for this study. For example, procedures for selecting
or auditioning membership of the advanced high school chorus will give key insights
to the repertoire selection. Knowing the adolescent voice limitations and abilities
will be a basic requirement. Criteria for repertoire selection is fundamental to
completing this study. Aspects of suitability, levels of difficulty, appropriateness for
the specific group, and other musical factors will serve as a guide for selecting
double chorus works.
Parameters of Suitable Double Chorus Works
Nothing in the research literature points to criteria specific to the selection of
double chorus works. Therefore, the body of knowledge regarding general choral
repertoire selection, will serve as a guide for intelligent selection of multi-choral
pieces of music.
This study is concerned with teaching and learning through the rehearsal
and performance of double chorus works. How they benefit the advanced high
school chorus is important to explore and discuss. Choral students, when admitted
to an advanced group, should be afforded the widest opportunity to sing a broad
variety of quality choral literature. Such students, being challenged musically, will
8
no doubt also find increased enjoyment in achieving performance of a more
demanding medium.
Although performing music with sacred texts is a controversial issue in many
public school districts around the United States, choral history is rich with sacred
works. One acceptable criterion when selecting sacred music for use in schools is to
find music of high cultural and musical value.
It is the position of MENC: the National Association for Music Education that
the study and performance of religious music within an educational context
is a vital and appropriate part of a comprehensive music education. The
omission of sacred music from the school curriculum would result in an
incomplete educational experience (MENC).
Moreover, earlier music history of Western culture is predominantly one of church
music and to avoid that category would be to limit the scope of literature
unnecessarily. In conclusion, avoiding sacred music significantly decreases the
opportunity to learn of the rich history of choral literature and its reflection of the
cultures from which it arose. Most polychoral pieces are sacred works that were
historically written for special ceremonies. Learning how to negotiate the need to
preserve and pass on the history and integrity of these sacred polychoral works
without fostering conflict, will enhance this study.
Analysis and Appraisal
Emphasis will be placed upon the analysis of the aforementioned double
chorus works for their suitability for the advanced high school chorus. An in-depth
analysis will provide us with insights as to why each double chorus work is valuable
9
and what historical, vocal, pedagogical, musical, and artistic elements will help to
develop the individual and the ensemble. Understanding the technical and musical
demands and limitations of each work and knowing what the music will call for in
rehearsal will help in determining how to approach rehearsal of these works. And,
the analyses will provide a guide as to the unique performance demands of each
work.
Need for the Study
Resources dealing specifically with use of double chorus works in the
advanced high school choral curriculum are severely limited. Therefore, this
dissertation will contribute to the body of knowledge and to the practice of teaching
choral music. This study will serve to advance teaching through the study,
rehearsal, and performance of double chorus works.
Double chorus music has an important place in the canon of advanced school
choral repertoire. In his 1979 article, Polychoral Concerts: Sound in the Round, and
suggests that choirs need not avoid such works. Barnicle states
[w]hile some directors may feel their singers lack the depth and experience
needed to perform music for more than one choral grouping, a brief look at
much of this literature will invalidate most such concerns. Much polychoral
music combines choirs of varied sizes and types, and most works can be
performed several different ways (45,1979).
Some of the benefits are that polychoral music creates interest and stretches
listening and performance capabilities. It sets the stage for providing students with
meaningful musical experiences available through the expansion of repertoire; it

10
extends their knowledge of the choral medium and offers an additional avenue to
learn the historical background of the genre. Ultimately, the juxtaposition of two
interdependent choruses singing in opposition to one another is both challenging
and musically appealing to students.
To conclude, this study will serve as an introduction and expansion to
selected double chorus works that are rarely performed by the advanced high
school chorus, yet are accessible to them. It will enhance understanding of the
double chorus medium for the practicing high school choral teacher and put into
perspective inherent problems in teaching, rehearsing and performing them. This
study will also serve to explore how teaching through double chorus literature has
the potential of advancing a choral ensemble's musicianship.
Definition of Terms
Polychoral, in its simplest form of call and response, has its beginnings in
antiquity probably beginning with a leader intoning a culturally appropriate precept
or supplication, then being answered by a community. Well-known Western
polychoral music no doubt began with the church chant as a call and response
between priests and a religious body or chorus. The choral form of this pattern was
popularized from the Renaissance through the Baroque style periods, beginning
with the work of Venetian composers associated with St. Mark's Basilica (Basilica di
San Marco a Venezia). Carver describes the phenomenon. "In polychoral music the
singers, sometimes with instrumentalists also, were split into two (or more) groups
11
which often engaged in lively dialogue and joined in majestic: tutti climaxes" (1988,
0-
Although this study is limited to two choruses, at its height, polychoral works
were written for as many as three or more choruses,
In some of [Andrea Gabrieli's] polychoral works we can see a new maturity

which is a further stage in the development of cori spezzati. One sign of this
is the use of more than two choirs. There is a complete Mass setting which
requires up to four choirs in the Gloria and which consistently uses three
inthe other movements (Arnold 1956,53)
At times the term polychoral motet is utilized.2 It is difficult to assign a single
definition to the motet because the genre gained differing characteristics in its
evolution over time since it first appeared during the Western Middle Ages.
However, during the Venetian Renaissance and within the context of polychoral
music, a motet is a multi-voiced choral setting on a Latin sacred text.
[I]t was undoubtedly the Italians who first developed, from the antiphonal
elements in the polyphonic style of northern composers, the practice of
writing motets for divided choirs (Cori spezzati) that came to be a hallmark of
ceremonial music at the Basilica di S Marco, Venice ("Motet," Grove Music
Online).
Double chorus works are simply one form of polychoral music, but written
for two distinct groups. These choruses are scored as two interdependent choruses,
but are combined for a full sound and vibrant effect at various points in the work.
The term cori spezzati literally translated means "broken choirs" and is
frequently used interchangeably with polychoral music. "Broken choirs" refers to
2
The word, motet, probably stemsfromthe French mot because new words were added and sung to
sections of Gregorian chant inserted between verses.
12
the physical placement of two or more ensembles in different locations of a
performance venue. Cori spezzati also refers to the technique of composing for
multiple choirs. The method of splitting the psalm verses between two choirs was
referred to as salmi spezzati.
To more fully understand what constitutes a double chorus, it is important to
understand what a double chorus is not. Works that include a full chorus paired
with a soli quartet are not classified as double chorus works in this study because
the two ensembles are not of somewhat equal weight of voices and lack the
interplay of two full choruses. For example, Schiitz wrote a number of works scored
for a full SATB chorus and group of soloists, usually one singer on each voice part:
soprano, alto, tenor, and bass. According to Roland,
Each of Schiitz's prefaces—for Historia der Aufferstehung, Psalmen Davids,

Musikalische Exequien, Symphoniae sacrae 11, Geistliche Chormusik, Historia
der Geburth Jesu Christi, and other works—contain valuable comments
regarding performance aspects. These include the distinction between the
corofavoriti (soloists) and the cappella (the full choir), the speech rhythm of
recitatives, and the possibility of substituting instruments for certain of the
voice parts (2005, 345).
Another difference between polychoral music and similar forms lies in the
example of Orlando di Lasso's L'eccho (the Echo Song), also entitled 0 la!, o che bon
ecoi This piece is scored for four voices (SATB) and is to be sung as a two-part
canon; in this study it is not classified as a double chorus work. The full effect may
seem to be a double chorus work since there are two like choruses. However, the
choral parts are not distinctly different from one another, as one would find inmost
polychoral works. Cori spezzati has a typical interplay between choruses that may
13
be an exact imitation or may be more of a question and answer style. But, the
interplay between the choruses in L'eco is an exact imitation as a result of the
canonic format and the intention to represent an echo in performance.
Within the context of good teaching and learning, repertoire that is suitable
for high school chorus refers to choral works that are of artistic quality. Selection
may demand a more nuanced examination by the choral director in determining the
word quality. Most choral teachers have a well-developed sense honed over years of
practice in this regard even though there will be individual predilections and
inclinations, personal tastes and idiosyncratic leanings. More importantly, the
works valued should contain musical elements that may be achieved by the
advanced chorus within a reasonable period of time and should neither be too easy
nor too difficult. Above all, they should present the opportunity for musical growth.
An advanced high school chorus will be denned as an SATB choral ensemble,
whose membership is made up of singers, usually juniors and seniors (11th and
12th graders), who have accomplished a sophisticated level of musicianship and
artistry appropriate to their age and grade level with which to facilitate the use of
double chorus works. They should be able to read their music with enough
proficiency and accuracy to add to the efforts of the ensemble. And, they should be
able to manage required vocal skills well.
More light will come to bear in discussions about selection and audition
criteria of ensemble membership and the identification and selection of suitable

14
repertoire. Each of the preceding terms and concepts will be expounded upon
further within the scope of this research.
Delimitations of the Study
This research will be limited to those double chorus works written for one
SATB chorus paired with a second 3-4 voiced mixed ensemble. Within the
polychoral genre, there are many double chorus works written for two SATB
choruses. In the case of the recently discovered and commissioned Hovhaness
work, The Aim Was Song, it is scored as a double chorus work in which chorus I is
written for soprano-alto-baritone, and chorus II is written for soprano-alto-tenor-
bass.
Since double chorus works are written for two separate choruses with
separate functions, this study will not address SATB works with divisi, sometimes
scored as SSAATTBB. These works are similar to an SATB/SATB double chorus
work since there is a total of eight parts for a mixed chorus in each. However, these
two types of choral music are distinctly different from one anther in the way they
are written that forms their musical texture.
For the purposes of this study, selected works will highlight a historical
sequence. The role that musicology brings to bear on cultural values and historical
content is too frequently dismissed from the curriculum of a high school
performance ensemble. For this reason and for the purpose of comparing and
contrasting double chorus works as they evolved through historical process, it will
be an imperative to provide analyses of selected works from several style periods.
Methodology
Score Study
The subject of score study advances the purpose of this research in a number
of ways. First, it will provide a springboard for analysis of double chorus works for
their suitability for the advanced high school choral ensemble. Second, it is key to
the procedures to be utilized in this research. And finally, it presents avenues
through which the choral director might approach teaching, rehearsing and
performing double chorus works.
Engaging in score study has significance to repertoire selection and the
rehearsal and performance cycle of a work. Paine offers a three-tiered, sequential
approach: "A conductor studies a score for three basic reasons: 1) to determine
whether or not to perform the piece, 2) to learn the music and determine how to
interpret it, and 3) to help him [or her] to rehearse in and conduct it effectively"
(1993,38).
Initially, score study allows the conductor to assess a work for its suitability
for the ensemble. This is what Paine refers to as the "Preliminary Score Study" (38).
The conductor seeks to identify qualities and issues in the music that will offer an
appropriate challenge. Elliott also weighs in and diagrams the intersection between
musical challenge and musicianship (1995,132). In essence, when the repertoire's

16
level of challenge matches the ensemble's musical abilities, the students will enjoy
their music making. The music director need not wait for partial achievement. As
Elliott states, "[m]usic enjoyment and self-knowledge can be attained even at the
earliest stages of musical learning" (132). In addition, as student musicianship
develops, the challenge must be increased to avoid boredom. Students "will be
motivated to overcome (their) boredom or frustration by rebalancing the
relationship between (their) musicianship and specific musical challenges" (132).
Assuming the conductor knows the ensemble's abilities well, a thorough analysis of
the score will probably provide the necessary insights.
Once repertoire has been selected for a choral ensemble a more in-depth
study is essential in order to learn the score. Paine's second tier, "Interpretive Score
Study," consists of:
• gathering background information...

• studying of the text
• studying of the music and its relationship to the text
• making interpretive decisions (Paine 1993, 38).
This may be accompanied with listening to different recorded performances of the
work were they available. How others interpret the music may be incorporated into
one's own ideas and ultimately arrive at a better integration of stylistic
consistencies.
Paine refers to the third tier as "Pedagogical Score Study." The conductor
engages in a more thorough study in preparation for the rehearsal and "seeks to
• locate potential problem spots for the performers and determine
effective ways to teach them
17
• find and solve the conducting challenges of the piece (starts, stops,
transitions, cues, dynamic changes, etc.)
• develop an overall strategy for rehearsing the work" (38).
Brinson views score study as both an aural and visual process. So that the
conductor may get to know the score well, the conductor should "locate any difficult
intervals (both harmonic and melodic intervals) or rhythmic patterns," "discover
how the different voices relate to one another," and assess how the accompaniment
relates to the voice parts. To accomplish this the conductor should "play or sing
each individual part from beginning to end to locate any difficult intervals or
rhythmic patterns singers will encounter" (1996,107). This should be followed
with playing various parts together. And finally, the conductor should play through
the accompaniment Cumulatively, these aspects of score study lend to "create an
aural map" of the work (107).
Aspects of score study that will assist in establishing a "visual map" include
"text, form, melody, harmony, rhythm, texture, dynamics, relationship of parts,
historical background, and conducting considerations" (1996,108). Brinson offers
directions within pertinent categories for studying each of these visual study
categories:
Text
1. What (who) is the source of the text?
2. What meaning and/or mood does the text convey?
3. Is there any word painting? If so, where?
4. Are there any potential diction problems? If so, where?
5. Does the text present potential problems with word stress? If so, what
words and where?
18
Form
1. What is the overall form of the composition?
2. During which section does the climax of the entire piece occur (if there is
a climax]?
Melody
1. Does (do) the melody(ies) consist predominately of short or long
phrases?
2. Is the melody predominately conjunct or disjunct?
3. Is there a short melodic motive on which much or all of the piece is
based? If so, what is it?
4. Are there any problem intervals (within one part or between parts)? If
so, what and where?
Harmony
1. In what key is the music written? Does it modulate? If so, to what key(s)
and where does it happen?
2. Is the harmonic rhythm predominately fast, medium, or slow?
3. Describe the harmonic language.
4. Are there any significant points of dissonance?
5. Are there places where the chord movements may be difficult or
awkward for the choir? If so, where?
Rhythm
1. Is there one rhythmic motive on which much or all of the rhythmic
structure is based? If so, what is it?
2. What is the tempo? Does this make any rhythmic execution difficult? If
so, what and where?
3. Are there any meter changes? If yes, what note value will remain
constant?
Texture
1. Is the texture generally thick or thin or does it change? If it changes,
where does it change?
2. Is the composition predominantly monophonic, polyphonic, homophonic
or a mixture? Describe.
3. Characterize the accompaniment and its relationship to the choral parts.
Dynamics
1. What is the overall dynamic scheme of the piece?
2. Are there any places where dynamics are "written into the music"
(through the addition of voices or use of ranges, etc.) If so, where?
19
Relationship of Parts
1. Are there places in the music where one section of the choir is more
important than the others? If so, where?
2. Are there any groupings of choir sections into duets, trios, or other
textures? If so, where?
3. Are there rhythmic or melodic similarities between parts that could be
taught at the same time? If so, where?
Historical Background
1. During what period of music history was the piece written?
2. What characteristics of the period are found in the music you are
studying?
3. What performance practices would be applicable to the study and
performance of this piece?
4. What circumstances (personal, musical, and/or historical) surrounded
the composer at the time this piece was written?
Conducting Considerations
1. Check the meter and tempo of the composition. What conducting pattern
will you use?
2. Check the text and tempo of the composition. What style(s) of conducting
(legato, marcato, etc.) will be appropriate? Will this style change? If yes,
where?
3. Locate important entrances and cutoffs. Mark them in the score
4. Locate any rhythmic values that will need to be shortened to allow for
breathing. Mark them in the score (Brinson, 1996,114-118). 3
Procedures
This research is well-suited to a qualitative design as it seeks to demonstrate
the appropriateness of selected works for use with the advanced high school chorus.
The body of literature has ample research on the criteria for repertoire selection. A
set of criteria will be developed from consistencies in the research and from
common practice among choral directors. Repertoire selection criteria, standards of
3
In her text, Brison applies the score study questions to her analysis of Mendelssohn's "Lift Thine Eyes"
(G. Schirmer). The excerpt from pages 114-118 referenced above, includes her questions only. Her
answers in analysis of the Mendelssohn piece have been omitted.
20
quality literature that expands the curriculum, and elements of score study will
serve as measures for assessing the suitability, complexity, and musical and textual
content of the selected works.
Music will be evaluated in terms of the following components:
1. Temporal Elements
a. Meter, time signature
b. Metric shifts, i.e., hemiola, change of key signature
c. Rhythm, elements of rhythmic interest or challenging rhythms
d. Tempo
2. Elements of Pitch (Horizontal and Vertical elements)
a. Melody
b. How the parts interact and mesh with one another
c. Harmony and modality
d. Harmonic shifts, tonicizations and modulations
3. Structural Elements
a. Form
b. Style
c Texture
d. Dynamic Range
e. Range and Tessitura
f. Good voice leading
g. Well-written phrases
21
h. Text
i. Technical demands
j. Articulation
5. Aesthetic Aspects
a. Artistic value and demands
b. Aspects of expression
c. Stylistic nuances
4. External elements
a. Historical perspectives
b. Aspects of Rehearsal and Performance issues
c. Aspects of Conducting
Dissertation Overview
The organization for this dissertation is as follows: The first chapter serves
as an introduction to the dissertation topic, providing the research purpose and
questions, as well as providing background information on the topic. Chapter two
will provide a review of the literature. Chapter three will be devoted to an
investigation into choral music education as a process and provides a rationale for
adding more depth to the choral curriculum. The suitability of double chorus works
for the advanced high school chorus will be investigated in chapter four. Chapter
five will give a historical overview of polychoral music so as to provide a context for
utilizing this genre as an expansion of the curriculum for the advanced high school
22
chorus. All the subtopics serve to undergird the premise that double chorus
repertoire provides meaningful learning and performing experiences for the
advanced high school chorus. In chapter six, the purpose of this study will be
advanced through detailed analyses of the selected works, which cleanly fall into the
aesthetic province. And, a discussion on future studies will be the topic of chapter
seven. Appendices include (1) a list of double chorus works that are suitable for a
high school chorus; (2) documentation surrounding the commissioning of
Hovhaness' unpublished work, The Aim Was Song; (3) publisher licensing
agreements; and (4) reproduction of full scores to be used as a reference for Chapter
Six: Analysis of Selected Double Chorus Works.

23
CHAPTER 2
REVIEW OF THE LITERATURE
Literature concerning double chorus for the advanced high school choir is
scant. Nevertheless, what is available will be covered to the extent appropriate and
possible to lay the ground for the concerns of this study. Thus the chapter will be
divided into three parts: 1) literature about polyphonic music, 2) literature about
high school choral repertoire selection, and 3) double chorus repertoire for the high
school choir. Each section will examine what is available and offer a critique to
assist the reader in establishing the framework for the results of this study.
Literature About Polychoral Music
There are limited resources available that specifically discuss the use of
double chorus works, both the resulting process and the performance product, with
the advanced high school chorus. Guidelines are needed that address establishing
criteria for the selection of double chorus music, how to plan and negotiate the
rehearsals so that students have an optimal experience, and how to treat
performance issues of double chorus works.
Only one article has been located that briefly discusses the subject of utilizing
polychoral music in the high school choral program. Barnicle provides a general
history of the Venetian polychoral style(1979). He offers basic, good advice on
developing choral exchanges as a means of carrying out a performance, how to

24
physically place the various choruses, and concludes with a list of suggested
repertoire.
There are several scholarly resources that provide a more detailed review of
historical background, innovative composers, and compositional traits of this genre.
Arnold articulates the importance of Willaert, the organist at St. Mark's Basilica in
Venice, who first popularized polychoral music and passed this choral-writing
tradition to his student, Andrea Gabrieli.
His harmony is simple and diatonic, and there is a new delight in

changes of sonority. He also sees there are special problems to be
solved. Of these the most important is to make the harmony tolerable
even if a listener is much nearer one choir than the other. His solution
was to make both choirs harmonically complete in themselves. Given
this measure of independence, the work should sound much more
satisfactory than if it is assumed that the listener can hear all the
voices equally clearly, and this is the first recognition of the fact that
the balance between parts is important. (Arnold 1959,6)
Knowing Willaert's intentions sheds light on planning rehearsals and
performances of multi-choral works. It suggests a standard for inspecting double
chorus works for their suitability, not only for the high school chorus, but also from
the perspective of the audience. The audience is accustomed to hearing the sound
coming from a single location at the front of the performance hall when listening to
a standard SATB piece. However, a critical factor in polychoral music is the spatial
dimension. The distance between choirs and the sound source coming from
different areas of the room heighten audience awareness.

25
Selecting Repertoire for the High School Chorus
Since the selected double chorus repertoire will be examined for its
suitability for the advanced high school choral ensemble, this literature review
seeks to identify criteria of repertoire selection, elements of high-quality choral
works, and curricular and pedagogical needs of the students. In a 2001 study, Guy
Forbes identified six criteria used by directors in their music selection process for
their advanced choirs. The most important of these were found by answering the
following evaluative questions: "(a) Do I like it? (b) Can my choir perform it? (c)
Does it meet the needs of the ensemble? (d) Will it work as part of the program I
have planned? (e) Is it a high-quality composition? And (f) will the students like it?"
(112-113). While Forbes places liking a work as the first and last criteria, one might
argue that both the director and the individual student, to be true to offering all
students a superlative, whole, diverse, choral experience, may have to be open to
expanding one's horizons. Frequently, after working with a piece of music,
familiarity truly breeds respect and ultimately liking. In other words, the
educational needs of the students supersede personal feelings of the director, or an
individual student.
The next four criteria are certainly valuable in selecting music. The last
criterion depends on these principles as well as the director's ability to allow its
music to speak for itself in its qualities. Yes, it is important to project students'
reception, but as with the director, the students will need to grow in tolerating a
wider variety of experiences and in expanding their knowledge of musical literature.

26
The truism that one cannot select from options when the alternatives are not known
is strongly applicable in this case and functions as an unspoken philosophy in
orthodox views of education.
Apropos of the preceding curricular needs of the secondary choral classroom
is one of the most important factors in repertoire selection. Barbara Brinson states
that "the music to be rehearsed and performed by your choirs comprises the very
core of the choral curriculum, and because the choice of music has the potential to
affect all else that transpires during the entire year, decisions must be made with
much thought and consideration" (1996,73). Michelle Holt stresses the importance
of making "sure it allows singers to improve and strengthen their vocal skills
through working on the music we choose for them on a daily basis" (2008,124).
John Hylton defines the concept of "Comprehensive Choral Music Education," stating
that it "seeks to facilitate student development in the areas of music reading,
languages, and the historical and stylistic context of music" (1995,3). The focus of
Hylton's precepts is placed upon the curricular, process-oriented needs of the
student throughout the rehearsal-performance life cycle of a work.
Choral repertoire selections must also suit the vocal limitations and abilities
of the high school singer. Brinson identifies the average high school singer's vocal
ranges and tessitura of the parts as important criteria (1996,76-77). She also looks
to specific vowels sung on particular parts of the vocal range as a consideration. For
example, an open vowel sung on extreme parts of the range may be considered,
while closed vowels on those same pitches will be difficult for the high school singer
27
to manage. John Cooksey (1999] and Lynne Gackle (1991,17-25) provide
guidelines for working with the adolescent changing voice. While this is more of an
issue during the middle school years, vocal maturation continues through the high
school years and beyond, and requires special attention when selecting repertoire.
For example, even in the advanced high school chorus with older high school
students, full expansion of ranges may not yet be fully developed. Therefore, the
choral director would need to select music within the range capabilities of the older
adolescent voice.
The issue of quality is an important criterion. Kenneth Phillips suggests that
music should be of quality and "should have lasting value" (2004,148-9). Apfelstadt
also points to selecting music that is of good quality: "Well-written music finds the
balance of tension and release, structural symmetry and asymmetry, and
anticipation and surprise that makes listening and performing it a worthwhile
experience" (2000,19). Robert Garretson points out the importance of examining
repertoire for "voice parts [that are] handled in such a manner as to make each part
sufficiently interesting" (1981,249). Anthony Palmer states that "good music tends
to last and our appreciation deepens with time" (1994, class handout). Lastly, James
Jordan utilizes "staying power" as a criterion since "we generally have to live with
that literature for a long period of time" (2008,117).
Exposing students to music of varied styles, from different style periods, and
authentic ethnic choral literature provides a rich palate of interesting music. MENC
offers Opportunity to Learn Standards for high school curriculum and scheduling,
28
stating, "the repertoire taught includes music representing diverse genres and styles
from various periods and cultures" (1994,17). Repertoire has been a subject of
inquiry for decades. The seminar held at Yale University in 1963 was critical of
school repertoire and made this valiant statement in that regard.
If the goal of elementary and secondary music education is to awaken,

increase, and refine the child's natural musicality, then the repertory used in
most school systems in the United States is ill-chosen (Palisca 1964,11).
Popularly known as the Yale Seminar, it gave rise to the Juilliard Repertory Project,
which produced eight books of vocal and instrumental music for the K-12 classroom
ranging from the Medieval period through the 20th Century and engaged
contemporary American composers to write new pieces for the collection (Reese
1970).
The Tanglewood Symposium of 1967 was a reaction to the Yale Seminar in
that the 1963 meeting was virtually devoid of music education representatives. The
later event examined music in American society and evaluated repertoire used in
the schools as part of their considerations. They produced a Declaration that said in
part:
Music of all periods, styles, forms, and cultures belongs in the curriculum.
The musical repertory should be expanded to involve music of our time in its
rich variety, including currently popular teen-age music and avant-garde
music, American folk music, and the music of other cultures (Choate 1968).
The 40th Anniversary observance of Tanglewood was a like symposium held
in 2007. The Declaration emanating from that meeting not only supports a broad
inclusion of music according to the student s needs, but wraps the idea of quality
and other factors in the music experience.4
A primary issue in music learning is the quality of experience students
undergo. Quality musical experiences stem from the development of skills fused
with creativity, critical thinking, imagination, artistic sensitivity, and passion. They
should be engaging and personally relevant to the student and fulfilling for the
teacher (Tanglewood II).
Several considerations surrounding the text of choral selections provide a
basis for an analysis. Reinforcing the ideas of Tanglewood II is found in others'
writings. Jordan says that the text should relate to "the lives of the singers" (2008,
117), Garretson wrote that the text "should contain a message of sufficient value"
(1981, 248), and Palmer declared that text should be "wedded to the music" (1994,
class handout). When foreign language pieces are used, a good translation should
be provided (Phillips 2004,147).
Selecting repertoire with sacred texts can present obvious potential issues
when communities are opposed to their children singing sacred texts in public
schools. Both NYSSMA5 and MENC support the use of sacred texts in school music
so long as it serves a pedagogical function and not the function of advancing
religious beliefs. In an effort to clarify educational purposes of music with a
4
Tanglewood II Declaration: www.bu.edu/tanglewoodtwo
5
New York State School Music Association.
30
religious text, the NYSSMA Executive Council adopted the following guidelines for
selecting sacred music repertoire:
1. Music chosen should be quality literature which possesses clear educational

value: musical, historical and cultural.
2. Selection of music should be based upon the developmental level of the
students and the overall curriculum goals of the music program.
3. Music should be appropriate for the performance at any time.
4. Music should be reflective of, and enhance student awareness and
appreciation of various cultures.
5. Teachers should present the music in a sensitive manner emphasizing the
educational and multi-cultural value of the music, rather than any
religious/seasonal aspect (NYSSMA 1994).
Likewise, MENC holds a similar position.
[i]t is the position of MENC: The National Association for Music Education
that the study and performance of religious music within an educational
context is a vital and appropriate part of a comprehensive music education.
The omission of sacred music from the school curriculum would result in an
incomplete educational experience (MENC 1996).
Other aspects of high school choral repertoire selection, according to Jordan,
include form, modality and aural difficulty (2008,114). The following
considerations might be added: audience appeal, programming needs, size of the
ensemble, a cappella versus accompanied works, works with instrumental or
orchestral accompaniment, whether to use arrangements, transcriptions, student
compositions, works of music taught through the oral tradition, in short, use of any
works that contribute to a meaningful music education experience.
High School Double Chorus Repertoire
A search for double chorus works on state contest lists revealed relatively
little. Only a few contest lists were accessible. Of these, several states did have lists
31
for band, jazz band, full orchestra, and string orchestra, but no choral list was
mentioned. This was the case for Florida, Georgia, Missouri, and Midwest clinic.
Those states that had an accessible contest list were North Carolina, Indiana, Texas,
and Wisconsin. Of these choral lists, Indiana listed no polychoral works. Both North
Carolina and Wisconsin had the same double chorus work, Mendelssohn's Heilig, on
their lists. Texas, known for running choral contests in all regions of the state, had
the most offerings on their "University Interscholastic League" Prescribed Music List.
On the UIL PML were sixteen polychoral works: fourteen for mixed chorus and two
for SSAA chorus. Of the fourteen listed for mixed chorus, twelve were for two SATB
choruses. Knut Nystedt's Kyrie was listed and is scored for SSA paired with an SATB
chorus, and a setting of Ave Maria Stella by Trond Kverno is scored for SSA and TBB
choruses.
NYSSMA, who advocates for excellence in music education programs in the
state of New York, promotes and produces choral contests and festivals. To ensure
that quality repertoire is used for these events, they have published the "NYSSMA
Manual: a Resource of Graded Solo & Ensemble Music Suitable for Contests and
Evaluation Festivals." The choral works are organized in six graded levels, with
"Level Six," offering the most advanced repertoire. "Level Five" contains only one
work, Leisring's 0 Filii et Filiae, written for SSA in Choir I, and SATB in choir II. Eight
double chorus works with various voicings are found on "Level Six," including
works by J.S. Bach, Brahms, and other master composers. Applicable works,
32
including those found in the Texas PML and NYSSMA Manual, are included in the
double chorus repertoire list found in the appendix of this dissertation.
Choralnet, an online community of choral conductors and musicians, also
has a list of recommended double choral works. In addition to a few pieces already
mentioned are Benjamin Britten's Hymn to the Virgin and Mein Lieb will mitmir
kreigen. Several of the pieces selected for this dissertation are also included on the
Choralnet list: Cherubini's Crucifixus, Hodie Christus natus est and Lietogodea
sedendo by Giovanni Gabrieli, and several pieces by Heinrich Schiitz, including Psalm
100 (Jauchzet dem Herren) and Psalm 150 {Lobet den Herrn). One could have
selected any number of these works and they would have served the same purpose.
Representation, ease of performance, and variety of repertoire were key
considerations. A final criterion, based on intuitive grounds, was a compatibility
with this author and a sense that these works offered a strong basis for students
having an unusual opportunity for musical and cultural growth.
Summary and Conclusions
That polychoral music so lacking in recognition suggests that this study is a
worthy subject to explore. The field is deficient in both research literature and
recommendations for repertoire. Although the criteria are established easily
enough from the recommendations on normative SATB literature, it remains to be
expanded to a wider accessibility of literature for the advanced high school chorus.
Is this indicative of a larger problem in choir director preparation? Echoing the

33
Tanglewood II Declaration, one can legitimately suggest that the encouragement
and development of "a broad musicianship in all their students [in teacher
preparation]" would include an understanding of the full range of possible
repertoire (Tanglewood II).

34
CHAPTER 3
CHORAL MUSIC EDUCATION AS A PROCESS OF LEARNING
Whether students are performing double chorus works or four-part mixed
chorus repertoire, there are specific areas that apply to both genres. One that is
fundamental to the issues is the process of learning that occurs in the rehearsal hall.
Every choral director is required to consider what kind of program is most effective
to insure student learning. This chapter will examine some basic issues that
reinforce the learning of all music as a corollary to expanding the choral curriculum
to include double chorus works, e.g., the values of participating in a choral program,
the importance of developing musicianship, the director's philosophy for the choral
program, and the focus on student growth as a primary reason for the program.
How students are approached in the learning of music greatly determines the
immediate and long-range outcome. Placing the emphasis on simply learning the
correct pitches and rhythms may even result in a note-perfect performance, but the
students will be denied the richness of learning in depth. The contrast would be an
in-depth process with the emphasis placed on how the music is learned. The focus
on the myriad dimensions of choral music should be a primary goal. Students would
become conscious of the origins of the music, its historical and cultural context, the
role that dynamics and other elements work to generate an appropriate
interpretation, its form, modes, and composer's intentions. Consequently, this
provides an environment for a deeper, more meaningful experience that permeates

35
the entire choral undertaking. Thinking in terms of process versus product is not
simply a catchphrase, but a profoundly different approach to teaching in a choral
program.
Since there is little research available directly addressing expansion of the
advanced high school choral curriculum through double chorus repertoire, by
examining supporting areas of choral music education, a clearer vision will emerge.
This chapter deals with the enriching elements of a quality educational experience.
When students feel personally fulfilled through realizing intrinsic values and
meaning, they will have achieved a heightened experience of learning and
performing. The following discussion will illustrate values to be sought after and
achieved in depth.
Value of Music Participation
On the premise that simply learning to reproduce the score is a shallow
exercise. Conversely, the case has been made that participating in musical activities
holds great values for the students. In a 2004 study, published by RAND
Corporation, McCarthy, et al, expound upon instrumental and intrinsic benefits.
Instrumental benefits of the arts, and in this case, the choral ensemble,
promote important measurable benefits, such as economic growth and

student learning, and thus are of value to all Americans, not just those
involved in the arts.
Such benefits are instrumental in that the arts are viewed as a means of
achieving broad social and economic goals that have nothing to do with art
per se (2004, xi).
36
Instrumental values touch on broad areas of cognitive, attitudinal and behavioral,
health, social, and economic benefits. For example, learning to sing artistically and
perform with nuance has cognitive benefits for the individual, which then
contributes to the ensemble and their performance. In addition, singing with an
ensemble provides an avenue for learning to work cooperatively and developing
social skills.
The RAND study addresses a more valuable benefit, although not as easily
assessed, stating, "[i]ntrinsic benefits of the arts are intangible and difficult to define
. . . " (2004,37). While the intangibles are subjective, the Rand study does suggest
that the arts add personal value and offer "pleasure and emotional stimulation and
meaning" through expressive, communicative qualities (37).
Elliott addresses value in music education as well. He states that value in
music education is that which provides intrinsic and life-long benefits to the
students then continues,
[m]usicers 6 make musical works to be listened to for: (1) the intricacy of

their intramusical designs, and/or (2) musical expression of emotion, and/or
(3) musical representations of people, places, and things, and/or (4) musical
expressions of various kinds of beliefs (e.g., personal, political). ... In
addition to and underlying all various purposes for which music is made are
the central values of music making as a human pursuit: self-growth, self-
knowledge, and enjoyment (1995,120).
Going beyond the usual four-part mixed choir repertoire by incorporating
double chorus works in the curriculum, learning for the students can be
6
Elliott coined the term, "musicers," in reference to those who make music. In the context of this research,
the "musicers" are those who sing in the advanced high school chorus.
37
considerably broadened and deepened. Students benefit from the musical skills and
experiences they acquire. The intricate design and expansion of musicianship
required in double chorus works uniquely contributes to the value of music study.
In an optimum musical experience, choral students enjoy an intrinsically fulfilling
medium of self-expression.
Self-growth, self-knowledge, flow, and self-esteem do not result from setting

and meeting trivial goals. The primary values of musicing and listening
result from the continuous investment of musicianship in musical problem
solving that spirals upward in complexity in relation to recognized criteria
and traditions of musical practices. In realistic terms, then, the aims of music
education will not be accomplished if teachers merely entertain their
students or if students merely dabble in ersatz sound-producing activities.
Self-knowledge and enjoyment arise from the extension of one's powers of
consciousness, from significant and knowledgeable effort. What this means
for music teaching and learning is that the values of music result from
learning to make and listen for musical works well—from the deliberate and
sustained pursuit of musical competency, proficiency and expertise. To
pursue musical excellence is to pursue self-growth, constructive knowledge,
and enjoyment (Elliott 1995,133-134).
The pursuit of "self-growth, constructive knowledge, and enjoyment"
elevates the purpose of choral music education beyond the frames of the repertoire,
rehearsal, or performance. Rather, learning through the medium of choral music
satisfies these personal goals. When students are led to strengthen their
musicianship and are afforded an elevated experience, they also gain life-long
intrinsic and educational benefits.
Music is an excellent vehicle for affective and aesthetic experiences. The

affective domain focuses on feelings or emotions. Perhaps to a greater
degree than any other subject, music facilitates the education of feelings as
students respond to the qualities of great choral music in rehearsal and
performance. The feelingful response of students to the choral music they
38
experience, based on a heightened understanding of the content of the music

studied, brings us to the realm of aesthetic education... (Hylton 1995, 255).
Performing double chorus works increases the sonorous properties for the
performer. Also, the senses demanded for response are considerably heightened.
Therefore, expressions of feelings or emotions can be greatly enhanced for the
participants. McCarthy, et al, describe the aesthetic experience students should
encounter through arts experience and such events as rehearsing, learning through
and performing music, as "an uncommon feeling of rapt absorption, or captivation—
of deep involvement, admiration, and even wonder" (RAND study 2004,45).
Further, because of the increased demands to perform such works, "[e]njoyment
comes with the achievement of excellence in [this] activity rather than from the
direct pursuit of pleasure" (46). Polychoral music has no less an effect on students'
aesthetic experience and may, in fact, increase the effects because of the more
difficult level of achievement.
Tenets of Comprehensive Musicianship
It is not enough for students to merely rehearse and perform double chorus
music; it is what the conductor does with this repertoire during rehearsal and what
attitudes towards the music and its performance are communicated. One major
requirement of the process is to learn musicianship. Elliott states that
" [m] usicianship is the key to the values of music making. And musicianship can be
taught and learned" (1995,121). Value and meaning may be amplified through the
teaching and learning processes.

39
Drawing on the principles of Comprehensive Musicianship (hereafter
referred to as CM) serves as a catalyst to improve the quality of what is taught in
choral music and how the rehearsal is utilized. An important aspect of CM is to
teach historical and cultural contexts and musical structure in an effort to
streamline an integrated music learning experience. Mark and Gary summarize
these postulations.
Comprehensive Musicianship was an American development to improve the

music curriculum by relating various aspects of music usually studied
separately. Music history and theory, for example, are often taught as
separate subjects, and some students have difficulty relating the two. A
fragmented view of music often prevents students from developing insights
necessary for true musical understanding. The integrated study of music was
seen as the means to prevent fragmentation of musical knowledge and
understanding.
. . . More impact was felt in elementary and secondary schools, where

performing ensembles were often exposed to comprehensive musicianship
concepts and practices in an effort to counter the Yale Seminar criticism that
performance-oriented music programs often did little to increase the
musicality and musical appreciation of the individual musician.
The solution to the problem was in the music used by performing ensembles.
It was the basis for broader musical learning, including analysis, theory, and
historical information. This approach required much preparation by
directors, and rehearsals became combinations of rehearsal, class and
laboratory (Mark & Gary 1999,361-362).
Arguments against CM in its purest form, contend that while in theory, the
concept of cross-music-disciplinary teaching and learning sounds like a good idea,
but in practice it may be not be feasible. For one, teaching music history and music
theory in the context of a performing ensemble requires the teacher-conductor to
have multiple specializations. Secondly, a performance-based ensemble's rehearsal

time is usually not adequate for teaching contexts in depth. To do so would dilute
valuable time needed for the practice of singing and teaching choral and artistic
concepts. The impracticality of teaching all music subjects within the time allotted
would cause a lack of preparedness for public performance. This seems to suggest
that teaching and learning should be a mile wide and an inch deep.
However, rather than simply teaching songs by rote, borrowing from the CM
model suggests that repertoire can be taught within historical context, especially if
interpretation is to be considered a prime quality. If adapted to fit time constraints
and the rehearsal and performance objectives of an advanced high school chorus, a
double chorus work may be presented so that students understand the rich history
of polychoral music and some of its features. Because of its added complexity as
compared to a four-part work, double chorus repertoire makes more sense and is
learned more thoroughly when students are presented with music theory elements
found in the work. And, teaching the structure of a double chorus work will bring
students to a greater understanding of form in music and how each chorus functions
with one another. The sum of these efforts brings the student to a more complete
understanding and allows greater opportunity for growth as a young musician.
In consideration of the question on time, when students learn to sight-read
well and improve their musicianship abilities, they will need less time to learn the
notes and rhythms, phrasing and other choral attributes, allowing sufficient time to
41
develop their sense of culture and historical context.7 Also supporting this direction
in learning is number nine of the National Standards for Music Education,
"Understanding music in relation to history and culture" (MENC 1996,121).
Choral Processes That Lead to Student Growth
A major purpose of rehearsing music in a high school ensemble is to prepare
for a public or private performance. The performance plays a role in completing a
certain period of preparation. It also signals a milestone by which students can
measure their progress in skill development and their aesthetic understanding of
this deeply ingrained desire on the part of humanity to make music. Referring to
Elliott, there are a variety of reasons that students engage in music. No single
reason suffices to explain this profound desire to participate in musical activities.
The process by which students can continually learn and engage in music activities
with performances that offer periodic reflection and evaluation are the most
important aspects of learning that must be led by skilled and sensitive teachers.
Two Models of Choral Music Programs
Expanding the repertoire to include double chorus works aims the discussion
toward examining which model for a choral program is most desirable. Choral
programs generally reflect the conductor's philosophies and attitudes and follow
one of two basic models. One uses performance as the sole reason for rehearsing
music. The other is centered upon the process of learning, using performance as a
7
The question of the standards for entering an advanced choral group arises in this context.
marker on a longer path. In the first model, rehearsals are dedicated to
performance preparations. In the second model, both rehearsals and performances
are opportunities for learning.
Hylton outlines three different music educators' philosophies and illustrates
how they are expressed through the choral programs they lead. The first two
examples are centered upon entertainment values alone; the first is concerned with
entertaining others, the second with entertaining themselves and their audience.
The third is fully educational and emphasizes the learning process for life-long
involvement in music (1995, 253).
Director A heavily involves the choir in contests and festivals in an attempt to
win many trophies. This director conducts three ensembles and teaches music
appreciation and music theory, but devotes all energies and attention towards the
top choir. The conductor "has found the most efficient way to produce high-quality
performances from the choir is to drill the music into them by rote" (1995, 253).
And, since the choral program has gained notoriety, the community and
administration are very pleased with Director A.
Director B's focus is on creating a fun atmosphere for the choir students.
Repertoire selections are easy to learn and humor is used freely in the classroom.
Since everyone is having fun, students are enjoying singing with Director B and the
community and principal hold him/her in high regard. This approach also has
serious implications for repertoire selection.

43
Director C focuses on the student and places learning as the driving force
behind carefully chosen repertoire and performance opportunities. The director is
concerned with monitoring student progress and fosters musical independence in
all students.
Of the above scenarios, Hylton's "Director A has obviously made performance
the primary objective [and]... Director B believes having a good time and
entertaining both the students in the program and those who come to the concerts
is of critical importance" (1995,253). Director A and B exemplify opposites in what
they view as important, yet they are both concerned with production. To one, a
production-centered philosophy is bolstered through public recognition. To the
other, it is expressed through having a good time. Neither of these philosophies is
student-centered. They do not foster student growth toward the goal of becoming a
musician who is capable of performing independently outside the classroom. It is
doubtful that they have lasting impact upon student's musicianship and life-long
learning. And, as Apfelstedt agrees "[t]he student who has been denied the
development of musical independence at the hands of the performance-only teacher
is relegated to a more passive position, musically dependent: upon whomever will
continue in the role of the high school teacher" (1989, 75).
Such was also the concern of those involved in the Contemporary Music
Project when CM was being developed:
Many directors of school performing groups... rely exclusively on the old

"osmosis" theory of instruction. In this method, one learns merely by a
"soaking up" process, benignly filtering in auditory signals with the faith that
44
sooner or later the learner eventually begins to "know"—the sponge has

soaked up enough molecules of whatever it is that must be known (MENC
1971, 69).
There is room for rote learning in certain situations. Repetition is a
necessary element in building in tonal and rhythmic patterns, muscular responses
to producing appropriate vocal sounds, and learning to respond to written symbols
automatically. An additional example would be when drilling diction and
pronunciation of a foreign language text, particularly in a language unknown to the
students.
Further, Apfelstedt points to another important reason:
[R]ote responses... have their place in the choral rehearsal; there are times,
as in drill and practice sessions, for example, when the teacher's specific
directions must be acted upon immediately by the students. In such a
context, rote responses may prove to be an efficient means of learning,
particularly when the goal is development of a specific skill. ... Such low-
level cognitive skills are probably appropriate in (some] instances because
the students may yet lack the background and knowledge to make decisions
about the correctness of their efforts, or the skills to devise ways of solving
the problems without direct teacher intervention (1989,74).
To contribute to lifelong learning is, after all, the primary function of
education. In contrast to the previous two examples, director C's emphasis is placed
upon the educational process. Therefore, he or she is less likely to be appreciated or
easily understood by parents and administration without special cultivation since
"[this] growth is not always obvious to casual observers" (253). Furthermore,
Director C "has taken the comprehensive approach to instruction, and [his or her]
accomplishments are of the most lasting value for the people the program is
intended to serve—the students" (253). Apfelstedt further illustrates this point.

45
The student who learns to function as an independent musician capable of

solving musical problems will be better equipped musically for personal life-
long musical pursuits after high school. Not dependent upon the teacher to
control much of his or her musical experience, the graduate of a
comprehensive music program may later serve as a valued member of a
community or church choir, or to be an otherwise active supporter of the arts
(1989, 75].
Performance as Means and Ends
Thus, while performance is primarily a process, performances become
markers by presenting an outcome of a certain period of learning. As a part of the
educational process then, the performance, or the final product in a manner of
speaking, gives to students an opportunity to learn how to present themselves on
the stage. Accordingly, they will have the occasion to immediately recall all that has
been learned relative to the music to produce the work for a public performance.
Presenting well-conceived and strong public performances is also part of learning to
be artistic by bringing all that is learned to fruition.
A successful choral program balances learning time with the number of
performances. Excessive numbers of performances can derail perfectly planned
learning sequences. A better concert schedule might be to have two school-based
concerts per semester (one at mid-semester and the second at the end of the term)
with occasional engagements to sing for special events, such as graduation. Many
choral programs with select chamber ensembles usually give numerous
performances in the community.

All too often performance schedules will be imprudent by limiting learning
time. In that case, either the choral director thrives on public attention or because a
tradition has been developed over time. Choral music education is filled with
examples of the following paradigm. "/ had a wonderful capable friend who at
Christmas time did some 45 to 50 performances with his top select group. They were
out of school during the month of December so many days that I'm surprised he was
able to do this year after year."8 Similarly, when the author of this study once
accepted a new position as a high school choral director, one of the ensembles
inherited was exceedingly popular and in demand in the community. With it came
the expectation of accepting numerous engagements, including 30 public
performances in the month of December alone, a tradition that had been ingrained
in the culture of the ensemble, school and community for some 20 years.
In a sense, the performance-heavy regimen is not unlike our present day
educational climate and the standardized testing movement. For example, a math or
English teacher must strictly teach within a regimented list of testing objectives;
under that rubric, education is reduced to a "one size fits all" approach. These
teachers are under a specific type of performance pressure of their own making.
Because of the standards movement, teachers are under scrutiny, particularly if
their students do not score well. Therefore, lessons are a mirror image of the test.
They must follow a strictly regimented curriculum grounded in recitation of facts.
Takenfroma personal conversation.

47
There is no time for cultivating higher order creative and critical thinking skills,
such as analysis, synthesis, and evaluation.9
In a 2006 study, Stevenson and Waltman revealed that teachers made
changes in their instruction due to standardized testing. Types of changes were
adding and deleting content, emphasizing material, or altering the sequence.
The significant changes reported by teachers were placed in two initial

categories: content-related changes and changes related to testing practices
(i.e., 'testing-related changes') 88% of all elementary teachers who
reported making a significant change described changes that were content-
related. In contrast, only 20% of these teachers indicated making a change to
their testing practices. A similar trend is found at the middle/high school
level. Specifically, 89% of the teachers reported content-related changes,
whereas only 16% reported changes in testing practices (2006, p 29).
Jacob states that "[cjritics of test-based accountability often argue that the
primary impact of high-stakes testing is to increase the time spent on test-specific
preparation activities, which could improve test-specific skills at the expense of
more general skills" (2005, 778-9). Utilization of creative lessons, going in to more
depth on a topic, or teaching students in a way that produces insightful, critical
thinking and creativity, is rejected in favor of preparing students to test well.
The corollary to testing is when an ensemble is over-scheduled; the director
then needs to drill repertoire quickly, in order to meet performance demands,
setting off a perpetual cycle of rote learning. The test in this case is the
overabundance of performances.
9
These components are identified as higher order thinking skills in Benjamin Bloom's Taxonomy. <
http://eduscapes.com/tap/topic69.htm>
48
Under the demands of public performance pressures, we seek the most

efficient means of getting the music learned or so we think. In the short term,
our students may fix the errors and produce an accurate performance in a
relatively brief time. As for the long-term effects, however, we cannot be
sure that the "quick fix" will have any lasting impact. The real test is whether
the students can apply those learnings to new contexts or whether we must
start all over again each time we introduce a new piece of music (Apfelstedt
1989,74).
Under pressure of numerous performances, students are learning only how to
repeat the music previously drilled but now presented in the performance hall,
neither gaining new insight nor rendering a spontaneously exciting display of
artistic understanding.
A rationale for a heavy emphasis on performance is often related to
advocacy. Advocacy takes on several forms. Among them, performing frequently is
attractive and functions as a recruiting tool. For those who are already in a choral
ensemble, being "in the spotlight" gives them an incentive to maintain their choral
membership. For those who are interested in singing but are not enrolled in choir,
seeing their peers perform can inspire them to join. And, bolstering enrollment and
having large numbers of students involved in the choral department provides data
used to validate music programs.
An abundance of public performances appeals to the community of
stakeholders. Parents, administrators, school board members and the like, must
always be convinced and reminded that music programs are an important part of a
school curriculum. Therefore, seeking support, and in some cases, protection of the
choral program, numerous performances help to maintain public awareness.

49
Conversely, when the student is the central focus of a choral music program,
performance is a continuation of the educational process. As Elliott states "the best
description of a musical work is a performance of that work. For it is only in an
artistic performance of a composition that all its dimensions of expression are fully
presented and realized as a whole" (1993,14). When a work is brought to an
intense degree of competence, students are able to see their education in
perspective, where they were, where they are presently, and even where they can
go from here.
Stage presence—exuding confidence, exhibiting appropriate behaviors,
focusing on the task at hand, uniform or proper dress, contributing to the physical
setting—demonstrates a level of professionalism that must first be learned and
rehearsed. Students learning to be respectful of their audience and of their own
performance increases the potential success of the venture. Dress rehearsals, or the
final rehearsals leading up to a performance, allow for the conductor and choral
ensembles to solve logistical problems, polish their performance etiquette, and to
rehearse how students will manage aspects of stage presentation. Distractions from
the performance are eliminated through a carefully groomed presentation, which
makes worthwhile all the work invested.
Elliott states that
only in an artistic performance of a musical composition... everything a

composer conceives and intends is decided. Only in a musical performance
do all the dimensions of a composition, rendition, or improvisation come
together in a determinate way. And this is why a musical performance is the
50
most complete nonverbal description of a musical work and of a music

maker's understanding of that work [1995,173).
When the student reaches an inability to verbalize about the extraordinary musical
experience that Elliott suggests, they have entered into the realm of artistic
communication, a realization not able to be learned in any other way.
A curriculum has many parts and one is expressed through performance.
Whitlock states "curriculum and performance are interrelated, and that attention to
one will improve the other" (1991,40). Further, she asserts a theoretical
correlation between a sequential curriculum and quality in performing. To that end,
recommendations for sequence in music study "involves more than singing. It is
learning, beyond that which is necessary for adequate performance.... The basic
elements of secondary choral curriculum are..." (39):
1. vocal technique,
2. choral technique
3. audiation/music reading,
4. vocabulary/music fundamentals/basic theory,
5. style and history
Another aspect of a curriculum is to educate the student for musical
independence. Nurturing this quality allied with learning to work with others
achieves its most effective level through a musical presentation. This is especially
true when performance pressure to produce the work as though spontaneously
presented is strongest.
51
In an optimum experience, performance should be viewed as a reflection or a
summary of all efforts put into preparations for that performance. Hylton offers an
excellent summary.
Both process and product are important in comprehensive choral music

education. Through the process of rehearsals and concert presentations,...
students are guided to increasingly complex levels of musical understanding
and appreciation as well as enhanced understanding of themselves and their
peers. Some would consider the presentation of a fine concert the ultimate
product of a choral program, but in comprehensive choral music education
the presentation of concerts represents one aspect of a continuum (Hylton
1995, 266).
Rehearsal as a Process
Since this study is concerned with expanding the curriculum through
inclusion of double chorus works and since a quality performance experience is
reflective of student learning, it is important to look at the context of the rehearsal
process.
Hylton applies the CM model to the process of choral teaching:
Comprehensive choral music education is inclusive, in depth, and educates

the participant through experiences in choral music. This education is not
limited to the learning of pitches and rhythms, but occurs through the
provision of aesthetic experiences, the refinement of critical thinking skills,
and the development of a fuller understanding of self. Comprehensive choral
music education is not limited to the teaching of three pieces for competition
or twelve selections for the spring concert, but rather seeks to facilitate
student development in the areas of music reading, languages, and the
historical and stylistic context of music (Hylton 1995, 2-3).
Hylton distills these ideas down to four basic principles of Comprehensive
Choral Music Education.
Principle 1: Comprehensive choral music education focuses on the student.

52
Principle 2: Comprehensive choral music education involves examples of

the finest in choral literature, whose salient characteristics are
understood by each member of the ensemble, presented at the
highest level of excellence attainable.
Principle 3: Comprehensive choral music education is aesthetic.
Principle 4: The results of comprehensive choral music education can be
evaluated, and such evaluation is an important component of
the process [1995, 265).
Elliott is aligned with Hylton when he makes a case for teaching students to
be "intelligent music-makers." "Learning to interpret and perform music is a matter
of progressive musical problem-finding and problem solving" (Elliott 1993,14).
Seeking rehearsal experiences that challenge students to higher-order, complex
learning, places them at the center of the learning process.
Focus Upon Student Growth
Comprehensive choral music education is centered upon student growth and
educates for higher order thinking skills. This includes problem solving, critical
thinking, creative thinking, and decision-making. Apfelstedt offers the following
description of critical thinking:
By its very nature, critical thinking goes far beyond rote learning; hence its
development demands a more complex learning environment than that of
mere stimulus and response. ... Teaching for development of critical
thinking skills demands that we engage our students in situations where they
will be challenged intellectually, not merely expected to comply with our
demands (1989,74).
However, Lewis and Smith viewed critical thinking in a narrower sense, to
mean "evaluation and judgment." Therefore, they clarified the meaning of higher
order thinking as inclusive of critical thinking and more:

53
[A] broader term than critical thinking is needed to include problem solving,
critical thinking, creative thinking, and decision making. The term higher
order thinking is proposed here as such an encompassing term. A clear and
comprehensive definition of higher order thinking has the potential to help
educators transcend the split between the sciences' "problem solving" and
the humanities' "critical thinking." To this end, the following definition is
offered: Higher order thinking occurs when a person takes new information
and information stored in memory and interrelates and/or rearranges and
extends this information to achieve a purpose or find possible answers in
perplexing situations. A variety of purposes can be achieved through higher
order thinking as defined above. These would include: deciding what to
believe; deciding what to do; creating a new idea, a new object, or an artistic
expression; making a prediction; and solving a nonroutine problem (1993,
136). [Italics in the original]
To foster higher order thinking and offer students the opportunity to
rearrange and extend information, students should be challenged with making
musical decisions. This may take place in the rehearsal by asking them thought-
provoking questions. For example, one could teach students how to recognize and
sing musical phrases. Then they would be involved in deciding where to delineate
and how to perform well-shaped phrases. Especially in double chorus work, these
evaluations can take place between choruses with questions about the proper level
of dynamics in responding to the other group, phrasing similarly with identical text,
and engendering the same emotional effort toward unity of sound.
Complex decision-making also involves such concepts as deciding where to
breathe as a group and pacing the breath through the phrase; when to simply
momentarily stop the sound for an emphasis; intensity of the sound; dynamics,
crescendi and decrescendi; word stresses; deciding where the climax of a phrase is
and how to communicate that climax; and articulation within the phrase.
54
When there is disagreement about a phrase, the ensemble may sing through
it in the different ways suggested and make a group consensus about which is the
better interpretation of the music and the text. If the phrase is stylistically less
effective in a particular rendering, this opens the opportunity for teaching about
style or performance practice true to the piece. The conductor then also becomes a
facilitator of learning and students gain valuable, applicable experience as
developing musicians.
As a follow-up to the foregoing, another aspect of double chorus works
demands critical attention. One can reasonably assume that every rendering of a
work is more effective when a unity of interpretation is given. This is especially true
of double chorus works in the unification of style between the two choruses.
Phrases, tone quality, dynamics, etc., all require the same treatment to avoid
different interpretations. The two choruses are interdependent, yet need to
function as a single entity in their interpretations.

55
CHAPTER FOUR
THE SUITABILITY OF DOUBLE CHORUS WORKS

FOR ADVANCED HIGH SCHOOL CHORUS
It has already been established that there is a severe lack of resources and
scholarly research about the use of double chorus works with the advanced high
school chorus. In his 1979 article in The Choral Journal, Barnicle offered some
rationale and suggestions for logistical layouts for performance and selection of
literature. "When introduced into a high school choral program, [double chorus]
music not only offers students and audiences new experiences with music, but it
opens up avenues to fresh concepts in programming as well" (Barnicle 1979,45).
Not addressed in the Barnicle article or other literature is how to select
double chorus works or how to select repertoire that suits the abilities of the
ensemble. Questions arise, such as 'what constitutes suitability in works selected for
the advanced choral ensemble?' and 'what is an advanced high school chorus?'. This
necessitates looking to related research and common practice. Synthesizing
information about repertoire and having a deeper understanding of the advanced
choral ensemble provides a springboard to discussion on how the use of double
chorus works will expand the curriculum and contribute to the process of a
meaningful music education experience.

56
The Advanced High School Choral Ensemble
The first step in selecting suitable repertoire is having a more complete
understanding of what an advanced high school chorus is and what its members are
capable of accomplishing. Holt states that a starting point to repertoire selection is
to know the ensemble.
Carefully consider the ability... level of the choir [W]e hear wonderful
repertoire at state and national events or at a concert: and forget about the
target audience, our own choir, for which we are selecting repertoire (Holt
and Jordan 2008,123).
Likewise, it is important to know that the chorus has the ability and skill level to
have a successful and meaningful experience with polychoral works.
While a brief definition of an advanced high school chorus was provided in
chapter one of this present research, further clarification and an in-depth
understanding are needed. To gain membership in an advanced ensemble, high
school choral students must meet a minimum standard in musical skills. Often, this
evaluation is done through an audition process where students must demonstrate
acceptable skills in the areas of music reading, technical proficiencies, and
expressivity. Examples of what should be expected can be found in some of the
rubrics used for All State auditions and choral festivals. For example, on the vertical
axis of The Arkansas Choral Directors Association All Region and All State Choir
Audition Scoring Rubric10 are the broad categories (criteria) offered along with a
brief explanation of each:
A scoring rubric can be found at <www.arkcda.org/forms/scoringrubric.pdf->.

57
Knowledge of Music: overall knowledge of notes and rhythms

Musicianship: expressiveness and overall performance of each piece
Tone Quality: overall beauty of voice, correctness of pitch
Diction: overall presentation of languages/text (Arkansas ACDA).
On the horizontal axis are the qualitative categories, listing levels of
performance or expertise, from lowest to highest: poor, fair, good, excellent, and
superior. Within each of the horizontal and vertical intersections on the matrix are
qualifying descriptions.
Similarly, the Massachusetts Instrumental and Choral Conductors
Association's (MICCA] Concert and Choral Festival Scoring Rubric11 provides
information on baseline standards. While this rubric is intended for scoring an
ensemble, the expectations and standards outline on this rubric are easily adapted
and applied to the individual student. The MICCA rubric's vertical axis offers
categories in areas of "tone quality, balance and blend, intonation, expression style
and phrasing, dynamics, rhythm, precision, and tempo; articulation bowing or
diction (ABDJ, technical facility, and repertoire." Of these, ensemble balance and
blend do not apply to the individual singer, however, when auditioning the singer
should be able to demonstrate the ability to contribute to ensemble balance and
blend should combined voices be on the audition agenda. On the horizontal axis of
this same rubric from strongest to weakest are the single word qualifiers and a
numerical grade assignment: "5 Superior, 4 Excellent, 3 Good, 2 Fair, and 1 Needs
Improvement" (MICCA Concert & Choral Festival Scoring Rubric).
11
The Massachusetts Instrumental and Choral Conductors Association Concert & Choral Festival
(MICCA) Scoring Rubric may be viewed at <www.miccamusic.org/choral.htm>.
58
The Massachusetts Music Educators Association (MMEA] All-State choral
Adjudication Form12 also offers unique, useful information. Students are evaluated
in the singing of a solo and sight-reading. Their solo evaluation consists of a
combination of a graded evaluation (1 through 5 with 5 being highest) in categories
of "melodic accuracy, rhythmic accuracy, and intonation," and a scored evaluation,
in which a maximum of 2 points may be awarded in each of the subcategories of
"technique, tone production, and interpretation." The graded evaluation section is
similar to a rubric in that qualities of skill levels are described. Sight-reading is also
evaluated on the MMEA All-State audition. Two criteria evaluated in this section are
melodic and rhythmic accuracy.
Utilizing information drawn from the rubrics and adjudication forms
described above, as well as from other resources and common practices, the
following discussion will add more depth and clarification to what should be
expected of an advanced chorus. The higher skill levels shown on each of the
rubrics identified as "excellent" and "superior" or in the case of numeric scoring
values, the "4" and "5" levels provide useful, pertinent information in defining
characteristics of the advanced choral aspirant in areas of (1) vocal skills, (2)
proficiency and accuracy in music reading, and (3) musicianship and artistry.
12
The Massachusetts Music Educators Association All-State Choral Adjudication Form, revised by
Gwynne Sousa in 2008, is not published on the web, but was made available to the author of this
dissertation by Sousa, the 2008 All State Chorus Manager, who served on the MMEA All State Committee,
chaired by Sabrina Quintana in 2006-2008.
59
Vocal Skills
A successful performance of double chorus music demands that singers
possess vocal and musical acuity, be rhythmically astute and have a keen sense of
intonation. "The vocal technique required to sing a work directly affects its musical
difficulty from a technical perspective, so we must consider this if we desire to set a
firm pedagogical path for the choir" (Holt and Jordan 2008,113). Assessing vocal
skills at the onset provides the choral director with useful information about
whether singers will grow to meet these musical demands.
The most dramatic vocal growth occurs during the middle school and early
high school years. When the adolescent begins to regain some vocal stability
depends upon the individual student's rate of growth, an ongoing process. "But
even beyond the major growth spurt, development continues up to about age 20
(Titze 1993,24)." Therefore, it is important that the high school choral director
consider where students are in their vocal development when selecting the
advanced high school chorus members.
In each of the auditions and festivals utilizing a scoring rubric, singers are
graded or scored according to their performance of a specific work, be it a solo or a
choral piece. The same applies to those high school choral departments where
students must pass an audition for the advanced ensemble.
Referring back to the audition and festival forms used when evaluating
students' performance on a solo or choral work, criteria drawn from each rubric
that may be placed within the realm of vocal skills include: diction, intonation,
60
SKILL-LEVEL 4: EXCELLENT SKILL-LEVEL 5: SUPERIOR
Performing with All but one or two pitches or notes All pitches or notes are
melodic accuracy are performed accurately. performed accurately.
Performing with Nearly accurate rhythms with a All rhythms are performed
rhythmic accuracy minimal amount of imprecision. accurately. Rhythms are
Rhythms are vertically aligned vertically aligned and tempos
and tempos are accurate most of are accurate throughout the
the time. Variations are performance. Rhythmic
infrequent and only occur in the interpretation is appropriate for
most difficult passages. the music.
Diction Student performs with excellent The student performs with
diction most of the time. A few superior diction throughout the
consonants are not clear. entire performance. Words are
Pronunciation of language pieces consistently clear, Pronunciation
is mostly correct With few of language pieces is correct
problems, vowels are uniform Vowels are consistently uniform
across registers and are sung with across registers and are sung
sufficient vertical space. with sufficient vertical space.
ERIA
Intonation The student performs with a The student performs with a

H general sense of tonality and is strong sense of tonality in all
2 well-tuned most of the time; fails dynamics and ranges
CO
to adjust on a few isolated pitches. throughout the performance.
ALSKIL
Problems that occur are due to There may be rare lapses in

range and dynamic extremes. intonation.
Tone The student demonstrates The student demonstrates with
o Production/Technique proficiency with some minor excellent proficiency, use of
> flaws, the use of appropriate vocal appropriate vocal registers, a
registers, a free sound lacking free sound lacking tension, use
tension, use of appropriate of appropriate resonance, and
resonance, and an open sound. an open sound. Student
Student performs with dexterity performs with flexibility
and flexibility most of the time. throughout the performance.
Problems occur infrequently Student consistently uses a low
during difficult passages. Student breath for inhalation and
uses a low breath for inhalation demonstrates superior breath
most of the time and management
demonstrates excellent breath
management
Tone Quality Excellent tone most of the time. Superior tone throughout the
Faults & problems are infrequent entire performance; is uniform,
Minor problems are quickly consistent and well controlled in
corrected. Range and dynamic dynamic and extreme ranges.
extremes cause some distortion.
Figurel: Vocal Skills Rubric: criteria and skill level descriptors of baseline standards for the
Advanced High School Chorus.13
Figures 1,2, and 3, Criteria and skill level descriptors of standards for the Advanced High School Chorus
is a blend of descriptors found in scoring rubrics and adjudicator forms from Arkansas All-State, MICCA
Choral Festival, and MMEA All-State.
61
technique, tone production, tone quality and performing music with accuracy. The
following table shows a summary of qualifying descriptors of superior and excellent
or grades of a 4 or 5 in each of the vocal skill criteria. Scored items from the MMEA
All State Audition form, are also included in each of these skill levels. Since the
thrust of this dissertation is centered upon the advanced chorus and to further
distinguish what an advanced chorus is, the following table excludes lower and
average skill levels and their descriptors.
It takes many years of continuous study to develop one's voice and this
should be addressed within the context of the choral rehearsal. It should be
expected that an advanced high school singer should have already been led through
elementary vocal skills, such as building a solid foundation in a singer's posture
within a relaxed frame and freeing the musculature from impeding the breath or the
vocal tract. From there, specific vocal warm-ups may be used to develop advanced
concepts such as sustaining the breath, resonance and placement, registration shifts,
diction and vowel modifications, gradations of various dynamics, and articulations.
Assuming ensemble members have been selected according to a high
standard of vocal maturity and sophistication, they should be expected to continue
their vocal development. This choral student should be continually guided through
a course of learning healthy singing habits. Learning to produce a resonant,
balanced tone, will contribute personally as well as to the ensemble. Through a
daily routine of group vocal exercises the more mature high school singer has the
62
capacity to develop a sophisticated level of vocal quality and facility, needed to meet
the demands of singing polychoral repertoire.
The foregoing are some basic premises found in the work of Frauke
Haasemann and James Jordan. And, in implementing a planned course of developing
the high school singer, the conductor must take care not to be overly repetitive in
using the same warm-ups.
Many choral conductors use the time at the beginning of rehearsals to lead
the choir through a ritual of familiar vocalises. Because those vocalises recur
repeatedly in rehearsals, their effectiveness is diminished, and the choir
becomes inattentive. Rather, the warm-ups should be used to impart new
vocal information and to reinforce familiar techniques. More will be gained
and accomplished through a procedure that is varied with the start of each
rehearsal (Haasemann & Jordan 1993,9).
The emphasis on warm-ups is best on those that are "used to impart new vocal
information." When the rehearsal is structured to allow the greatest opportunity for
learning, that can take place with the introduction by the teacher of new ideas,
information, and techniques. Learning is always an upward climb in this sense.
Beyond developing vocal exercises that can be continuously variable to
retain focus and attention, the logical next step is to write exercises derived from
the works being studied. This draws direct associations between the warm-up and
the repertoire. When students are taught to transfer and apply learning from a
choral warm-up exercise to a polychoral work, these correlations enhance the
educational process. Haasemann & Jordan draw an appropriate summary on this
idea.
63
[E]xercises should be designed to accommodate a particular piece of choral

literature to be rehearsed that day. It is in this portion of the warm-up that
the singer can make a direct connection between the vocal technique he is
taught and its relationship to the music he will be singing (1993,9).
Music Reading
Music reading encompasses several aspects, including being able to both
independently and interdependently read one's part in the choral score. An
advanced student should have some experience and success with general reading
skills. The singer, knowing where a pitch is located relative to the scalar spectrum,
is more secure on his or her part. This quality also leads to greater independence,
which also contributes to the stability of the group. Either through audition or some
form of evaluation, a consistent standard on reading music must be set for the
advanced high school choir. Not only is this necessary for the advanced group, but it
plays a role for those students who aspire to a skilled musicianship that reading
music is a necessary quality to develop.
Again, the audition and festival rubrics and adjudication forms may serve as
a guide for standards to expect of high school singers. In the cases of music reading,
however, some resources reveal relatively little. Students participating in the
MICCA Choral Festival or the Arkansas All State auditions do not sight-read, so these
forms are void of any evaluative criteria and descriptors. However, MMEA does
require that students sight-sing for their All-State auditions. Rubrics for evaluating
sight-reading include melodic and rhythmic accuracy criteria, this time with six skill
levels ranked from zero to five, with five being the highest.
64
While the MMEA sight-reading evaluation served its purpose well and
allowed adjudicators to function within severe time limitations, it is missing some
important elements key to setting a standard for the advanced ensemble. Important
here is the evaluation of and setting minimum standards in such factors as
identification of the key, remaining within the written key while singing,
maintaining intonation, establishing and maintaining an appropriate tempo,
observation of dynamics, and expressiveness in sight-singing. Grounded in
scholarly research Steven Demorest puts forth an assessment for sight-singing that
serves as an intelligent guide for setting a baseline standard for students.
Demorest's sight-singing scoring rubric to be used for evaluating the skill level of
the individual sight-singer, utilizes numeric values of one through five, with five
being the highest.
The following table shows the expectations of excellent and superior (4 & 5,
respectively) skill levels. It is an amalgamation of concepts found on both the MMEA

Pitch/Melodic All but 1 or 2 pitches were All pitches were accurate
SIGHT-SINGING CRITERIA
Accuracy performed accurately. Strong throughout

tonal center, most pitches correct,
a few intervals were incorrect
Rhythm/Rhythmic Nearly accurate rhythms with a Steady tempo and accurate rhythms
Accuracy minimal amount of imprecision. throughout
Steady tempo, missed a few
rhythmic patterns in the line.
Expression Sung expressively with accurate Sung expressively with good tone,
phrasing and general dynamic clear phrasing and accurate
level. Lack of dynamic shading dynamic level and dynamic shading.
and nuance.
Figure 2: Sight-singing rubric: criteria for skill levels "excellent" and "superior".
65
All State Choral Adjudication form and the sight-singing scoring rubric found in
Demorest (2001,118].
Many of the items on the sight-reading rubric are also on the vocal skills
rubric where a solo or choral work was performed. In addition to singing an
accurate rendition of the pitches and rhythms, a more advanced level of reading is
inclusive of other aspects of the score, A skilled sight-singer will observe dynamics,
tempo, style, and articulation. Demonstrating a broader musical skill includes
singing with a healthy technique, recognizing and performing the phrases of the
music and its appropriate vowel color.
Combined, these aspects of advanced music reading are necessary to provide
a satisfactory performance of double chorus works. Sight-singing contributes to
learning the music in a more timely fashion, thus allowing for more attention to
artistic aspects. Additionally, students are more apt to grasp the full scope of the
score, how the voice parts relate to one another, and how the choruses interact.
Mentioned previously, reading music, plus the advantage of instruction that includes
harmonic analysis, gives increasing security to the singer that then has a positive
effect on the ensemble.
Musicianship and Artistry
The ultimate goal of an ensemble is to perform polychoral works with
artistry based on a solidly developed musicianship. Simply stated, musicianship is".

66
.. artistic sensitivity in performing music."14 There may be numerous definitions of
artistry, and it will still remain something sensed, savored, and ineffable. Because of
the subtleties involved, artistry must be witnessed as well as described since
language has limited capability. One description may shed light on the definition.
BLOOMINGTON, Ind.—It's the early 1980s in Louisville, Ky. The great Mikhail
Baryshnikov is dancing to the music of Chopin when he launches into a series
of pirouettes en dehors (turns to the outside).
What comes next transcends the "virtuoso" performance and represents the
essence of the phenomenon called "artistry," according to Indiana University
Chancellor's Professor of Anthropology Anya Peterson Royce. She writes:
"On the fourth or fifth turn, he let his head fall back and follow its natural
weight. It was a simple gesture that set an ingenuous, wholly endearing mood.
And it was a moment of the highest artistry. Most dancers would hold the head
erect throughout A virtuoso might let the head describe a backward arc while
maintaining a control of its movement. Letting itfall of its own weight is more
risky in terms of balance; it is folly for virtually anyone except Baryshnikov. His
choice to do it was not made simply because he could, however; it was because
it was the absolutely perfect, inevitable gesture for that moment. This is what I
mean by artistry" [Italics in the original].15
Likewise, in singing, artistry is the ability to render a phrase with appropriate
affect, i.e., to sing in an expressive manner. The feelings communicated embody
non-verbal meanings and musical interpretations so that the recipients believe this
to be the only possible expression. It is the ability to add one's personal qualities to
the performance in a way that not only does not detract, but is also stylistically
flawless. Artistry is the style in musical expressiveness that presents the "inevitable
gesture for that moment."
www.dictionary.com
http://newsinfo.iu.edu/news/page/normal/1535.html
67
Once again, the all-state audition and choral festival rubrics help to provide
some insights on what to expect from advanced high school choral singers. They
provide criteria such as, more complex dynamics, articulation, phrasing, style,
interpretation, and expression. In many cases style and interpretation were used
interchangeably, so those categories are combined. MICCA combines the categories,
expression, style and phrasing. Figure 3 shows an adaptation from these sources
containing criteria and skill level descriptions of artistry in music performance, and
shall be limited to interpretation and style, phrasing, expression, and text

Interpretation The performance is stylistically The performance is stylistically
and Style accurate. Some passages lack accurate throughout the
interpretation but do not detract performance.
from the performance.
Phrasing Most of the phrases have a Great attention is paid to the
ARTISTRY CRITERIA
musical shape and melodic shaping of phrases and melodic

contour. Musical phrasing has a contour. Musical phrasing is
few small problems. obvious throughout the entire
performance.
Expression The student communicates an The student consistently
emotional and facial awareness of communicates an emotional and
the dramatic and feelingful facial awareness of the dramatic
elements of the text and music and feelingful elements of the text
most of the time. and music.
Text The student demonstrates The student consistently
sensitivity to the text, including demonstrates sensitivity to the
syllabic stress, and how it relates text, including syllabic stress, and
to the music, most of the time. how it relates to the music.
Figure 3: Artistry- criteria and advanced skill levels
Unlike soloists, who make and execute their own musical decisions, the
advanced choral ensemble must come to a consensus. This presents certain
challenges with an ensemble of varying abilities for musical expression. The task for
the sensitive conductor is to bring each individual to perform with a unified concept
68
of artistic nuance. A capable ensemble will express itself artistically through
learning and practice. Although cultivating vocal and musical technique is
paramount, it is only when the students are free from having to think of their
technique, that a greater chance exists that they will express themselves creatively.
Of all the subskills that make up music performance, the ones associated with
emotional communication are often viewed as the most elusive. They go
right to the core of why people engage in musical behavior, either as
performers or as listeners. The performance of a piece of music is crucial in
shaping its emotional expression (Juslin and Persson 2002, 219).
These freedoms of expression may be brought together with the cooperative efforts
and through very defined rehearsal processes of the choral conductor and through
the emotional maturity of the advanced high school chorus. There are numerous
opportunities for emotional expressiveness in Schutz's double chorus work,
Jauchzetdem Herren. For example, each choir opens with a brief two measure
statement (in 3/4) on the same text as can be seen in the title. In learning that the
translation means shoutfor joy, students may be led to understand how they can
express emotions of joy through their singing of this phrase. Making decisions
about where to place word stresses, dynamics, and levels of intensity, can produce a
number of varied ways to perform this short phrase.
More complex work may be done on developing varying ensemble tone
colors and sound concepts indigenous to different style periods. For example, if
working on Mendelssohn's double chorus work, Heilig, the conductor would want
the chorus to develop a warm, Romantic tone, a concept of how to sing this music
appropriately. Ehmann and Haaseman describe the ideal Romantic sound as "dark,
69
supple, warm, round, wide, intimate, expressive; fluctuation of sound for dynamic
contrast" (1981,82]. A standard text on choral music was furnished by Ray
Robinson and Allen Winold. Their concept of Romantic tone is enlightening. They
state
[i]n any discussion of choral singing in the nineteenth century, an important

distinction must be made between a fully resonant tone, and a 'loud' tone,
which is little more than noise and which allows neither flexibility nor
sensitivity to style (Robinson & Winold 1976,445).
The young singer lacking complete control over the vocal apparatus is apt to sing
loud as a substitute for producing a full-throated resonance. Guarded against, the
high school singer is capable of producing this "fully resonant tone" without over-
singing. The goal, and this is part of it, is to develop stylistically appropriate choral
sounds that aid a more flexible chorus, astute in stylistic interpretations.
Ultimately, it is the advanced student who will demonstrate a highly
conceptual level of skill. Through self-assessment, an advanced student can be
expected to monitor his or her own singing processes, identify mistakes/and adjust
and correct errors, thereby contributing to a higher degree of sophistication to the
advanced choral ensemble.
The implications of the foregoing must refer to the range of difficulty that the
students in an advanced group are able to render. Double chorus works are more
demanding in the ways discussed and therefore require a high level of difficulty
ensconced in the categories of vocal skills, music reading, musicianship, and artistry.
The expansion of the repertoire carries with it a comparable expansion of the

70
requirements of performing this literature. Although four-part music can also be
demanding, perhaps equally so, that is another subject outside the purview of this
study and can be taken up separately. For this study, double chorus works find a
place in the curriculum with their demands and accrue to the choral curriculum a
needed extension of a wonderful collection of works throughout the Western
history of music.
Selection of Suitable Repertoire
The selection of suitable double chorus repertoire is significant to the
purpose of this research as it applies to the expansion of the advanced high school
choral curriculum. Barnicle, who wrote the only identifiable article regarding use of
multiple chorus works with high school chorus, provided a list of polychoral works
and identified composers of this repertoire. However, it was not his purpose to
provide guidance on criteria or a process for locating suitable works.
Although there are no sources that address double chorus selection, criteria
can be extracted from general guidance for any repertoire. For example, range and
tessitura should be compatible with the students' abilities (Phillips 2004,149). The
metric, rhythmic, melodic, and harmonic language needs to be of interest and should
present a learning challenge. " The educational objectives we set forth for each of
our ensembles must be congruent with the repertoire we choose for them" (Head
2008,135). More specifically, he states that "[ljiterature should be chosen based on
what it can contribute to building the vocal ensemble sound" (Holt and Jordan 2008,
71
113). The text should be of literary worth, set well to music, singable, and sung in its
original language (Phillips 2004,148 and Garretson 1981,248). Appeal is a major
factor. Although the easy sentiment is not desired, the text must make sense and
hold interest for students, audience, and conductor. Also, it should feature the
ensemble's strengths. Conversely, if a choral section is insufficiently strong,
avoiding repertoire that features that section is a wise choice. Selections should fall
within a reasonable grasp of what the ensemble can achieve, and contain good part-
writing and voice leading. "Programming music that is beyond their technique [or
ability] will lead to damaged voices and frustration" (Phillips 2004,153). Any
instrumental accompaniment should be skillfully integrated with the choral writing.
Finally, the particular work selected should be validated by comparing editions
where appropriate.
Once suitable double chorus works are collected to represent the total choral
curriculum, the sequence in which these works will be scheduled for rehearsal and
performance requires considerable thought and reflection. With reference to
rehearsal, the order of difficulty may be a prime consideration, as will the various
musical qualities of each piece. The combined palate of choral pieces to be sung in a
given year should also present variety in programming: musical styles, historical
periods, mood, languages, keys, meters, and performing forces (Kolb 1993, 268-
370). Phillips offers the following objectives for balanced programming: "(1)
teaching comprehensively, (2) performing a variety of styles, (3) developing the
singing voice, and (4) [is appealing to] the audience" (Phillips 2004,152).
72
One example of programming is the selection of repertoire that provides
students with educational challenges. Miller outlines "[v]alid educational goals for
the choral program..." (1979, 32].
1. Acquaint the singers with representative compositions of each musical

period, Renaissance to the [Twenty-first] Century,...
2. Increasingly challenge the singers to perform music which is technically,
emotionally and/or intellectually on a more mature level as they progress
through the choral program.
3. Acquaint the more advanced singers with nontraditional notation as well
as standard notational practices.
4. Briefly present general musical and cultural background information that
will give... singers a more complete understanding of the compositions
that they sing (Miller 1979, 32).
Polychoral works, as an extension of the curriculum, offer the advanced
choral student an enriching education. Elliott states "excellent musical works are
multidimensional challenges to our powers of consciousness—our powers of
attention, cognition, emotion, intention and memory" (Elliott 1993,13).
Beyond the general characteristics of good repertoire and the criteria
discussed above, the double chorus work presents specific issues that should be
carefully inspected when selecting repertoire. It has already been established that
singers should be advanced and vocally mature enough to effectively manage
learning and performing polychoral works. For one, the multi-voiced texture calls
for more than two choruses, often sung by one divided ensemble. The conductor
will need to consider whether the voice parts will balance with the multi-voiced
requirements of a piece and whether a second ensemble will be needed. Secondly,
singers must be vocally secure and able to hold their part in these multi-voiced
73
textures. Any exposed voice part will require strength and security to sing well
when isolated. The balance between choruses can be an issue since they will be
spatially separated. A third issue with double chorus works is to maintain
intonation within and between choruses. Since the performance venue should offer
a live acoustical space, learning to adjust intonation requires acute listening. Also,
the separate choruses may be placed in different parts of the performance hall
causing a time lag that may have an effect on intonation. When the texture shifts
from one chorus to the other, the entering voices must begin with the correct, in-
tune pitches and maintain the correct key.
The aesthetic and musically fulfilling experience of excellent rehearsal and
performance of double chorus music will sustain a lifetime. Students will gain a
heightened awareness and appreciation, and their skill level will have been
stretched through this expansion of the choral curriculum.

CHAPTER 5
HISTORICAL OVERVIEW
Sixteenth century Venice, a major commercial port, was marked by an
outpouring of cultural richness. It was a time and place in which the arts were
highly regarded and intellect was esteemed, thereby creating a healthy climate for
artists of all kinds. Since Venice enjoyed a minimum amount of censorship, it
became an attractive area for printers as well. Along with improvements in the
ability to print, came an onslaught of music and literary publications, thereby
providing more intellectual stimulation. Painting, sculpture, architecture, and music
were developed to a level of maturity heretofore not experienced.
The subject of polychoral music is vast and extends well beyond the scope of
this present research. The purpose here is not to provide a comprehensive history
of this multi-faceted, extensive topic. However, a brief overview will serve the dual
function of (1) providing a historical context of double chorus works, and (2)
providing additional support for the expansion of the high school choral curriculum
through the use of double chorus works.
Much of the development of the polychoral motet was brought to its maturity
during the Renaissance period through the work of composers at the Basilica of St.
Mark's in Venice. Researching the social, political, and economical climates reveals
why Venice provided such fertile soil for cultivating this magnificent genre.
Therefore, a good deal of emphasis will be placed on the Renaissance polychoral
motet within the context of Venetian life.

75
There is a wealth of scholarly information on polychoral music written by
musicologists, art historians, and acousticians. Left seemingly untouched for a
decade until the 21st Century, a new surge of interest has produced some recent
research, most of which lies within the realm of acoustics. For one, in 2004, Laura
Moretti examined the "Architectural Spaces for Music: Jacopo Sansovino and Adrian
Willaert at St. Mark's" (2004]. Secondly, under the auspices of the Centre for
Acoustic and Musical Experiments in Renaissance Architecture (CAMERA), Moretti
and Deborah Howard measured the acoustical environments of Venetian
architecture, including that of St. Mark's, and how composers may have responded
to the acoustics in their writing of polychoral works. Aspects of polychoral music
have drawn international interests, as has been demonstrated in conferences
sponsored by CAMERA in Venice in 2005; Cambridge (U.K.) in 2006; and a
conference in Padova (Padua) in 2007, with presentations on Musica, architettura e
uso dello spazio nel Cinquencento veneto (Music, Architecture, and the use of spaces
during the Fifteenth Century in the Region of Veneto).16
The beginnings of polychoral music are not tied to Venice by accident.
Various groups occupied the islands known as present-day Venice during Roman
rule. Early in its history—sixth to eighth centuries—families with wealth or power
became the ruling class and determined who became members of a grand council.
Modeled after ancient Roman political systems, its elected official, the doge, or duke,
had the responsibility of serving as the chief magistrate and leader, an office he
16
Veneto is one of 20 regions that make up Italy. Venice is the capital of the Veneto region.
76
would hold for life. From the larger group an administration often prominent
individuals were chosen to manage daily affairs.
Venice's geographical position in the Adriatic Sea lent itself to be one of the
most profitable, stable ports for trade with all of Europe and the rest of the world. It
was also a maritime power, particularly after the Fourth Crusade when
Constantinople, capital of the Byzantine Empire, was captured in 1204. Just prior,
Venice took control of several locations along the eastern shore in an effort to
protect their commerce from piracy. When Venice was at its maritime prominence
in the Mediterranean, it was said to have had a fleet of over 3000 ships along with a
full force of sailors.
Sixteenth century Venice enjoyed a wealth of materials at its disposal and the
economy was strong enough to support the arts, something they did abundantly.
Consequently, the arts thrived and Venice became known as a center for music and
visual works of art.
Italian nobles,... strove to reflect the highest... nobility of spirit, by

employing the most renowned scholars, poets, painters, and
musicians for their retinues. Such nobles, in seeking musicians for
their chapels, actively recruited singers and composers bred and
trained in the Low Countries of the North, and these Franco-Flemish
musicians, ever aware of the virtually unlimited opportunities in the
musical establishments in Italy, likewise cultivated the favor of
important patrons in the South (Bastian 1970, 3).
Venetian art, with its Byzantine roots, can be seen in such objects as the
extraordinary mosaic works in the Basilica di San Marco. The Venetian school of
painting produced masterful paintings with vivid colors and a distinctively smooth
brush technique.
Venice had become the leader in printing worldwide by the late fifteenth
century, contributing to the flourish of music publishing. And, with this came the
first publishing of a polyphonic work by Ottaviano Petrucci in 1501. "By about 1545
Venetian music publishers were by far the most important in Italy; their activities
made a large body of music readily available to local musicians" ("Venice," Grove
Music Online). Then in 1550, Venetian printer, Antonio Gardano published
a collection of psalms entitled Di Adriano et di Jacket: I Salmi appartineti alii

vesperi per tutte lefeste delU'aimo, parte a versi & parte spezzadi accomodati
da cantare a uno & duoi Chori. Half the works included were compositions
for eight voices, designated for cori spezzati. Composed by Adrian Willaert
(c. 1490-1562}, maestro di cappella at St Mark's from 1527 until his death,
they are the first published salmi spezzati known to us (Moretti 2004,153-
154).
Venice gained so much notoriety in the music publishing business, that composers
would come from all over the world to oversee their publishing projects.
The sixteenth century provoked significant changes in music brought on by
the Protestant Reformation led by Martin Luther and the Catholic Counter-
Reformation acting in response to the Protestant revolution. The Council of Trent
took up several issues in an attempt to affirm their position and to correct the
direction sacred music was taking. For one, the Council was concerned with the
long melismas sung to a single syllable that made it unintelligible, especially in

78
polyphonic settings, and decreed that syllabic text settings served the purpose
better.
Catholics gathered at the Council of Trent to draw up a strategy to counteract

Protestantism. Music was high on the agenda. The Protestants had criticised
[sic] Catholic music: for its use of secular melodies, even love songs, as the
basis for Holy Mass; for the wild exhibitionism of virtuoso organists; and for
the intricate Flemish polyphony, so complex that the text became not only
obscured but virtually incomprehensible. They argued that Catholic church
music had strayed far from its original purpose—the praise and worship of
God.
The Council of Trent's response to these criticisms was to adopt a new

musical style, 'homophonic polyphony', in which the text was always easily
intelligible and the music reflected the meaning of the words (Landon &
Norwich 1991,44).
Fearing that the use of secular tunes may misdirect followers of the Catholic church,
the Council deemed that," [a]nything redolent of secular music was strictly
forbidden, as was music intended merely to give pleasure... to the listeners"
("Roman Catholic Church Music," Oxford Music Online).
Where the Protestant Reformation called for singing in the vernacular, the
Counter-Reformation affirmed the Latin Vulgate to be the authoritative text of the
scriptures, and hence, best suited for the singing of sacred music. The healthy
political climate and wealth in Venice provided conditions that enabled the Council's
dictates to be carried out to the nth degree, ultimately having an effect on all of
Renaissance Italy.
Basilica di San Marco, Venezia
The Basilica di San Marco di Venezia (St. Mark's Church in Venice)17 was the
ducal chapel that served as the center of music. In addition to weekly masses and
liturgy, it was an opulent venue for many festivals, feasts of saints, and special
services of the liturgical year. It was at St. Mark's that cori spezzati, or polychoral
works, were fully developed as a genre and came to the heights of its popularity.
A brief investigation of St. Mark's Byzantine architecture reveals why this
venue lent itself to the development of polychoral music. Its structure was built to
replicate a Greek cross. There are four arms stemming from the center, with soaring
domes over the center and each extension of the cross. The interior height of the
dome over the nave, or the central section of the church, measures over 28 meters,
or nearly 100 feet.18
The church is laid out as a Greek cross with four equal arms covered by a
dome in the center and by a dome over each of the arms. The eastern end of
the nave terminates in an apse which is flanked by smaller apses terminating
the side aisles of the nave. A narrow gallery circles the church at the upper
level. The choir is separated from the nave by two means: a raising of the
floor level, which is some four feet higher than the floor of the nave to allow
for a crypt beneath the high alter where the relics of St. Mark are laid...
(Mason in Pruett 1969,164).
The height of the domes, along with the displays of art and hard surfaces
covering the interior provided an awe-inspiring acoustical environment. "More
The present building dates from 1063; subsequent changes were cosmetic, mostly completed in the
1400s.
18
Interior dome height and other dimensions are available at
<http://en.wikipedia.org/wiki/St_Mark's_Basilica>
80
than 8000 square metres of mosaic cover the walls, vaults and cupolas of the
Basilica" (Basilica di San Marco).
The basilica's interior is decorated throughout with mosaics on gold ground

and with many varieties of marble; the floor is of inlaid marble and glass. In
the restricted light their colours glow. The screen separating the choir from
the nave has marble statues, masterpieces of Venetian Gothic sculpture by
Jacobello and Pier Paolo dalle Masegne (Encyclopaedia Britannica Online).
In the acoustical measurement studies performed by CAMERA, they recorded
the Choir of St. John's College, Cambridge, singing from several vantage points at
seven different Venetian churches, including St Mark's. Their findings concluded
that the larger Venetian performance spaces were
extremely reverberant, giving ideal acoustics for plainchant by monks or

friars, but challenging for polyphonic music. The best acoustics were found
precisely in those areas in which experimental elaborate polyphonic choral
writing was performed: specifically the ducal chapel of St. Mark's, with its
rich ceremonial life (Howard & Moretti, CAMERA).
There are many spaces within the church sanctuary, such as balconies and
apses, that contributed to the development of cori spezzati.
The dazzling Byzantine opulence of the Basilica di S Marco in Venice served

as a fitting backdrop for the realization of the ingenious works of the
Gabrielis. Galleries above the main floor of the church allowed for the spatial
dispersion of vocal, instrumental and mixed choirs of voices and instruments
that often contrasted in range ("Roman Catholic Church Music," Grove Music
Online).
It was once thought that the choruses would be positioned in each of the
organ loft areas, when performing polychoral works. However, this was dispelled as
a myth through more recent research. At times choirs stood on the floor near the
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high altar. At other times they would sing from "the pulpitum magnum cantorum,
the hexagonal pulpit situated at the southern end of the iconostaiss and, whenever
this happened to be occupied by the doge (Moretti 2004,156) " they would sing
from "the pulpitum novum lectionum, a two storey structure which stands, like the
pergolo, in the nave but at the north end of the iconostasis" (Bryant 175,1981). 19
[T]he Venetians had evolved the art called 'cori spezzati', or separated choirs.
Since a single choir loft at St. Mark's would hardly take the total number of
musicians with ease, they were split between the two galleries on either side
of the altar. ... When more sophisticated spatial effects were required,
matters became more complicated, since a group of singers might be put on
the floor of the church—but even then they were kept within the choir, and
not disposed in the nave or the more distant galleries (Arnold 1974,31).
As was previously mentioned, there are two organs at St. Mark's, the second
of which was built for the purpose of supporting double chorus music. Pahlen
describes the need for instrumental support to the choirs.
Venice's musical center was the beautiful church of St. Mark's, proud witness
of a thousand-year-old Byzantine culture. Its organ, on which the great
masters of the time had played, had gained widespread fame. All these
musicians had already adopted the new polyphonic style that had come out
of the North. To facilitate the performance of these many-voiced works,
requiring a multiple division of choirs and instrumental groups, a second
organ was built in the year 1490, so that each of the two main naves now had
its own organ and its own choir with orchestral accompaniment, affording
the opportunity for magnificent combined effects (Pahlen 1949,56).
Along with the grand feasts and processions into an opulent church with
brilliant acoustics, came the expectation that the music at St. Mark's would be of
equally magnificent proportion.

19
The pergoli are marble columns that separate the naves; the iconostasis was a petition or a screen.
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For the composer, these festivals must have been at once a burden and an
inspiration. The burden came from the nature of his task which was to
produce settings of texts of limited emotional range. The Venetians rarely set
the Ordinary of the Mass (Arnold 1974, 30).
Faced with the dilemma of creating and performing spectacular music, Willaert and
the Gabrielis turned to the development of polychoral music, derived from earlier
forms.
The style which emerged... was derived from the ancient mode of
antiphonal psalm singing, whereby each choir would sing a verse in turn,
both choirs joining in for the doxology. But such simple antiphony did not
survive for long, since the temptations to exploit the contrasts inherent in
this manner were too strong (Arnold 1974,31).
St. Mark's: The Center of Musical Activity
Venice, and in particular San Marco, or St. Marks, became an important
musical center "from 1527 when the Netherlands composer Willaert was appointed
choirmaster [at the Basilica] of S. Marco" ("Venice," Grove Music Online).
Venetian church music was first raised to a level of international renown by

the South Netherlandish composer Adrian Willaert. Engaged as maestro di
capella at S Marco in 1527, he introduced polychoral music in the 1540s, but
it was not until two decades later that polychoralism began to flourish in
Venice. ("Roman Catholic Church Music," Grove Music Online).
It was common for St. Mark's to employ numerous musicians, although the
size of the music staff varied throughout time.
Members of the chapel at St. Mark's received some of the highest

salaries paid to musicians anywhere in Europe, and on the rare
occasion when a musician terminated his services at Venice, he
83
entered almost without exception the employment of nobility rather

than the cappella of another church (Bastian 1970, 7).
Landon and Norwich provide a listing of musicians who were employed at St.
Mark's:
1. Maestro di cappella: [H]is task was to oversee and direct all musical
performances. At most times he was a well known composer with a
comfortable salary and free lodging near the Piazza.
2. Vice maestro di cappella: This post existed from 1607 onwards. It was
the vice-maestro's task to conduct the first choir in polychoral works.
3. Maestro di concerti: [H]e conducted the second choir.
4. Organists: There were two organists from the end of the 15th century
onwards. They alternated week by week. Only on special feast days
would both organists be required. ... In 1588 a chamber organ was
added and from the middle of the 17th centuries there were two
chamber organists.
5. Caretaker for the organs.
6. The choir: in the 16th century this had 16 members, in the 17th century
36; in the 18th century 24. Each singer was paid up to 100 ducats a year.
7. A music copyist.
8. Custodian of the choir books.
9. Beat tapper.
10. Pitch giver.
All the members of the musical staff were paid at intervals of two months by
the maestro di cappella (Landon & Norwich 1991,38).
Musicians were well supported, especially through the efforts of patrons and
confraternities carried out through the scuole grandi and scuole piccole.
Confraternities were "[organizations] of devout laymen" created by spiritual leaders
"as outlets for the devotional and charitable energies of ordinary people..." (Glixon
2003,3).
[T]he largest and most important of these... confraternities, employed from

the late 15th century a group of singers and instrumentalists to assist in a
variety of celebrations Competition among the scuole was fierce,
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sometimes creating heated exchanges over the order of precedence at official

processions, and during the 16th century the scuole grandi resorted to
increasingly magnificent pageantry, which included music commissioned
from the best composers and performed by the best singers and
instrumentalists in the city ("Venice," Grove Music Online).
Processions, Pomp, and Feasts
The Piazza San Marco, or St. Mark's Square, boasts several historically and
architecturally significant edifices. The center of Venetian social and political life, it
was home to several important offices. In existence on the piazza during the
Renaissance, clockwise from the Grand Canal, included the Doge's Palace,
constructed in the 14th century; St. Mark's Basilica, consecrated in the 11th century;
St. Mark's Clocktower, constructed late in the 15th century; the Procuratie Vecchie,
whose original 12th century structures were rebuilt in the 16th century after being
destroyed by fire, housed the offices and apartments of the procurators; the
Procuratie Nuove, on the south side of the square was built between 1586 and 1640;
St. Mark's Campanile, initially constructed in the 9th century, serves as the bell
tower and as a watch tower; and the Logetta served as housing for the Doge's
guards.
The physical positioning of the Doge's Palace and housing of important
officials across the piazza from St. Mark's was key to the pageantry and
processionals into the church, particularly on festive occasions.
In the great processions, a large part of the populace was involved, as the
men from the confraternities, the religious of the various orders, joined with
85
the nobility of Senate and Grand Council in moving around the Square
(Arnold 1974, 29).
The processional would also include clergy, trumpeters and trombone players, and
sometimes the confraternities would join them. Those involved in the processional
would be dressed in an elegant, colorful array of costuming.
Church and state always went hand in hand in the ceremonial [sic] of the
Venetian Republic. The Church's reasons for using ritual are well known and
require no discussion; but in Venice, the needs of the State were just as great.
In any republic having an elected head of State, the problem of continuity
demands more than usual care, and ceremonial helps always to focus the
attention not so much on the individuals holding office, as on the meaning of
the office itself. The Processions and festivals celebrated with great
sumptuousness helped to make Venetians continually aware of the
Republic's own past and present greatness. The pomp was symbolically
connected with Venetian history, and saints' days were accounted good
opportunities for the display of temporal power as well as religious fervour
(Arnold 1956,47).
The processional would conclude at St. Mark's, marked by a formal, grand
entry into the church. The following, recorded example of pageantry takes place on
Easter Day. Upon reaching the church, the celebrant would knock, using the large
bronze rings on the doors. Inside, one of the singers would respond with 'Whom
seek ye at the sepulchre, 0 followers of Christ," to which was replied, 'Jesus of
Nazareth who was crucified, 0 heavenly one'. The choir would then state, 'He is not
here. He is risen as he foretold' (Arnold 1956, 49). Following these statements, the
church doors were immediately flung open,
and the procession went into the church... Equally colourful were the
ceremonies of Palm Sunday, when artificial olive branches made of gold,
86
silver and silk were presented to the Doge and his councillors by the
celebrant; and the procession made its way into the Ducal Palace carrying
real olive branches. Meanwhile the singers went from their choir gallery on
to the balcony above the main door, opening on to the square and there sang
the hymn 'Gloria, laus et honor', while clouds of singing birds were released
(Arnold 1956,49).
Sixteenth Century Development of the Polychoral Style at St. Mark's
In the second half of the sixteenth century, polychoral music had gained in
such popularity, that the publishing of these works increased from a small handful
to nearly 100 polychoral works at the opening of the seventeenth century.
The technique was applied to sacred genres of all kinds, including mass
ordinary (rarely the proper), psalm, magnificat and other canticles, litany,
motet, German sacred song (liturgical and non-liturgical) and occasional
music (wedding songs and the like) (Carver 1988,15).
While Venice was an important center for the development of polychoral music,
such efforts were also found in Rome and Napes, and in Spain and Germany.
The roots of polychoral music lie in the practice of antiphonal singing.
"[W]hen polyphony was applied to antiphonal chants the result was an alternatim
composition, with one choir singing polyphony, the other plainchant (a purely
liturgical approach)" (Carver 1988,14). A custom in the church, started in the early
1500s, involved two choruses that would alternately sing Psalm verses. According
to d'Alessi, three different forms of double chorus singing existed in the early 16th
century:
1. Two choirs, one of which performs the Gregorian chant, while the other
responds with polyphonic verses.
2. Two choirs that respond alternately, each one with "closed" polyphonic
verses, i.e., compositions complete in themselves and not related to each
other, except in so far as they preserve the mode and psalm tone.
3. Two choirs that alternate with closely interwoven polyphonic verses, so

that the entire Psalm forms a single composition. Although each of the two
choirs lives its own life in dialogue with the other, they are nevertheless
framed into a unitary composition and sometimes unite to form a complex of
eight voices, especially toward the end, or even at some other point, in order
to better enhance the sense of the text. Psalms composed in such a way form
coro spezzato in the true sense (d'Alessi 1952,187).20
Highly regarded during his lifetime particularly as a superior contrapuntalist,
Adrian Willaert was considered to be "the leading musician in Italy between the
death of Josquin in 1521 and the full maturity of Lassus and Palestrina in the 1560s"
("Willaert," Grove Music Online). He was from Flanders and studied music in Paris
with Jean Mouton. His first post was in Italy as a singer and he was later appointed
maestro di cappella in 1527, following Petrus de Fossis, of whom little is known.
Willaert's polychoral writing brought the Venetian cori spezzati technique to
a strong vantage point of popularity from which it continued to evolve.
With the publication in 1550 of / salmi... a uno et a duoi chori Willaert

almost single-handedly established the polychoral Vespers psalm as a major
sacred genre in the second half of the 16th century. „.. [I]t was Willaert's
eight salmi spezzati that puts this versatile new genre on the map ("Willaert,"
Grove Music Online).
His style was conservative. Typically, the two choruses have very little
overlap, exception being at the cadence points. There was little experimentation
Zarlino used the term coro spezzati, the singular form of the plural, cori spezzati, to reference the same
type of polychoral singing. d'Alessi rationalizes that Zarlino was referencing the tutti sections that bring
the two choruses together when utilizing the singular form.
88
with harmony. However, one of the key features of his motets is his sensitivity to
syllabic text settings. Additionally,
[h]igh voices alone were often chosen for special effects, contrast between
upper and lower registers was explored, especially in the dialogue madrigals
and double-choir psalms, and an over-all brightening of sound came to be
typical of the later works (Long 1971,51).
At the time Andrea Gabrieli was appointed as second organist in about 1566,
Zarlino had recently taken the post of maestro di cappella at San Marco and Merulo
began serving as the second organist. His earlier works were a fusion of his style
and that of Willaert, with two equally balanced choruses and long phrases climaxing
in a final tutti. He was also influenced by some lesser known Italian composers who
exhibited a much simpler compositional style. Andrea's compositions were marked
with features, such as a distinctly diatonic harmony, and a bass line that typically
moved in intervals of 4ths and Sths. Another characteristic is "the feeling of
sectionalism which arises from the very nature of two choir music" (Arnold 1956,
53).
After having spent some time in the Alps studying with Lassus, Andrea's
style of polychoral writing developed more fully. Representing this influence, was
the display of extensive contrapuntal passages and expanded uses of sonority with
the inclusion of choirs of instruments. And, like Lassus, he wrote for the large,
festive occasions at St Mark's rather than setting the Psalms for double chorus.
[H]is later polychoral compositions tend to exhibit a more clear-cut

separation between the various groups of performers, and there is a growing
preference for contrapuntal simplicity, chordal textures and homophonic
blocks of sound (though modified, presumably, through improvised
89
embellishment]; imitation, when present is as likely to occur between entire

groups of voices as single parts. This is perhaps a result of the clear-cut
spatial separation of groups of performers in S Marco. The widening of
overall range in the supposedly later works (where at times the outer parts
reach Cand a#) is a clear indication of instrumental participation; in some
works the marking of one choir as 'cappella' indicates that this is the only
fully vocal group. Further characteristics of the later works are increased
propensity for the use of V-I harmonic relationships and a growing
awareness of the structural possibilities of musical climax through the use of
gradually shortening note values and acceleration of the rate of exchange
between choirs ("Andrea Gabrieli," Groves Music Online).
Through the contributions and advanced developments in polychoral writing
of Andrea and subsequently, his nephew, Giovanni Gabrieli, the polychoral genre
evolved to its full grandeur. Like his uncle, Giovanni studied with Lassus. Then,
after having substituted for Merulo, he received a permanent appointment at the
ducal chapel. "Giovanni took over Andrea's role as the principal composer of
ceremonial music for S Marco. In the same year he composed music for at least one
of the pastoral plays given in the ducal palace several times annually" ("Giovanni
Gabrieli," Groves Music Online).
Giovanni's polychoral music writing was first in the purely cori spezzati style,
with more direct imitation, both in music and text. However, "[t]he Sacrae
symphoniae of 1597 shows Gabrieli moving towards a style in which thematic
material is developed dynamically in dialogue form, as opposed to being stated in
one choir and answered almost exactly in the other (at most, with transposition), as
is more typical of Andrea" ("Giovanni Gabrieli," Groves Music Online). His
compositional style features increased use of the full chorus (both or all choruses
combined), closeness of dialogue between choirs, which is at times only one word
apart, continued harmonic simplicity, and homophony with some imitative
counterpoint. "Though in some of the tuttis there is magnificently woven imitative
counterpoint, by and large it is clear that Giovanni prefers bold homophonic strokes
which are more immediately effective" (Arnold 1956, 54).
As Gabrieli matured, his works were marked with increased interest in color
contrasts and larger forces. This is evident in the scoring of increased numbers of
choirs. This includes writing more expansive polychoral music for instrumental
choirs paired with or supporting a vocal choir, in many cases more than three
choirs, and use of soli voices, soli instruments or a solo voice against multi-voiced
textures.
From these works using contrasts between different instruments, solo voices
and full choir, it is not far to the concertato motet of the early seventeenth
century. . . . Only two features require notice. One is that the refrain breaks
up the psalm in a way inconceivable to the sixteenth century composer, but
to become not uncommon in later church music. The second is that there is a
sectionalism which is the exact antithesis of the contrapuntal style of
Palestrina and his school. Although the main idea of the music lies in the
contrasts between soloists and ripieni, it is not difficult to see how this
sectionalism led to the introduction of arias and duets for their own sake into
the settings of the Mass (Arnold 1956, 56).
The Polychoral Style
Written sources provide descriptive analyses of the cori spezzati style in its
full maturity. Notable theorist, Gioseffo Zarlino, followed Willaert as the maestro di
cappella at St. Mark's. His contributions to the polychoral motet were not in the
91
form of writing compositions, but by spelling out important information in his well-
known treatise, he institution! harmonische (published in four editions; the final
edition was published in 1558), about the technique of composing cori spezzati and
the manner in which they were to be performed. Nicola Vicentino, another notable
16th century theorist, put forth his treatice, L'antica musica ridotta alia moderna
prattica, published in 1555. Turning to a more contemporary source, Woodworth
outlined
the basic principles of structure and texture, the fundamental technique of

composition with was developed early in the Renaissance and became
common and university practice of the sixteenth century. This technique
applies equally to vocal and instrumental music. It is the form of the vast
literature of ricercare, canzona, and fantasia, as well as the mass, motet, and
madrigal.
(1) The text is broken up into short phrases, each of which is treated
successively, so that the whole composition falls into a series of spans like
the great arches of a bridge, or the bays of a cathedral.
(2) The opening phrase is often announced in four or five part harmony, the
simple chordal setting of the stile familiare.
(3) The succeeding phrases are likely to open with a theme announced in one
voice, followed by the other voices successively, in the endless variety of
"points of imitation."
(4) The phrases close with cadences, frequently marked by an extra flow of
melody on the syllables of the last word, with suspensions dissonances, and a
final resolution on consonance.
(5) There is the greatest variety in the treatment of the joints between the
spans. Sometimes there is a complete stop and a new start; more often the
new theme or subject gets started in the midst of the tapering off of the
92
cadence, so that the spans are actually interlocked, and the ear is carried on
from span to span, just as the eye follows naturally the succession of the
arches in the nave of a cathedral.
It was the unique achievement of Giovanni Gabrieli to u n i t e . . . [the older

style with the newer style outlined above], which had been developing
throughout the Renaissance—the special Venetian technique of the
antiphonal masses of sound... (Woodworth 1957,132).
Contemporary Editions of Polychoral Music
There can be several issues in reading and editing music of the Renaissance.
For one, notation was not as descriptive as is our modern day notation, requiring a
greater degree of interpretation. Dynamics and articulations were not written in the
score, so these were probably determined in rehearsal. Composers would indicate
the key signatures, but it was common practice for the singer to recognize the places
in the music where an inflection, or singing an altered pitch was required. This is
referred to as Musicaficta.
Singers did not sing from full scores until well into the 17th century; the
copies they sang from presented all the parts for a given section on one pa^ge.
.. Some ficta problem, largely those affecting a single voice, can be solved by
scrutinizing one melodic line (though even here conflicts may arise in
combination with the other parts); but, in order to apply the rules that deal
with the relationships between parts, at least one sing-through is needed
even to discover the problem (Routley 1985,63).
According to Dart, the editor of Renaissance music is also faced with things
such as knowing how long an accidental should last. Music was void of tempo
markings, but the composer implied a tempo when marking the time signature.
"The bar-line had been invented, it is true, but it was used only in solo music for
93
keyboard or lute and in study scores (text-book examples, for instance)" (Dart 1954,
138). Early printers did not have the capability of spacing out the text, so it is
difficult to determine the composer's intentions for aligning text syllables to the
notation. And, many manuscripts are partially destroyed, or often a part book would
be missing. So, educated assumptions have been made of how one part might have
been written, or what might be missing on a page by researching the composer's
compositional habits and meshing the missing part with the ones that are available
(Dart 1954,133-144).
Music published today is in modern notation, thereby making it easier for the
high school student to read. However, many of these are edited by persons who do
not necessarily have the knowledge base on issues of early music notation. Many
interject their own presumptions that might have been intended and consequently
produce inaccurate, or non-scholarly editions of early music that lacks adequate
research. For example, a performance edition will include the editors idea of where
to insert dynamics and what those dynamics should be. Without adequate research
into the composer's style and common practice of the day, the editors markings can
misguide the conductor and chorus.
To enable an optimum musical and educational experience, the choral
director should conduct some preliminary research and locate critical editions of
earlier music prior to purchasing before introducing a polychoral work to the
advanced high school chorus. Doing this would entail finding editions that can be
trusted by conducting a comparative analysis with authoritative sources. Major

sources of investigation include the composer s collected works, thematic
catalogues, and when possible, a manuscript or its facsimile.
Utilizing double chorus works as a means of expanding the advanced high
school choral curriculum, places the student at the center of learning. Students will
come to know about their rich historical contexts, which become more meaningful
through the rehearsal processes and quality performance experiences.
Summary
As Venice was the place of origin of what we know today of polychoral music,
it can be seen that several factors have an effect on the composition of music. In this
case, the acoustic environment led to experiments with differing arrangements of
choral and instrumental forces. The splendor that was demanded of the musical
celebrations also contributed to the development of multichorus music when that
splendor was intensely enhanced by the architecture of the church. Relying on
previous patterns of statement and response in dialogue form was a handy device
available to the musicians at St. Mark's magnificent structure. The point should be
well taken that music, and the other arts for that matter, do not exist in a vacuum.
Cultural and social context lead ever onward as new developments occur and
possibilities previously unseen now demand attention. Music reflects this ongoing
human quality that esteems change, newness, and multiple directions that reinforce
the desires of the leading parties. The study of Venice and the beginnings of
polychoral form an advantageous base for the high school choral student to explore
95
and benefit from a heightened consciousness about the world and his or her place
within it.
96
CHAPTER 6
A CONDUCTOR'S ANALYSES
OF SELECTED DOUBLE CHORUS WORKS
Providing a descriptive analysis of each selected work fulfills the purpose of
this research. Analyses are from the perspective of a choral conductor and will
provide insight on how to approach rehearsals for maximum learning. The prime
objective of course, is to maximize the choral student's education through the
repertoire and meaningful performance as a way of assessing progress and
understanding. Therefore, the process will not entail a chord-by-chord harmonic
analysis, but will present discussion about the harmonic material as it applies to the
context of rehearsal and performance.
Musica International searches proved to be very worthwhile
(www.musicanet.org). This international database of choral publications offers
information about current performance editions available worldwide and includes
the following: voicing, instrumentation, editor and composer names, text and
translations, liturgical designation when applicable, octavo reference number, as
well as names and website links to all who have published a given piece. Some
entries also include approximate grade level, or difficulty of the piece both from the
perspective of the choir and conductor, performance duration, tonality, and citation
of the musicological source. Thus, when possible, the analyses of the selected works
were enhanced by examining more than one edition.

97
Renaissance: Hodie Christus natus est, a 8 voci

Giovanni Gabrieli
The Gabrieli Hodie Christus natus est, is a polychoral motet scored for twq
choruses, set to the well-known Latin text to be sung on Christmas Day. Written in
1597,21 the Hodie is part of a larger work, Gabrieli's Sacrae Symphoniae. Its style is
exemplary of the mature 16th century Venetian cori spezzati, with short imitative
phrases, predominantly homophonic with some polyphonic sections. As is the case
with late sixteenth century polychoral music, choral tuttis occur more frequently
and earlier in the music than in examples of Willaert's salmi spezzati.
The following analysis is based upon an edition by Michael Gibson, available
on Choral Public Domain Library (www.cpdl.org).
Renaissance Notation
As was discussed in Chapter 5, contemporary notation differs from its
ancestral Renaissance notation. Therefore, care must be taken to verify the newly
transcribed score in consideration of certain issues. The 16th century musician was
well versed in the common practice of the period; consequently, as in jazz today,
composers did not fully notate their intentions. The rehearsal resolved missing
information from the Renaissance score. The moveable clefs that were used are not
as familiar to today's singers since contemporary practice is to use the Fand G clefs
virtually exclusively. Further, because printing was in its infancy, there were
peculiarities compared to a score printed today. For example, the text was not
21
According to Groves Music Online, "Giovanni Gabrieli" works list.
98
aligned with the notes to which they were to be sung. Also, because of an absence of
barlines, knowledge of musicafictapractice22 of the period, and ambiguity of
rhythmic durations as these factors appear to today's musicians lead to inaccurate
transcriptions.
Meters were notated differently and bore significance in sacred music. The
imperfect, designated by a broken circle, resembles our modern-day common time
symbol, indicating that the breve was to be subdivided into two equal parts and
represents a duple meter. The perfect, designated by a complete circle, is the
equivalent to present day triple meter, and symbolizes a subdivision of three semi-
breves (Atlas 1998,49-50). Triple meters in Renaissance sacred music were notated
by a circle because the symbol represented perfection; theologically the Trinity was
also considered to be perfect and therefore the two were connected. Therefore, it is
common for music of that period to be scored in triple meter when the text was
appropriate.
Temporal Elements
Relying on the modern-day edition, the score shows the opening section is in
a simple duple meter. The duple sections in contemporary editions are scored in
either 2/2 or 4/4 with alternating segments in a triple meter. There is a metrical
shift into 3/4 at ms 21 23 that lasts for only six measures and returns to the duple in
ms 27. The entire midsection of the Hodie remains in 4/4 until the triple meter
22
chromatic or altered pitches not notated in the score.
23
From this point forward, the singular form of the term "measure" will be abbreviated: ms
99
returns at ms 55, lasting for 16 measures. The final metric shift occurs in ms 71
when it returns once again to 4/4, for the final 19 measures.
The mensuration, or the note values in relationship to one another, the half
note in 4/4 equals the dotted half in 3/4. The edition from Choral Public Domain
Library shows a tempo marking of "quarter note equals 108 beats per minute,"
which can be thought of as allegro.24 Although the specific tempo within the
spectrum of allegro may vary, a fast tempo would be stylistically correct given the
joyful nature of the text and the celebratory occasion. Because of the tempo and
mensuration, the shifting meters will be more effective if thought of and conducted
in 2 for the duple sections and in 1 in the triple sections. However, for the purposes
of referencing specific beats or subdivisions of the beat, the following discussion will
reference the duple sections in the context of 4/4 time and the triple sections, in
3/4.
The transitions between the duple and triple meters will present an
attainable challenge to the choruses. A simple transition occurs between ms 20 and
21. In this case, ms 20 contains the end of a phrase in duple with all voice parts
sustaining a whole note. Ms. 21 in triple begins with Choir 1 singing
homophonically in the new meter. The triple meter is already established when
Choir 2 enters with an exact imitation. This transition is relatively easy but would
Metronome markings for Allegro are usually about 120 beats per minute, but can range from
approximately 85 to 140 beats per minute.
100
require that Choir 1 be solid in their understanding and performance of metric
shifting.
In ms 26-27, in the transition from the triple section returning to duple, the
phrase does not come to completion till ms 27, where Choir 1 sings "terra" on two
half notes. The recognition here is two-fold. First, the half notes and subsequent
rest must, once again, communicate the duple after having just sung a triple meter.
Secondly, Choir 2 has very little time to feel the change in meter before coming in at
the end of ms 27 on a quarter note. In particular, the Choir 2 sopranos have a
melisma on "terra" for one measure in ms 28, which will require them to be very
accurate with their moving eighth notes and that all Choir 2 parts be vertically
aligned.
The third transition begins at ms 54 to ms 55 in the Choir 1 voice parts only.
In ms 54, each part in Choir 1 has different rhythms in a phrase that terminates with
a half note followed by a quarter rest in triple meter at ms 55. The transition
continues in ms 56, with the entrance of Choir 1 on beat 1, followed by the SAB,
Choir 2 entrance at ms 57 and the Choir 2 tenor at ms 58. The tendency at ms 55
will be to hold the half note too long or to rest too long, thereby missing the Choir 1
entrance at ms 56 and not establishing the new triple meter. The accuracy of the
Choir 2 entrances at ms 57 and 58 will depend upon a solid transition in Choir 1.
The final transition occurs, beginning at ms 70 going from the triple back into
the duple for the final section of the piece. Here both choirs are active. This seam is
problematic since Choir 2 sustains a half note at the termination of the phrase in the
duple at ms 71, while Choir 1 sings only a quarter note and overlaps Choir 2 slightly
with the immediate entrance of the new phrase in the duple, beginning on beat 2
(beat 2 in 4/4, or the second half of beat 1 in 2 / 2 ) . Choir l's entrance of the new
phrase, "et in terra pax", terminates in a half note in ms 72, which again overlaps
the imitation in Choir 2 when they enter on beat 2. There is a potential for Choir 2
to miss this entrance since they will have rested during the first measure of the
transition. And, since both choirs have had previous entrances consistently on the
downbeat these entrances may present some problems. The remainder of the piece
contains no metric shifts.
The conductor should approach these transitions by giving the choruses
ample opportunity to rehearse them, through rhythmic exercises that shift between
triple and duple and their various subdivisions, demonstrating the transitions either
on a piano or organ, or by singing, and by leading the chorus to comprehend them
through verbal explanations.
Structural Elements
Form
The overall form ofHodie Chhstus natus est is distinguished by the meter
changes, discussed above. There is repeated material within each section, but the
overall piece is through-composed. There are five differing sections that coincide
with the metric changes. A philosophical tenet in music of the Renaissance, witness
the dicta of the Council of Trent, was to allow the music to be the servant of the
written word. Accordingly, the text lends itself to this through-composed form.
Sections of the text are aligned with sections of the music, none of which is
recapitulated throughout the piece. For example, in the A section, the music is
subdivided into two sub-sections and is aligned with the two phrases: (1) "Hodie
Christus natus est," and fjb) " Hodie salvator apparuit." Neither of these phrases or
the music that coincides with them is repeated elsewhere in the piece. The same
applies to the remaining sections.
Harmony
The overall harmonic scope of Hodie opens with a tonal ambiguity between #
minor and G Dorian.25 This is evident in the presence of a b-flat in the key signature
and the addition of e-flats in the Choir 1 bass part at ms 2. The key becomes
immediately ambiguous in ms 3 with the presence of an e-natural in the Choir 2 bass
part. And, in ms 15-16 there is another modal shift into G Major, with the presence
of a b-natural and a preceding f-sharp functioning as the leading tone. The A section
concludes in B-flat Major, which is more closely related to g minor, yet lacking from
ms 18-20 is the presence of either an e-flat or an e-natural, as if to avoid
confirmation of the tonality. This ambiguity of modality presents an excellent
teaching opportunity on compositional practice in the 16th century.
The B section, in triple, contains three imitative phrases in dialogue between
choruses. The first phrase opens in g minor, but terminates on V-I harmonies in G
25
one of the church modes; compared to a major scale, contains lowered 3rd and 7th scale degrees.
103
Major, as is evident with the b-natural in ms 23. Choir 2's entrance at ms 23,
overlaps with the termination of Choir 1. Choir 2 enters on an open 5th on g and d in
direct imitation of Choir 1. This phrase opens without the presence of the b-flat
causing modal ambiguity, yet closes as Choir 1 did in G Major. The third repetition
of the phrase in Choir 1 contributes to the modal ambiguity with its G Dorian I-V
half-cadence, found in ms 27.
Following the opening passages, the developmental C section opens in G
Dorian, tonicizing on the dominant, D Major, then FMajor. The harmonic activity
increases in ms 43-49 as the secondary dominant harmonies indicate passing
through the circle of fifths: A, D, G, C, and FMajor tonicizations, eventually leading to
the B-flat Major perfect cadence at ms 54-55. Because of the developmental nature
of the C section, shorter segments will need to be rehearsed. Extra time will be
needed to bring students to understand and be able to accurately perform the
harmonic instabilities of this section.
The D section opens with an unexpected modulation to F Major, the
dominant key to the previous B-flat Major cadence. The new key is solidified with F
Major V-I authentic cadences at ms 62-63 and again at ms 70-71. This is followed by
the closing section in modal mixture of G Major and g minor. Midway through the D
section, it passes through Bb Major with a V-I cadence in Choir 2 at ms 77-78, G
Major in choir 1 at ms 79-80, and D Major at ms 81-82. The c-natural at ms 84
indicates the final return tog minor. The final cadence is in g minor but ends with iv
-1 [Picardy 3rd on the final tonic harmony).

Structural Analysis: Hodie ChristusNatus est, a 8 voci
by Giovanni Gabrieli, M, Gibson, ed.
Section A B C D E
fTtiroiiEhc CSIHS>C-S«£- Ms 1-20 Ms 21-27 Ms 27-55 Ms 56-71 •Ms 71-89
Meter Duple Triple Duple Triple Duple
Subsections a b a a a1 See below a. | a a b C
Measure 1-7 7-20 21-23 23-25 5643 64-71 • i - -1 "•6-S0 T9-S?
Ctsirl
numbers:
Text Hodte Hadie i e d i e k terra Gloria, at stcdiis Deo Et in t a t a Hommibiis Bonae
Safcator boase VOll&L5ti,£
usffis ejt; apparust homnubus voluntatis
Harmonic f HMB« <Sl | g miaer & g m$ 21 G Doras F Major. Choir OMaj G Ma:
DmaaCBb Dorian; 8 b G
e half V4 S I 2: Maj:GMsj. 2 DUB,
material. Mag. FMij,
mkeystg.) Major, Maj cadsoce Plaasl
aima i t '9-SO. Ms
authentic V- ami. 2? a s 62-3 "9-86 D (tv4)
m$ 70-1
IcMmcs candsacs
ms 19-20 atmsSS-
8$
Section C; Ms 27-55
Duple Meter
(Developmental Material)
Subsections: a b a1 a?
Measures 27-33 33-43 43-49 48-55

Test la tasra caamt aagdi laetsntur archsageli Ls-Hsritiir arcfcaageli Esutamtjttstt
Harmonic Begins in g dorian; BegbsinDMaj.; Cir. of Stfas mvt: Owiiaps •with ear
material DMaj. cadence at FMaj cadence at A, Ds G, C. F of5ths:C,F-ms
ms 32-33 ms 42-43, 48-49: Bb
cadence-ms54-55
The diagram above offers a pictorial representation of the overall scope and
form of this work. It includes demarcations of the sections, meter changes,
corresponding text, and the overall harmonic plan.
Texture, Style and the Relationship Between Choruses
Discussion of the texture calls for examining both vertical and horizontal
materials of the Hodie. True to Gabrieli's compositional traits in his mature
examples of cori spezzati, this piece has sections that are homophonic along with
some contrapuntal sections. The text is set primarily in syllabic fashion with
occasional melismatic passages.
The work opens with a decidedly homophonic phrase on the text Hodie
Chhstus natusest, sung by Choir 1, followed by imitative entrances and varying
combinations of voices between choruses starting in Choir 2 (ATB) on beat 1 of ms
3. The first entrance of Choir 2, soprano, occurs in ms 3, beat 3, at the same time the
tenors and basses of Choir 1 make their second pronouncement of "hodie." The
second "hodie" statement in Choir 1, soprano and alto voices begins at ms 4. This
produces an imitative entrance effect, with three entrances two beats apart from
one another in ms 3-4. Rather than maintaining separateness between ensembles,
the combined entrance of some voice parts from Choir 1 and 2, provides one
example of maturity in polychoral writing not yet known to Willaert or to some
extent, Adrian Gabrieli. Its effect also produces the first tutti in this composition by
ms3.
106
Another example of combining voices from different choruses occurs at ms 6-
8, where imitative entrances are staggered, once again two beats apart on "hodie."
This time, however, the placements of the entrances are on beats 2 and 4, or the
weak beats: (entrance 1) ms. 6, beat 2-Choir 2, ATB; (entrance 2) ms 6, beat 4-Choir
1, T; (entrance 3) ms 7, beat 2- Choir 1, AB with Choir 2, S. In ms 8, beat 2, all voices
in both choirs enter on a full statement of the "hodie" text, including Choir 1, S, who
did not participate in the imitative entrances at ms 6-7.
Conversely, there are a few entrances in which one or both full choruses
enter in a block harmony, homophonic format. The opening entrance has already
been discussed, but as an extension of that discussion. Choir 1 enters together with a
homorhythmic texture. At the opening of the first triple meter at ms 21, Choir 1
enters, again with like rhythms, moving together in chordal fashion. The same
applies two measures later (ms 23) when Choir 2 provides an exact imitation of
Choir 1. Other entrances with homophonic, block chordal texture occurs in the
latter portion of the piece. In each of these the imitation takes place not between
voices, but between choirs. For example, the homophonic texture found Choir l's
"Gloria" entrance, at ms 56 is imitated at ms 56 in Choir 2, SAB and the Choir 2 T
entrance takes place one measure later. This occurs again at ms 64 and 65 in its
parallel phrase structure.
Hints of polyphony, occurring in the melismatic passages of the second duple
section, demonstrate Gabrieli's masterful contrapuntal technique. These melismas
make up thematic material that is repeated throughout this segment that stretches
from ms 27 through ms 55. The first presentation of the melismatic theme occurs at
ms 27 on "In terra" in the Choir 2 soprano voice and in the alto voice of Choir 1 at
ms 30, where the imitation is an interval of a fourth below. Then, the Choir 1,
soprano voice enters at the end of ms 30 in exact imitation of the Choir 1, soprano.
Subsequent repetitions of the melismatic material occurs on a theme, starting at ms
43 in the Choir 1 soprano voice on "laetantur," then starting at ms 47 beat 4 in Choir
2, tenor and in subsequent voices on "exultate justi, dicentes." The melismatic
motive in the Choir 1 soprano voice is imitated in its entirety on the same pitches in
the soprano voice of choir 2 at ms 48. At ms 47 when the tenor in Choir 2 sings this
motivic material, the entrance is a 4 th lower. Repetitions of this theme appear again
at the end of ms 51 in the bass and soprano of Choir 1, when they sing the duet in
parallel 3rds in ms 52, but the soprano carries the remaining motive alone as the
bass part joins the tenor's rhythmic material.
The tail of this melismatic theme is used in quick dialogue and provides an
example of layered, imitative entrances. This segment of the motive appears on
"laetantur" which begins in ms 32, beat 4 in Choir 2, tenor, and continues through
ms 37, beat 4. It covering the three syllables, whose rhythmic content follows a
quarter rest, then is sung on a quarter note and two half notes. All entrances are
scattered throughout each voice part with layered entrances on beats 2 and 4
throughout these measures. Additionally, every beat 2 and 4 has a new entrance
with exception of the end of ms 36 and beginning of ms 37, when all voices have
come together for the final pronouncement of the last two syllables.
A prime example of cori spezzati, with its more rapid succession of
homophonic dialogue between choruses can be seen at the opening of the final
duple section. At ms 71, beat 2, Choir l's statement of "et in terra pax" is echoed in
the next measure in Choir 2. Then, the dialogue on "hominibus" is as follows: Choir
1 at ms 73, beat 2; Choir 2 at ms 74, beat 2; Choir 1 at ms 74, beat 4; Choir 2 at ms
75, beat 4. Then, following a two measure interruption in the dialogue while Choir 2
sings the full phrase, "hominibus bonae voluntatis," Choir l's entrance at ms 77,
beat 4 overlaps the completion of the phrase in Choir 2.
Also associated with the cori spezzati style, is the choral tuttis and text-
painting. Measures 8-10 and 18-20 provide clear examples of full, homophonic
tuttis in both choirs as they proclaim "hodie Salvator apparuit." The foregoing is
also an example of word-painting, in vogue amongst Renaissance composers. With
this compositional technique, the composer would write music in a way that
characterizes or represents a word, phrase, or meaning; as sort of a musical
onomatopoeia This passage of music, with its full texture and rapid rhythms
(mostly eighth notes), is declamatory in nature and is a musical representation of
"today the Saviour has appeared."
Technical Demands
Good diction is a major consideration for performing double chorus works in
an acoustically live venue. Taking care to enunciate the consonants will lend both
to the expressiveness and will aid in maintaining rhythmic tightness between voice
parts and between ensembles. One example of where this is needed can be found in
the declamatory nature of the full double chorus tuttis, such as at ms 8-10 and 18-
20.
Well-supported, and well-placed singing will help to perform the faster
rhythms found in some of the motives. The running eighth note passages found in
the B section on "terra," "laetantur," and "exultant justi" should be sung with a light
tone, but with well-supported singing. In these passages, singing too heavy will add
too much weight and may cause flatting and can affect the tempo.
Text of Hodie Christus natus est
The Latin text is a paraphrase of a combination of two scriptures: Luke 2:11,
13-14 and Psalm 32. The Hodie is historically significant because it is an integral
portion of the early Christian liturgy, dating back as early as the fourth century
("Vespers," Grove Music Online). It was originally intended for, and is still used as
an antiphon for Vespers of the Divine Office of Christmas Day.26 It follows the
Canticle of the Blessed Virgin Mary (Magnificat anima med), typically referred to as
the Magnificat.
Translation
Latin English translation
Hodie Christus natus est Today Christ is born

hodie Salvator apparuit today the Saviour has appeared;
Vespers is the early evening service of the Office Hours, and takes place before Compline. The Divine
Office are celebrations of important feasts.
hodie in terra canuntAngeli today the angels sing,
laetantur Archangeli the Archangels rejoice;
hodie exsultantjusti, dicentes; today the righteous rejoice,
saying:
Gloria in excelsis Deo, Glory to God in the highest.
alleluia. Alleluia! Offers 1988,128).
Related Materials
Editions
A critical edition of the Hodie can be found in Gabrieli's collected works, the
collection, Opera omnia, edited in 1959 by Denis Arnold, published by the American
Institute of Musicology ("Giovanni Gabrieli," Grove Music Online). Additionally,
performance and scholarly editions of the Hodie Christus Natus est, include the
following:
1. American Institute of Musicology, in Opera Omnia II, CMM 122; p. 102

a 110, "Corpus mensurabilis musicae 12": edited by Denis Arnold in 1959,
scored for "SATB + SATB (10 mixed or double choir voices)", medium
difficulty, 4.5 minutes, A dorian; musicological source: Biblioteca Comunale
Ariostea, Ferrare. -Conservatorio G. B. Martini, Bologne.
2. Breitkopf & Hartel (German publisher): scored for double chorus of

voices (SATB/SATB) with an orchestral accompaniment (editor unknown).
3. Ferrimontana Musikverlag (German publisher): scored for SSAATTBB,

or 8 double choir voices, medium difficulty, phrygian mode, duration 3
minutes (editor unknown).
4. G. Schirmer (American publisher), editor: Dale Jergenson and Daniel

Wolffe, scored for double chorus (SATB/SATB), organ ad lib. or Brass,
medium difficulty level, 3 minutes, a minor. "May be performed voices alone,
or with brass and/or organ playing alone or doubling voices for one or both
of the choirs.
Ill
5. Moseler Verlag (German publisher): scored for 10 mixed voices

(SSSAT/ATBBB) with 10 instrumental parts, medium difficulty, performance
time - 5 minutes.
6. Musiques en Flandres (French publisher): Francis Rappart, editor,

scored for double chorus (SATB/SATB) medium difficulty, 3 minutes, g
minor; source: Reliquiorum sacrarum, Numberg (Kauffmann), 1615.
7. Suddeutscher Musikverlag Willy Miiller (German publisher): Georg

Goebel, editor, double chorus (SATB/SATB), medium difficulty, 3 minutes, in
F major and g minor.
(Musica International [paraphrased]).
Notable Recording
An exemplary recording of Giovanni's Hodie was recorded in 1967 at San
Marco in Vencie. Prominent organist, E. Power Briggs, who initiated the recording,
enlisted the Gregg Smith Singers, the Texas Boys Choir, and the Edwin Tarr Brass
Ensemble, under the direction of Vittorio Negri, to record a set of Gabrieli works,
including several polychoral works. "The Glory of Gabrieli: Music for Multiple
Chorus, Brass and Organ" was first released by Columbia on vinyl LP recordings in
1967 and was remastered and re-released under the Sony label in 2006 (Audiophile
Audition).
Baroque: Jauchzet dem Herren, alle Welt (Psalm 100), SWV 36
Heinrich Schutz
Heinrich Schutz (1585-1672), a prominent German composer with
international renown, studied composition with Giovanni Gabrieli in Venice.
"Teacher and pupil evidently developed a close personal relationship. On his
deathbed Gabrieli left one of his rings to Schutz, and Schutz never acknowledged
anyone else as his teacher" ("Giovanni Gabrieli," Grove Music Online). Gabrieli,
himself a notable contrapuntalist, taught his students this traditional compositional
technique. Like Gabrieli, Schutz was sensitive to the written word; text meanings
were served by depictions found in the music.
He used a variety of musical means—rhythmic, melodic, harmonic, textural

and structural—to manipulate a text and create specific musical affects to
enhance its message, and his greatness stems partly from the integration of
many of these stylistic traits ("Giovanni Gabrieli," Grove Music Online).
Following Gabrielli's death, Schutz returned to Germany in 1613. Later he
returned to Venice in 1628 and studied with Monteverdi. He held prominent posts
as the Kapellmeister27 at the Staatskapelle Dresden28 and Copenhagen Kapel
(Edwards 1983). Having studied with two Venetian composers noted for their
polychoral works, Schutz devoted much of his compositional activity to writing
multi-choral music. He popularized this genre in Germany through his compositions
27
Director of Music, a prestigious post usually in the employ of a high ranking official.
28
Schutz first worked with Praetorius in his first post at the Staatskapelle Dresden.
and performances. The Copenhagen venue, being spacious with high ceilings and a
natural setting for polychoral music, Schutz took advantage of the feature and
conducted several of his works there. The occasion was enhanced "because the
strength of the [number of musicians employed by the] Kapel offered him an
opportunity to perform large-scale works such as his polychoral psalms" (Edwards
1983,114).
The following conductor's analysis and assessment of this work will
reference an edition by Willbert Berendsen. It is available in PDF format on the
Choral Public Domain Library website and is available as a reference in an appendix
of this dissertation.
Structural Elements
Written early in his body of works, the texture of the piece is almost entirely
syllabic and homophonic with exception to a few contrapuntal passages with
melismas in both choruses: "Danken" (ms 54-57), "Loben" (ms 59-66), several
places in the section between ms 104 and ms 125 and in the "Amen" section at the
close of the piece.
The structure of the Schutz piece differs from Gabrieli's Hodie, It is highly
imitative with Choir 2 nearly always giving an exact imitation of Choir 1, while the
opposite does not occur. Examples of exact imitation can be seen in ms 1 through
12, where every voice part in Choir 2 gives an identical repetition of what was sung
in Choir 1. This continues throughout the entire piece with a few exceptions.
114
For one, periodically Choir 1 will sing a portion of a phrase that is not
repeated in Choir 2. This happens in ms 13-14, ms 58-59,81-84,86-87, and again at
ms 115. In all of these instances, Choir 1 sings a full phrase while Choir 2 sings only
a portion of the phrase.. At ms 13 through 17 Choir 1 sings "dienet dem Herren mit
Freuden." Choir 2 enters at the pickup to ms 17 singing "mit: Freuden" and ends at
ms 19. Each voice part in Choir 2 sings identical pitches and rhythms as its
counterpart in Choir 1, with the omission of the first half of the phrase. Another
example can be seen beginning at ms 81 with Choir 1 singing "Denn der Herr ist
freundlich" terminating the phrase at the end of beat 2, of ms 84. Choir 2 enters at
ms 84, beat 3, echoing only the second half of the phrase, "ist freundlich," in an exact
imitation.
Second, when Choir 2 is not in exact imitation of Choir 1, it is usually only a
few pitches or rhythms that are adjusted to fit the harmonic structure around it. For
example, the phrase that Choir 1 sings, begins in G Major but: concludes at ms 16-17,
with a V-i cadence in e minor. The i chord in at ms 17 is held on a half note in Choir 1
on e and b, and avoids the third of the chord, Xheg or g-sharp. This chord is aligned
with the overlapped entrance of Choir 2, which necessitates the use of a g-natural,
seen in the Choir 2 tenor and alto parts and confirms a shift to e minor. Choir 2's
imitation is exact with the exception of the conclusion of their phrase (ms 19), when
the alto sings a g-sharp, confirming a shift to the parallel major key, E Major. There
is also a rhythmic difference in entrances at ms 32 (Choir 1) and 33 (Choir 2). All
the pitches in Choir 2 are an exact replica of those found in Choir 1. Choir l's
115
homophonic entrance is on a half note beginning on ms 32, beat 2. However, Only
the Choir 2 soprano and bass enter on a half note on beat 2 of ms 33. However,
Choir 2 alto and tenor enter a beat later on a quarter note and only the first pitch in
each voice part is different, again to accommodate the harmony [E Major: V-I).
Another example of pitches adjusted to fit the surrounding harmony in an
imitation occurs at ms 72 through 74. In this two measure phrase, the first
statement of "Lobet, lobet seinen Naman" in Choir 1 begins in G major with no pitch
alterations. However, there is a tonicization in a minor in ms 73 where Choir l's
second measure is overlapped with Choir 2's first measure of the phrase. This
measure closes with a V-i cadence in the new key in Choir 1, without the presence of
a g-sharp to confirm the E Major, V chord. The altered pitches in Choir 2 at ms 73-
74, include ag-sharp which serves as the leading tone and confirms this temporary
key shift. The Choir 2 soprano and bass parts remain unchanged and are an exact
duplicate of those found in Choir 1. However the Choir 2 alto and tenor pitches are
all adjusted to fit within a minor.
In 4: ms 72 ms 73 ms 74
Choir 1 Lobet, lobet seinen Naman

G: I - vi - IV - ii/a:i a: V - - i - -
Choir 2 Lobet, lobet seinen Naman

a:V6-V-i6-i a: V - - i - -
Figure 5: Schtttz, ms 72-74

116
These variances will present a challenge in learning this double chorus piece,
particularly for Choir 2. With so many exact imitations in Choir 2, these singers will
easily get accustomed to listening to Choir 1 and simply echoing what they have
heard. However, Choir 2 has entrances of varying distances from their counterpart,
occasionally imitates only a portion of Choir l's phrase, and periodically has
different harmonies with different and altered pitches from Choir 1. Choir 2 must
be well-rehearsed and able to perform their understanding of these distinct
differences.
Temporal Elements
Jauchzet is scored primarily in 4/4 with two brief passages in 3/4. The shift
between meters maintains the quarter note pulse, as is the practice in contemporary
performances. The piece opens in 3 and goes into 4 at ms 9. It remains in 4 from ms
9 through ms 67 and goes into 3 for a brief four measures, then returns to 4 at ms 72
to the end of the piece. Of the two brief sections in 3/4, the first serves as a choral
introduction to the work and the second at ms 68 serves as a bridge on the
statement, danket ihm" ("give thanks to him").
The meters present the question of how to conduct this piece. In the Gabrieli
piece, a steady tactus was suggested when transitioning between meters with the
dotted half in triple meter being equivalent to the half note in duple. However, this
would not be the case in Jauchzet if conducting in 2 and 1 since the quarter note
pulse remains constant throughout. While there are no tempo markings to refer to,
the mood of the text reflects joyfulness and praise. This seerns to indicate that the
tempo should be fast or medium fast. Depending upon the specific tempo taken, the
conductor would need to decide whether to conduct the 4/4 sections in four or in
two, and whether to conduct the 3/4 sections in 3 or in 1.
The rhythmic material is very simple, most of which contains eighth, quarter,
half and whole notes. The steady rhythms on the short syllabic phrases are
interrupted with running eighth notes on the melismas. Another deviation occurs at
ms 97 through 102 with syllables that are held longer on half and dotted half notes.
There are a few places where the music comes to a complete pause, with
rests in all voices. When this happens it provides an unexpected contrast to the
texture and rhythmic activity surrounding these spots. These rests also provide a
demarcation between sections. The first instance of this occurs at ms 28, where a
quarter rest occurs on beat 3 (in 4/4), prior to a new section with Choir 1 entering
on "Erkennet " At ms 48, there is a 2 beat rest in all voices before Ghoir one
enters on beat 3 on "Gehetzu seinen " There is a four beat rest, prolonged by a
fermata at ms 103, is found in all eight voices that is profound and marks the
beginning of the stretto entrances that follow. The final occurrence of a rest in all
voices is found in ms 125 on beats 3 and 4, marking the close of the section ending
on "dem heilgen Geiste" and prior to "wie es war im Anfang."
These temporal materials will need to be taught to the chorus. Working
through the conducting problem of which meter or subdivision of the meter will
help them to understand tempo and beat relationships. And, they need to rehearse
and have a firm understanding of places where rhythmic material deviates from
musical expectations that were previously established.
Texture
The overall texture of Jauchzet is homophonic. Unlike the Gabrlieli with its
tutti sections, Schutz's highly imitative style is expressed in the lack of all voices on a
full-textured tutti. Already mentioned in the previous analysis were two examples
of all choruses singing the same text on the same rhythms in a declamatory style.
There is no place in the Jauchzet where all voices sing together on the same text at
the same time.
The distance between imitative entrances and phrase lengths vary, thus
impacting the character of the texture. At times phrases overlap with Choir 2
following Choir 1, and in other occurrences Choir l's phrase ends before Choir 2
enters. In the phrases that overlap between ms 72 and ms 80, there is a one
measure, or four beat delay after Choir 1 enters on beat 1, before Choir 2 begins,
also on beat 1. A four beat delay is also present in entrances in measure 88 through
102 as well as several other places throughout the piece. However, there are only 2-
beat delays in the two phrases that occur in ms 43 through 47 on "und zu Schafen
siener Weide," and at the Choir 2 entrance on beat 3 is echoed 8 beats following the
Choir 1 entrance at ms 53 ("mit Danken").
Since most of the phrases overlap, the contrast of a Choir 1 phrase coming to
a close before Choir 2's entrance provides another element of surprise. The first
119
appearance of this is in a section that begins at ms 19 and continues through ms 28.
Beginning on beat 3 of ms 19, Choir 1 sings the statement "Kommt vor sein
Angesicht," that concludes at the end of beat 2 in ms 20. Choir 2, again in exact
imitation, picks up the same phrase on beat 3 of ms 20 and concludes at the end of
beat 2 in ms 21, in time for the next phrase. This treatment continues throughout
this section and appears again in similar fashion at ms 68 through 71, and ms 81
through ms 86.
Most all of the phrases are short, contributing to the sense of dialogue
between choruses. From the opening section in 3, the statement of "Jauchzet dem
Herren..." is first sung separately from the its remaining semi-phrase"... alle Welt,"
creating very short musical interactions. The first longer phrase occurs in Choir 1 at
ms 13 through 17 with Choir 2 imitating only the latter portion of this phrase. After
this comes a series of four beat imitative dialogues. The four-measure section in 3/4
that begins at ms 68 contains dialogue that is even briefer with 3 beats on "Danket
ihm." Longer 4-5 measure overlapped phrases can be seen from ms 88 through ms
102.
The opening of the layered, stretto entrances starting at ms 103, begin with
the soprano of Choir 1 followed by a direct imitation in the soprano of Choir 2 four
beats later. The alto is added at ms 112 and ms 113, then the tenors at ms 115 and
117. The basses do not enter until the next section at ms 126, following another
unusual complete termination of sound in the rests at ms 125. Throughout the

Structural Analysis; JauchzetdemHerrm [Psalm 100)
by Heinrich Schiitz, W. Berendsen, ed.
Level 1;
Main Intro B c
Sections ms 9-67 ms 68-103 MS 104-168
Level 2:
Sub- Intro A B A C A B C
sections JBS 9-28 ms 28-67 m s 68-71 ms 72-80 ms 81-103 i»s 104- m s 126- ms 134-
.125 133 168
LeveI3:
Sub- Intro a .a b a b al
sections ms 9-19 ms 19-28 m$ 28-47 ms 48-67
Meter 3 4 4 4 4 3 4 4 4 4 4
4 4 . 4 4 4 4 4 4 4 4
4
Text Jauehzet Jauchzet kommtfor Etkamttt Geketzu daatet tobetstinea Denader Etire set Wieeswar Atnen.
dem dem dein iaflAtr seioen ihm. Naraeni Berrist demVater imAnfang,
Ketren, alle HertSott Tows ein freundlich,
Betten, alfe • Angesicht unddem jetzeund
Welt! mit is, rait and seine
Walt! EriMt'BDS
Sohn imnjerdar
Otenetdem FroKoekeai gemicfet— Dankea, Gnade (Jndaudt U&dvon
Herren mit tiwlBidst _ zu seiaen wahretewig dem Swigkeitzu.
Freuden? Vorhfifen «»d seine heiligen Eiwgke.it
m Mintm mit Lob en; Wateheit Geiste
fiirundftir.
SchaftB
seintf
WtSdc
Harmonic G Major D-e-E G-D-a-6 G-E-A-a G-a-e-C C pivots to G-a-d-G G- C -G G-D-e-D D-C-D D-e-E-A
D(dom G Major -D-G
material key), e (ret ms 27-28'ft Closes with GiV-l Closes wttJi Ctoseswift
(Key areas, Closes with Closes with
minor), E v-l cadence Closes V-I (1 only in V-l fii 6 * - 1 '
modulations.
(Parallel with !¥-! V-I cadence in 8B97-102) cadence in cadence in V-i£iss
tontcaattons.
Maj.tothe cadeoce in cadence in G D 0 prolonged
etc.}
reL minor) G C in final 3
measures.
121
stretto section Schiitz maintains exact imitations with Choir 2 echoing Choir 1,
verbatim.
Dynamic Range
While Western notation continued to develop through the 17th Century,
dynamics were rarely notated. In spite of this, Schiitz was perhaps the author of the
sparse dynamic notations found in the Barenreiter29 edition of Jauchzet. Since there
are no such markings in the Berendsen edition, the Barenreiter will be referred to
for dynamic indications. The only marking appears at ms 46-47 with a decrescendo
on "Schafen seiner Weide." Then, there is a contrasing/orte indicated at the opening
of the next phrase along with the only stylistic notation to sing etwas breiter (a little
brighter). Since these are the only markings available, the conductor would need to
make decisions about how to treat the remainder of the piece.
Form and Harmony
Understanding the form and how the harmony functions within this form
provides the conductor with information useful to the rehearsal approach. And,
teaching this information to the advanced high school chorister expands their
understanding of Jauchzet and speeds up the learning process. For example,
understanding the harmonic context of the sections, facilitates singing altered and
varying pitches correctly. The following discussion may be referenced to the
29
Barenreiter published the Urtext edition of Schiitz Neue Ausgabe
structural analysis chart on the previous page and to the Schiitz score found in the
appendix.
The overall form oijauchzet is through composed and falls into three broad
sections, each closing in G Major. As was previously mentioned, the piece opens
with a choral introduction in the first nine measures. The level 1A section (ms 9-
67) is subdivided into two large sections (level 2), each of which have two
subdivisions of their own (level 3). Level 1 B (ms 68-103) is divided into three
sections (level 2: A, B, C). The level 2-C section has three subsections: a, b, and a1.
Level 1 C ( ms 104-168) is also divided into three sections (level 2: A, B, C).
Every section is marked with tonicizations in closely related key areas. For
example, the section at ms 19-29 opens in D Major, the dominant key to G Major,
passes through e minor, which is the relative minor to G. Following this, ms 19-28
opens in G Major, tonicizes in D Major then a minor (minor dominant [v]to D,
supertonic [//"] relationship to G), before returning to G Major at the end of this
section. An additional example of passing through various key relationships can be
seen in ms 28-47. After the initial beginning in G Major, the harmonies pass through
E Major (parallel major to the relative minor [e minor] of G); A Major (secondary
dominant key [K/V]); a minor (parallel minor to the secondary dominant or
supertonic [ii] relationship with G); use of the previous a minor to pivot back to G
Major, then transitioning from the key of G {V of C] to C Major {IV ofG), then back to
G Major, closing with a plagal cadence {IV-I) in G at ms 47. The remainder of the
123
piece utilizes these same remote key relationships before finally cumulating in a
final statement of dominant and tonic keys at the end of the piece.
The harmonic scheme of this work presents an excellent opportunity for the
students to become acquainted with how this period in Western music developed
what we use today as a normal progression of chords. Schutz's music operates
within the second practice [seconda prattica),30 which began to establish a vertical
relationship of harmony instead of the horizontal relationship of the first practice
(prima prattica),21 as can be compared to Gabrieli's style. Remembering that Zarlino
was enormously influential at St. Mark's in documenting the first practice helps to
mark the importance of this transition from the first practice of the Renaissance to
the Baroque second practice. Monteverdi was a pivotal composer in the transition,
with whom Schutz studied as previously mentioned, and therefore was in the thick
of the changes in music composition. The conductor of a high school choral group in
utilizing these works has an unparalleled opportunity to explore music and the
culture and how changes occur in social values. Further, the students gain a
perspective on the history of Western culture and can explore all of the arts during
this period as well as the social and political history of the time.
"Second practice"; also stile moderno (modern style). Early Baroque: Freedom from dissonance and
counterpoint limitations of "first practice" (Grove Music Online).
31
"First practice"; also stile antico (older style). Avoidance of dissonance, use of counterpoint outlined in
Zarlino's treatise, Le institutione harmoniche.
Text of Jauchzet dem Herren
The existing manuscripts and publications show that Schutz's output was all
within the realm of sacred vocal music, nearly all of which is set to biblical texts.
Many of his settings were to texts taken from the Becker Psalter 32 written by 16th
Century German poet and theologian, Cornlius Becker. This resource was written in
rejection of the Calvinist counterpart and was appealing because of the metrical
settitngs ("Schutz," Grove Music Online). Schiitz wrote two versions of the motet,
Jauchzet dem Herren, the Psalm 100 text taken from the Becker Psalter and
published in his collection, Psalmen Davids.33 The first, SWV 36, is the subject of this
analysis and is scored for two SATB choruses. The second, written in 1615 (SWV
36a), is scored for three SATB choruses. Schutz also wrote another setting of the
same text in Der Schwanengesang, SWV 493. Jauchzet dem Herren, atte Welt!
translated, means Shout for Joy to the Lord, all the earth!. It was traditionally, and is
today, often utilized as the Doxology in offering thanksgiving during the Eucharist
portion of the liturgy.
Translation
German Text English Translation
Jauchzet dem Herren, alle Welt! Shout for joy to the Lord, all the earth!
Dienet dem Herren mit Freuden; Serve the Lord with gladness,
kommtfor dein Angesicht mit come before his presence with rejoicing!
Frohlocken!
Erkennet, daji der Herre Gott ist Know that the Lord is God:
Der Psalter Davids Gesangweiss auffdie in Lutherischen Kirchen gewohnliche Melodeyen zugerichtet
Psalmen Davids, contains SWV 22 through 47 (Edwards 1983).
Er hat unsgemacht—und nicht wir He has made us, and not we
selbst, ourselves,
zu seinem Volk undzu Schafen seiner to be his people, and the sheep of his
Weide. pasture.
Gehetzu seinen Torenein mitDanken, Enter into his gates with thanksgiving,
zu seinen Vorhofen mitLoben; and into his courts with praise:
danketihm, lobet seinen Namen! give thanks to him; praise his name!
Denn der Herr istfreundlich, For the Lord is kind,
und seine Gnade wdhret ewig and his mercy is everlasting,
und seine Wahrheitfur und fur. and his truth endures forever and ever.
Ehre sei dem Voter und dem Sohn Glory be to the Father and to the Son
Und auch dem heiligen Geiste And also to the Holy Spirit
Wie es war im Anfangjetze und As it was in the beginning, is now and
immerdar always,
Und von Ewigkeitzu Ewig keit. Amen. World without end. Amen.
(Jeffers 2000, 252).
Related Materials
Editions
Schiitz's critical editions are published, in the mid-20th Century by
Barenreiter (Neue Ausgabe). In addition, the following editions of his SWV 36 are
currently in print:
1. Carus Verlag (German publisher): scored for SATB/SATB, organ and

violin G Major; German text with English translatio; performance time-5
minutes.
2. Philippe Cailard (French publisher): scored for SATB/SATB and

organ; German and adaptation in Latin; performance time-4 minutes,
medium difficulty for the conductor, difficulty level for chorus is 4 out of a
possible of 5 (with 5 being the most difficult).
3. Theodore Presser (American publisher): George Lynne, editor; eight

double choir voices, score with keyboard for rehearsal only; English with
126
German adaptation, Text adaptation by Henry Drinker; performance time-5

minutes, medium difficulty for the conductor, difficulty level for chorus is 3.
4. Westminster Choir College Press (American publisher): George

Lynne, editor; eight double choir voices; English with German adaptation.
Text adaptation by Henry Drinker; performance time-5 minutes, medium
difficulty for the conductor, difficulty level for chorus is 4.

Classical: Crucifixus
Luigi Cherubini
(Carlo Zanobi Salvadore Maria) Luigi Cherubini was born in Florence in 1760
and died in Paris in 1842. He first studied with his father, Bartolomeo Cherubini, a
musician who served as the maestro al cembalo at the Teatro della Pergola. He was
considered a child genius and began composing at a young age. "At fourteen he
composed the cantata La pubblicafelicita for a celebration service in the Florence
Cathedral in honor of Duke Leopold of Tuscany (later Emperor Leopold II)" (Shrock
2009, 392). In recognition of his considerable output at a young age, he was
awarded a scholarship at age 18 to study in Bologna and Milan with Giuseppe Sarti
with whom "Cherubini felt he learnt counterpoint and the style of dramatic music"
("Cherubini," Grove Music Online). He later studied music in Paris and London, and
after settling in Paris, received an appointment as the director of the Conservatoire
Nationale de Musique in 1822 (Schrock 2009).
Amongst his output, Cherubini composed operas that reflected Gliick's
influence. His compositions also included vocal and instrumental works, and sacred
choral music—including masses and smaller sacred choral works such as motets
and single mass settings. The Crucifixus is excerpted from the latter portion of his
single mass movement, a Credo, written in 1806, and published in Leipzig in c. 1860.
The Credo appears to be his only work scored for double chorus ("Cherubini," Grove
Music Online). A search of Musica International reveals two extant publications of
this work: a Walton edition of Crucifixus, and a Peters edition on the full Credo. A
search on Choral Public Domain Library produced results for neither the Credo nor
Crucifixus. Not available for this study are other performance editions or a critical
edition. Therefore, the following analysis will refer to the Walton edition of
Crucifixus, edited by Karl-Heinz Schee, published in 1978.
Temporal Elements
Crucifixus is scored for two SATB choral ensembles written in common time
(4/4) and contains no metric changes. The tempo is marked, andante sostenuto, a
sustained tempo that is slower than andante (walking tempo). Cherubini's dramatic
style is evident through this slower tempo, particularly on the opening text,
translated, crucified.
There are some rhythmic motives that appear throughout the piece. Used
most often is a motive beginning with a dotted quarter note followed by an eighth
note. This can be seen beginning in the Choir 2 entrance in the bass voice at ms 4
and repeated throughout each choir 2 entrance at ms 6 and 7. Choir 1 and 2 utilize
this pattern throughout the next section (ms. 21-35). The rhythmic material in the
third and fourth sections of the piece (ms 34-49 and 49-60) contains longer
durations of half and whole notes, therefore giving the impression that the piece
slows down.
129
Structural Elements
Form
The Classical period brought forms that were more structured and are often
"square." This is true of Crucifixus in its overall scope with four sections, each
containing two subsections. The overall form reveals a through composed plan.
The A section begins at ms 1 and continues through ms 21. Within the A section
there are two smaller sections. The B section can be found in ms 21 through 33,
with one phrase in each chorus. The C section has two phrases in each chorus at ms
35 through 49 and the D section (ms 49 through 60) completes the piece.
Texture
Cherubini's Crucifixus is homophonic with no melismas. Similar to Schutz,
choir 2 often imitates the material found in choir 1. However in the Crucifixus,
points of imitation are typically transposed to a different pitch level. Most often in
Jauchzet dem Herren, all voices of a chorus would enter at the same time, but in
Crucifixus entrances within a chorus are layered. For example, beginning at ms 21 in
choir 1 and 27 in choir 2, voice parts enter four beats (one measure) apart from one
another in the following sequence: alto, soprano, tenor, then bass.
Where there was extensive overlapping of imitative entrances between
choruses in the Schiitz, such is not the case in Cherubini. There is only one choral
tutti and it has a different character than was exemplified in the Gabrieli work. For
130
instance, in Gabrieli's Hodie, tuttis were homorhythmic with all chorus parts singing
the same text at the same time. However, in the Crucifixus, the only tutti that is not
produced with overlapped choruses, is found in the final ten measures, of which all
voices are present in the final six. During the tutti, the tenor and bass parts sustain
the dominant pedal tone on an a while the treble voices sing in counterpoint against
it.
In the opening A section of Crucifixus, Choir 1 opens with the entrances two
beats apart from one another on the word Crucifixus. Rather than imitate this in
some way, Choir 2 responds with etiam pro nobis sub Pontio. When these
statements are repeated in the second set of phrases, the Choir 2 bass (ms 4-5)
seems to be imitating the choir 1 bass on an e-flat. However, at the end of ms 5-6
the bass, choir 2 makes a descent down to b-flat and the remaining choir 2 voices do
not echo their counterpart. The result is the second statement of A is transposed
from E-flat Major to B-flat Major.
This immediate harmonic shift and lack of imitation (and other instances
where an imitation is not in the same key) will present challenges and learning
opportunities. For example, in ms 7 and 8 the first detection of a key change is the
a-flat seen in the choir 2 tenor and soprano voices. The tenors approaching this on a
descent from a b-flat will have the a-natural in mind and will need to practice
singing a descending whole step. The sopranos, having heard the a-flat in the tenor
voice two beats before, will have not as difficult a time securing this pitch, but
should rehearse the ascending half step.

131
Dynamics
By the 18th Century, notation had developed more fully and composers were
more inclined to leave less interpretation to the performer. Another factor at work
in this regard is that in previous periods, the composer was frequently involved in
the performance as a maestro di capella and could direct the proper interpretation.
Later, especially through widespread distribution of music, the composer was not
involved and had to indicate interpretation through musical notation. Under these
conditions notation of dynamics then became a standard practice. Moreover, in the
Classical period, a broader range of dynamics was being explored as is evident in
Cherubini's works. Throughout the piece the dynamic markings include various
gradations of piano. Although subjective, deviations from these softer dynamics are
seen in the periodic crescendi and decrescendi.
The overall softer dynamics contribute to the feeling of a more sparse texture
even when all voices are actively engaged in the piece and are well-suited to the
text. An example of the use of pianissimo and its representation of the text can be
found at ms 39 through 44, beginning with the Choir 1 tenor part singing passus.
Literally translated, its meaning to suffer has a broader context referring to a
journey. This dynamic paired with this text emphasizes and adds to the dramatic
effect. The treatment continues through all Choir 1 voice parts and is punctuated
with 3 beats of rest before the Choir 2 tenor voice begins the next statement of
passus in the same manner. Similar treatment of the text, sepultus est {was buried)
can be seen in the final measures of the piece (ms 26-60), where all voices are
active. Following a crescendo and descrescendo in the soprano voice at ms 55 and
the final measure is marked ppp, emphasizing a mournful closing to the work. In
contrast to these softer dynamic ranges, there are crescendo markings in ms 25 of
choir 1 and in ms 31 leading to a forte in choir 2. These markings appear on the
same text, providing a dramatic contrast.
Articulation
There are some articulation markings that will provide the chorus with
learning opportunities to explore this facet of music and its notation. The Walton
edition provides dynamic markings and an opening on sotto voce, or half-voice.
Combined with the piano marking this produces an intense, hushed style of singing
that further contributes to the dramatic style of this piece. This provides a teaching
opportunity of distinguishing between singing piano on full voice and the intensity
of a soto voce.
Ms 40 through 49 is marked pocomarcato (somewhat accented) along with a
pianissimo, which provides another contrast. Borrowed from bowing techniques of
string instruments, this term means to begin each note with an attack, rather than
slurring or performing legato. Most of the piece should be sung legato, so this
section is contrasted to the remainder of the piece.

Figure 7: Cherubini Analysis
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Harmonic Material
Cherubini scores his Cruciflxus with 2 flats in the key signature, however, the
piece begins in E-flat Major—with an altered a-flat comporting with the normal
three flats in that key—and concludes in d minor with a raised 3rd and closing on a
D Major tonic. The A section of this piece travels harmonically through tonic-
dominant key areas. Following the first statement in E-flat Major, in ms 9 there is a
pivot to B-flat Major, the dominant to the previous key at ms 11 Choir 1 continues in
B-flat Major, but Choir 2's response moves to the dominant key of B-flat, F Major.
In the B section that begins at ms 21, there is a return to B-flat Major, then a
half-cadence (/ - V) at ms 26-27 in c minor, a key relationship of ii to B-flat Major.
The second half of the B section is transposed up a whole step from the previous
statement in Choir 1. Here, Choir 2 opens in C Major, the parallel key to the
previous, c minor key. Once again there is a half-cadence, this time in d minor (ii of C
Major] at ms 32-33.
In the C section, the d minor key continues in Choir 1 (ms 34-36), then moves
to g minor in Choir 2. The second half of C opens in A Major (ms 40-44), which then
serves as a dominant function to return to D Major in Choir 2 at ms 45-49. The final
segment, the D section, is in d minor but has an authentic cadence with a raised 3rd
in the tonic, bringing closure in the key of D Major.

135
Text of Crucifixus
The Crucifixus text is an extraction from the latter half of the Credo. The
Credo is the longest text of the Ordinary of the Mass. It is typically the third
movement following the Kyrie and Gloria movements. However, in this case, since it
is a single mass movement, it stands apart from these mass sections. Traditionally
sung during the Eucharistic liturgy, the Credo is a statement of belief modeled after
the Nicene creed, "approved by the Council of Nicea in 325" (Jeffers, 1988,53).
Translation
Latin text English translation
Crucifixus etiam pro nobis bus Crucified also for us under

Pontio Pilato, Pontius Pilate,
passus, et sepultus est. he suffered, and was buried.
(Jeffers 1988, 52).
Editions
Aside from Cherubini's collected works, unavailable for this study, the
Walton edition of his Crucifixus is the only one in print.

Romantic: Heilig
Felix Mendelssohn-Bartholdy
Felix Mendelssohn, a German composer, was born in Hamburg in 1809 and
died in Leipzig in 1847 ("Mendelssohn," Grove Music Online). A contemporary of
Immanuel Kant, his grandfather, Moses Mendelssohn, was a notable Jewish
philosopher of the German Enlightenment "who had argued for religious tolerance
and the assimilation of German Jewry into German culture" ("Mendelssohn," Grove
Music Online). The composer's father converted to Protestantism and following
Felix's baptism, his name was expanded to Jacob Ludwig Felix Mendelssohn-
Bartholdy.
His early music education, along with his sister, Fanny, commenced with
piano lessons when the family visited Paris. His talent and skill grew rapidly; he
was said to have been a child prodigy, prompting his mother, Lea, to secure
additional avenues of musical training. This included violin lessons with court
violinist C.W. Henning, organ lessons with A.W. Bach, and theory lessons with Carl
Friedrich Zelter, the director of the Singacademie Chorus. Additionally,
Mendelssohn had a successful audition with the Singacademie Chorus and began
singing alto with them at age 10.
His family, considered to be among the socially elite, hosted weekly parlor
recitals in their home for others to hear young Felix and sister Fanny play the piano.
137
These events also offered a venue for presentations of his compositions. By the time
he was a young man, Mendelssohn had written in several genre of the day, including
music for piano, a symphony, a singspiel, and three double concertos for piano and
violin.
Ama2ed from having heard Mendelssohn's piano quartets, Cherubini, then
director of the Paris Conservatoire, invited him to study music with him. In 1827, at
the encouragement of his mother, he enrolled at University of Berlin to study
subjects "so often lacking in musicians" ("Mendelssohn," Grove Music Online).
Mendelssohn's output was significant. Amongst them are works for the stage
and orchestra, chamber music; piano solos, piano duets, and works for two pianos;
and secular and sacred choral works: oratorios, psalms, motets, and anthems, choral
songs and cantatas; and concert arias and songs for solo voice.
Influenced by the music of Bach, Beethoven, Weber, and Mozart, his
compositional style "reflects a fundamental tension between Classicism and
Romanticism" ("Mendelssohn," Grove Music Online). Mendelssohn compositional
traits included unifying devises such as, use and development of thematic material,
tonal axes and symmetrical design, particularly found in his larger works. And, as
composers of the Romantic period expanded their harmonic language to
chromaticism, his use of diminished 7th and the augmented 6th are prominent
features of his works.
Three editions were available for reproducing in the appendix. The Walton
edition (edited by Gregg Smith) is published with a closed score. Editions published
138
on the Choral Public Domain Library are printed with an open score. Since reading
a choral score allows for better clarification of voice parts in an open score, two
editions available on CPDL were examined. Only one of these contained dynamic
markings, which were found to be consistent with other editions. Therefore, the
CPDL edition, edited by Rafael Ornes will be referred to in the following discussion
and may be referred to in the appendix.
Temporal Elements
In the CPDL edition, Mendelssohn's Heilig is scored in common time (4/4)
with a tempo marking of allegro tempo. A Walton publication edited by Gregg Smith
is set in "cut time" (2/2) with a tempo marking of con moto (with motion). There
are no metrical changes throughout the piece. For purposes; of this analysis,
rhythms will be referred to in 4/4. With the faster tempo marking, it would be
appropriate to conduct this piece in 2. To add clarity to the analysis, discussions will
refer to beat numbers within a 4/4 plan.
Harmonic Material
Mendelssohn's Heilig, scored in D Major, offers the opportunity to acquaint
students with temporary key changes. In this case, there is a tonicization to b minor
at the end of ms 17. The presence of the a-sharp leading tone is an indicator of the
tonal shift to b minor. It is first present in the choir 2, soprano voice at the end of
beat 4 in ms 17, again at ms 18 in the tenor voice (choir 2), and continues
throughout the phrase ending at ms 23. This phrase concludes with a sudden shift
139
to F-sharp Major, the dominant of b minor. Confirmation of the shift to F- sharp
Major is found first with the presence of the e-sharp leading tone in the choir 2 alto
voice at the second half of beat four in ms 22. This is the 3rd in the dominant
harmony leading to the tonic in the authentic cadence at ms. 22-23. The tonal
development continues through measure 38 where there is an authentic cadence
marking the return to D Major.
There is a return to D Major in the final section. These harmonic shifts,
although to related key areas, are devoid of pure modulations, and therefore present
a learning challenge. Advanced students usually are able to read key signatures.
But learning to identify tonicizations when there is no change in the key signature
requires that students learn what to look for in identifying these temporary changes.
Teaching about identification of tonicizations allows students not only to become
more sophisticated as a musician, but equips them with a better understanding of
how to read their part and how their voice part fits with the harmonic design.
Structural Elements
Texture
As is commonly found in Romanticism, the Heilig is full and dense. It
contains far more full-voiced, choral tuttis than were seen in the previous examples.
Its homophonic texture is devoid of any melismatic material In the opening
statements of the word, heilig, choir 2 at first sings an imitation that is an interval of
a 3rd lower than choir 1. At first, entrances are one measure apart from one
140
Structural Analysis of Heilig by Mendelssohn
Meter Common time (4/4) or Cut time (2/2)
Section A B Al
Sub-section a b a b c
Measures 1-8 9-15 16-23 24-30 31-38 38-48
Text Heilig Heilig ist Alle Ldnde Hosianna in Gelobtsei Hosianna in
God der sind seiner derHoh! der, da derHoh!
Herr Ehre vott. kommt; im
Zebaoth! Namen des
Herrn!
Harmonic D Major D Major Harmonic Development D Major
Material D Major, b D Major- e min, D
minor, F# V/IV, G Maj, Maj: V-I
Major: V-I BMaj, cadence at
cadence at ms 37-38
ms 22-23
Dynamic piano, forte forte, piano, forte forte,
Ranges crescendo decrescendo crescendo decres.,
piano,
cresc,
closes on
fortissitmo
Description Layered Full chordal Full chordal, Chorus 2 Chorus 2 similar to
entrances 4 texture, homophonic imitates imitates opening
beats apart, homophonic, texture, chorus 1 chorus 1, section,
each voice a tutti. some then tutti, imitative
3rd lower Ms 11, beat imitation at full chordal, entrances,
than the 1-2:9th 19-21. homophonic closes with
previous. chord texture. full chordal
tutti.
Figure 8: Mendelssohn Analysis
another alternately between choirs: ms 1-choir 1, soprano; ms 2-choir 2, soprano;
ms 3-choir 1, alto; ms 4-choir 2 alto, and so on. After all voices have entered,
adjustments lead all voice parts to sing a tutti starting in ms 8.
Form and Dynamics
The overall form of the Heilig is A-B-A1 with the closing section being similar
in nature to the opening A. A harmonic development makes up the B section.

141
At the opening of the piece, each section of the chorus enters in succession. A
natural increase in volume is created through the addition of voices. This coupled
with the written increase in dynamic levels leads to a full chordal forte at ms 9.
Textoftfe%
The Heilig text is taken from the Latin Sanctus from the Ordinary of the
Roman Catholic Mass. Its biblical references are Isaiah 6:3b and Matthew 21:9b.
Historically,
[t]he Sanctus or Trisagion ("Thrice Holy") is the culmination of the prayers of

thanksgiving...
The Trisagion is found in the Hebrew liturgy as early as the 2nd century, in
the Gallican rite.. and in the Roman rite by the 7th century; it is found almost
universally in every Christian rite, east or west (Jeffers 1988,55).
German text English translation
Heilig, heilig, heilig, Holy, holy, holy

ist Gott der Herr Zebaoth! Is God, the Lord of hosts!
Alle Lande sind seiner Ehre voll. All nations are full of his glory!
Hosianna in der Hoh! Hosanna in the highest!
Gelobt sei der, da kommt Blessed be he who comes

im Namen des Herrn! In the name of the Lord!
Hosianna in der Hoh! Hosanna in the highest!
(Jeffers 2000,194)
Editions
1. Collegium Music Publications (UK/USA): SATB/SATB, medium

difficulty, scored in 2/2, open score, John Rutter, ed.
142
2. Choral Public Domain Library (CPDL) edition: Raphael Ornes, ed.:

common time, open score, dynamic markings consistent with other editions,
source: Breitkopf & Hartel, ed. Julius Rietz/
3. Hal Leonard Corporation (US publisher): SATB/SATB, M. Kline, ed.
4. Hinshaw Music (US publisher): SATB/SATB, Ray Robinson, ed., cut

time, open score.
5. Peters, C.F. (German publisher): SATB/SATB, found in Kirchenmusik

Band H.
6. Walton Music (USA): SATB/SATB, Gregg Smith, ed., cut time, closed
score.

Contemporary: The Aim Was Song, Opus 410
Alan Hovhaness
Alan Vaness Chakmakjian was born in Sommerville, Massachusetts in 1911
to an Armenian father, Haroutioun Chakmakjian and a Scottish mother, Madeline.
He died in Seattle in 2000.
He studied composition with Frederick Converse at the New England

Conservatory and with Bohuslav Martinu at Tanglewood. From 1948 to
1951 he taught on the faculty of the Boston Conservatory, and in 1967 the
Seattle Symphony appointed him composer in residence (Wolverton, 1993,
29).
Commonly utilized resources reveal insufficient biographical and musical
investigation for so important a composer, but some aspects of his life still seep
through for those who admire his work. One finds on the Alan Hovhaness website
the following.
[T]here is little scholarly commentary on Hovhaness despite the wealth of

radical individuality in some phases of his six decades of creativity. This is
somewhat surprising given that during the 1940s and 50s he was firmly
entrenched within that maverick group of American composers (others
included Henry Cowell, John Cage and Lou Harrison) who spearheaded one of
the great shifts in twentieth century American music, namely that of looking
to non-Western cultures for creative renewal in art music. In particular,
Hovhaness also spearheaded quasi-aleatoric texture as early as the 1940s
(http://www.hovhaness.com/Hovhaness.html).
In 1942 he won a scholarship to study music at Tanglewood. However, when
his compositions were met with Aaron Copland's and Leonard Bernstein's
rejections, he destroyed over a thousand compositions. At the encouragement of his

spiritual advisor, Hovhaness returned to his Armenian roots. He was later awarded
a Fulbright Scholarship grant to study Karnatic music in India, which was highly
compatible with his interests in Asian music that would ultimately affect his
compositions. To further this interest, "[i]n 1962 he received a Rockefeller grant
and went back to Japan to study Gagaku, ancient Japanese music. He then went to
Korea and studied Ah-ak, the ancient orchestra and instruments of Korea"
(www.edition-peters.com).
Hovhaness is said to have had four style periods throughout his
compositional output, which in its sum/varies between Asian and Western, or is
sometimes a fusion of the two. Fellow composer Cage tells us "[h]is music sounds
Armenian, but this impression is due largely to our general unfamiliarity with
Oriental music" (1968-69,16). He rarely made use of motivic or thematic materials.
"He was a strict contrapuntalist, but his interest in ancient oriental music led him to
study in Armenia, India, Japan, and Korea" (www.edition-peters.com). He wrote
original Asian melodies and made use of modes and polymodality. John Cage distills
Hovhaness' compositional traits, which include use
of freely invented [Hindu] ragas [and]... change of raga altogether, with our
without a return to the original one The absence of harmony in
Hovhaness's music is Eastern. The fact that his compositions are notated and
may be played more than once is Western.
Hovhaness's practices with regard to rhythm suggest the Hindu tala, or
metrical plan. But he treats his freely invented talas in Occidental fashion
(1968-69,16).
Deeply centered in Eastern philosophy and spirituality, Hovhaness offered
this rationale behind his work.
My purpose is to create music, notfor snobs, butfor all people —music which is
beautiful and healing—to attempt what old Chinese painters called 'spirit
resonance in melody and sound' [italics in the orignal] (www.edition-
peters.com).
This recently discovered, unpublished, 20th Century double chorus work by
Alan Hovhaness will serve as one of the selected works to be analyzed. The Aim Was
Song, written on a poem by Robert Frost,34 was commissioned by the town of
Winchester, Massachusetts in 1988 for the town's 350th anniversary celebration.35
This work, specifically written for an advanced high school double chorus
performance, has never been introduced to the community of high school choral
directors. And importantly, it is unknown to the larger community of music
scholars, particularly those who have worked to catalogue Hovhaness' works.
The manuscript was found by the author of this present study; its discovery
was followed by an initial search to confirm its authenticity.36 Searches were
conducted on websites such as Musica International, Hovhaness' works list on
Grove Music Online, and various publisher websites. There is a link found on
www.alanhovhaness.com that leads to a catalogue of Hovhaness' works.37 Listed by
opus number, there was no record of the existence of Opus 410. Through
34
Robert Frost (1874-1963), American poet.
35
Copyright, 1988. Alan Hovhaness.
36
The Author of this dissertation is the former Director of Music of Winchester Public Schools and the
former choral director of Winchester High School.
37
Online Hovhaness catalogue: http://www.musicweb.uk.net/classrev/2000/feb00/hovanessworks.htm
discussions with the preceding Director of Music of Winchester Public Schools,
information came to light regarding the commissioning of this work and the events
surrounding it. Program materials and contractual documents were located and
may be viewed in the appendix. The authenticity of this work was further validated
through phone and email communications with Hinako Fujihara-Hovhaness, widow
of the composer, who currently resides in Seattle.
Fujihara-Hovhaness graciously consented to a reprinting of the score in the
appendix to be used strictly for reference and study purposes only. It may not be
reproduced in any manner for the purpose of performance. The score is an
autograph copy, written in Hovhaness' own hand.
Overview of The Aim Was Song
The Aim Was Song is unique from the other pieces represented in this study.
Distinctive elements of this double chorus work are found in the scoring and
instrumentation, text, and broad form, to be discussed below. It is scored for two
choruses accompanied by piano and two flutes. Voicing of the choruses in The Aim
Was Song is chorus 1 constituting soprano, alto, and baritone parts, and chorus 2
made up of soprano, alto, tenor, and bass parts. Since Hovhaness was commissioned
specifically to write for Winchester High School, it is presumed that he must have
been given information about the availability of voices for the performance of this
work, hence the limiting of choir 1 to a three-voiced texture.

147
The score also calls for a specific instrumentation of two flutes and piano.
Hovhaness indicates the option of having the piano part played by a harp. Unlike
earlier examples of polychoral music where a choir of voices may be substituted by
an instrumental group, the instruments in Hovhaness' score function to accompany
the chorus and are featured in the prelude and intermezzi sections of the work.
Text of The Aim Was Song
Early polychoral works were most often of the sacred motet genre. Although
not as plentiful, secular works have been written for double chorus. The Robert
Frost poem was selected for its literary value by the students and approved by then-
Director of Music, Lynne Rahmeier. The poem of The Aim Was Song was written in
1923 and is part of Robert Frost's larger Pulitzer-Prize winning collection, "New
Hampshire." The full text of the poem, cited according to its verse format, is as
follows:
Before man came to blow it right

The wind once blew itself untaught.
And did its loudest day and night
In any rough place where it caught
Man came to tell it what was wrong:

It hadn 'tfound the place to blow;
It blew too hard—the aim was song-
And listen—how it ought to go!
He took a little in his mouth,

And held it long enough for north
To be converted into south,
And then by measure blew it forth.
By measure. It was word and note,

148
The wind the wind had meant to be—

A little through the lips and throat.
The aim was song—the wind could see.
(Lathem on Robert Frost 1969, 223-224)
Structural Elements
A unique feature of this double chorus work is the division and use of its
large sections. This could possibly be classified as a multi-movement work, but
some of the sections or movements may be too brief or incomplete if performed
outside the context of the larger work. There are eight sections alternating between
the instrumental ensemble and the chorus segments. Each of the four choral
segments is devoted to a verse of the Frost poem.

Section I II III IV V VI VII VIII
Number:
Section Prelude "Before Inter- "Man Inter- "He Inter- "By
Title: Man mezzo Came to mezzo Took a mezzo Measure.
Came" Tell" Little" It was
Word
and
Note"
Perform- Flute I & Chorus I Flute I & Chorus I Flute I Chorus I Flute I & Chorus I
ing II, Piano & II with II, Piano & II with and & II with II, Piano & II with
Forces: Piano Flute I & Piano Piano Piano
Piano
Time 6 3 7 3 3 3 3 3 3
Sign.: 4 4 8 4 4 4 4 4 4
Key g natural G Dorian g natural G Mixo- B-flat D Dorian G G Dorian
minor minor lydian Maj.; Mixo- -g
(aeolian g natural lydian minor
mode) minor
(aeolian
mode)
Tempo: Moderate Moderate) Presto Moderato Andante Moderato Moderato Moderato
Con
Fuoco
Dynamics mp mf,ff mp f pp,mp
Figure 9: Hovhaness Analysis
Unlike the previously discussed works, the Hovhaness piece contains no
points of imitation; rather, segmentation of the text with each choral section follows
a similar pattern. Choir 1 will sing for several measures on the first part of the
verse, then choir 2 enters singing the next part of the text, then choir 1 joins choir 2
for a full tutti at the close of the verse or section.
Temporal Elements
Of the time signatures indicated on the diagram above, the chorus parts are
scored in 3/4 throughout most of the work, with exception to a single measure in
the second section, "Before Man Came." While it may seem insignificant to have
only one additional eighth note in one measure, it also provides a learning
opportunity to investigate the idea of meter containing a different and sometimes
odd number of beats or partial beats. Up to the 20 th century, Western music more
frequently operated on a steady pattern of quarter and eight notes in duple or triple
rhythms. With the influence of Asia and Africa, composers began to think in
different measure lengths and meters. In traditional Asian Indian music, for
example, the tala might contain ten beats divided into portions of 3 - 2 - 3 - 2, over
which improvisation was created. Hovhaness was well acquainted with these
rhythmic and metric procedures.
As to The Aim Was Song, it will be important for students to learn the steady
eighth note in transitions between 3/4 and 7/8. Not illustrated in the diagram is
one 5/8 measure found in ms 6 in the accompaniment of section IV, which the
chorus would need to count in order to be aware of the timing of their entrance.
Students can more easily grasp a meter change such as this within the context of
singing these phrases.
Thematic Material
Contrasting rhythmic material can be seen in the first presentation of the
choruses when Hovhaness depicts the wind. In section II, "Before Man Came," the
thematic material, introduced on the word, "blow," contains stepwise running
eighth notes as if to imitate the swirling patterns of blowing wind. In contrast, choir
2's first entrance occurs at ms 33 and contains a less active pattern of half and
quarter notes. At the end of this movement when the two choirs sing together, choir
2 sustains "night" and "caught" while choir 1, in contrast, re-enters on the moving
eighth note patterns, again on "blow."
The running eighth note material introduced in section II becomes a unifying
theme, appearing throughout each choral section. For example, in section IV, a
snippet of the theme appears in the soprano and alto voices starting at ms 9, then
the full running eighth note patterns appear starting in the choir 1, baritone part at
ms 14. And, similar to the first section, the choruses climax in a tutti, this time with
all voices except Choir 2 soprano singing on the eighth note theme. In the final
section [XIII) starting at ms 60, the final choral tutti once again makes use of this
running eighth note theme in all the Choir 2 voices and some in the Choir 2 bass
part, while the Choir 1 sopranos and altos provide the contrasted sustained
rhythms.
Dynamics and Articulations
Interestingly, Hovhaness specifies only one dynamic indication for the
chorus: a/orte to be sung in the sixth segment of the work. All instrumental
sections are marked sparsely with dynamics. It is not known what Hovhaness'
intentions were with the remaining choral sections. Perhaps he intended the chorus
to continue the dynamics marked in the preceding prelude or an intermezzo. Or it
may be assumed that he was allowing the conductor the liberty of making these
musical decisions.
Additionally, there are few expressive or articulation markings. Throughout
the work, Hovhaness indicates several legato and slur markings that contribute to
the effect of swirling winds. There are several places where the piano or harp is to
arpeggiate a full chord. In section V, the interezzo is marked expressivo, but no other
indications of style or expressiveness exist elsewhere in the score.
Elements of Pitch
Harmonic Material
The harmonic scheme of The Aim is Song is modal as is true of much of his
work. Hovhaness expands several uses of the key of G. Scored with two flats, the
instrumental prelude is ing natural minor (aeolian mode), as is expressed with the
lack of a raised seventh scale degree. Section II, "Before Man Came" is in G Dorian.
While still scored with two flats, it contains e-naturals throughout. The similarity
152
between g natural minor and G Dorian has the potential of presenting a challenge for
the singers, particularly since following the prelude, the e-flat appears.
The instrumental intermezzo returns to the g natural minor key, followed by
the choral section, "Man Came to Tell." This section is scored with no flats or sharps
in the key signature. There are no accidentals and this section is still centered in G,
thus evidencing another modal key: G Mixolydian. The next intermezzo (section V)
opens in B-flat Major, and closes in its relative g natural minor key.
In "He took a Little," the chorus presents a tonicization away from the G tonal
center with harmonic material in D Dorian. This serves as a dominant function
within the broader scope and leads to G Mixolydian starting in the final intermezzo
(Section VII). The concluding section of the work ("By Measure, It was Word and
Note") presents a summary of the G tonal center with opening material in G Dorian
and closing in g natural minor.
The Hovhaness work presents a wonderful opportunity for the students to
become acquainted with modal writing. The predominant modes used in so much
music are limited to major and minor. Only occasionally are pieces composed in
these other modes, altered forms of the minor, Dorian, Mixolydian, Phrygian, and
Locrian. Although the West misunderstood the Greek modes, there was a
recognition by the 4th century by the theorists, that of alternate scalar writing, and
the Roman church established what we now know as the church modes. In addition
to the historical significance of this information that will enliven the classroom,
these modes offer the student the opportunity to practice singing within an octave
153
scale of eight tones with whole and half steps placed in different locations to form
alternate modes.38 Such practice and development of the aural sense in hearing and
producing can only increase the level of musicianship and add to the effectiveness of
the students' capability to perform at higher levels.
The octave scale of eight tones traditionally has 5 whole tones and two halftones. When the halftones
are placed in different locations, the scale is distinctively different and comprise these different modes.
154
The Rehearsal and Performance of Double Chorus Works
In addition to learning the rich history of polychoral music, this genre
presents unique challenges. One such challenge is in how to rehearse the separate,
yet interdependent choruses. It would be advantageous to have one ensemble that
could be divided to make up each chorus of the polychoral work. In an optimum
situation, the advanced chorus will have enough vocal strength in each section to
support this approach. If rehearsing both choruses during the same block of time,
the director may have all students learn voice parts of both choruses, thus allowing
flexibility in assigning them to a chorus after all the parts have been learned.
Delaying assignment to a chorus also permits the conductor to try different
configurations and decide which voices might be better suited for a specific chorus.
Another approach may be to divide the time in some way so that choruses
may be rehearsed alternately within the time allotted. While the conductor is
rehearsing one chorus, the opposite chorus may possibly rehearse under the
leadership of someone with strong musical skills, such as an advance student,
student teacher, or accompanist.
Once both choruses have learned their parts, the conductor then has the
flexibility and opportunity to work on artistic aspects of the music with combined
choruses. Initially the issue is in leading students to understand and be able to
perform with both choruses combined.

The procedures lie in the director s imagination. For example, in the initial
combined rehearsal of Jauchzet dem Herren, all of choir 1 voices enter on measure 1,
beat 1 and choir 2 voices enter on beat 1 of ms 2 (three beats after choir 1, in 3/4).
First, the students could sing the opening phrases together as a demonstration of
the likeness of their parts. A next logical step would be for Choir 2 to softly count
the beats of rest prior to their entrance, then give the identical repetition that they
would have heard in choir 1. By breaking the rehearsal down to logical, sequential
steps, students would more fully grasp the antiphonal concepts of double chorus
music.
Composition of the two vocal choruses may be configured in a number of
ways. In some situations, if the advanced high school chorus does not have enough
members or strength within each voice part to effectively perform a double chorus
work, another chorus could be engaged. The advanced high school chorus may be
combined with another choral ensemble either from the same choral department or
through some sort of collaboration with another choral organization.
While the focus of this research is centered upon the use of two vocal choirs
singing a cappella, pairing with other sonorities is worth mentioning. Early
polychoral music was written with the flexibility of assigning a chorus to either a
chamber ensemble or even an instrumental group. This would make possible the
following pairings: (1) instruments doubling the choral parts; (2) two organs
doubling the two choruses; and, (3) allowing one of the vocal choirs to be
substituted with a choir of instruments (i.e. a strings or brass ensemble), requiring

that the full text be in the non-instrumental choir (Barnicle 1979,45-46); or (4)
using a quartet of voices doubled by appropriate instruments is also an option.

This type of optional scoring, which was the distinct intent of so many
Renaissance and early Baroque composers, provides the flexibility that
makes this music accessible to most choral programs (Barnicle 1979,45-46).
Inviting a chorus from a different school or organization into a collaborative
performance experience is an option that can provide additional appeal. Possible
collaborations might include performance with an advanced high school chorus
from another school, an area collegiate choir, a community chorus, or a church
chorus with sufficiently advanced skills. As Barnicle recommends,
[a] polychoral exchange is probably the most exciting potential use of this
music for school groups. The possibilities include combining a high school
mixed, choir with one... choirs within a community as well as traditional
interscholastic exchange concerts (Barnicle 1979,46).
If planning to utilize instruments, whether in supporting the chorus parts, or
as a choir of instruments, the question of using early instruments is typically of
concern to professional ensembles. If for some reason, early instruments are
available to the high school conductor, this would be preferable. Modern
instruments are known to have greater volume and less ability to blend, thus
creating the potential for overpowering the chorus. So, care and attention are
needed to select only a few instruments and to work on instrumental and choral
balance and blend issues (Edwards 1983).
The performance of double chorus works with an advanced high school
chorus will require a satisfactory performance venue. Objectives in providing a

quality performance experience should allow for assimilating an authentic
experience as closely as possible in an excellent acoustical environment.
Additionally, the venue would need to adequately accommodate the performance
spaces needed to place choruses in opposing positions. Many churches and some
performance halls have both an area at the front, where one choir may be placed,
and a balcony at the back of the hall for the second choir. Barnicle suggests placing
four choirs around the perimeters of the performance hall: "choirs can be combined
in any number of ways. In a double chorus, choirs A and B can be answered by C
and D . . . " (Barnicle 1979,46).
Conducting and musical communication is a challenge due to the spatial
separation of the ensembles. In a review of a polychoral recording that took place at
St. Mark's in Venice, "[s]ome of the choruses were separated by 60 feet or more"
(Audiophile Audition).39 The sound being produced from one location is delayed as
it travels through a large, live acoustical space. This presents a challenge for both
the conductor and the performers and necessitates adjustments in conducting. In
anticipating this sound delay, the conductor would need to teach the chorus to listen
acutely to one another and would need to conduct slightly ahead of the beat in
cueing the entering chorus. Ample rehearsal time within the performance space
would be needed in order to adjust responding, listening, and singing to the
39
The review was of Sony's recent remastering and re-release of a 1967 Columbia recording of "The Glory
of Gabrieli: Music for Multiple Choirs, Brass and Organ."
158
acoustical environment. This will allow the conductor and ensemble to adjust to the
time delay and to solidify a unified tempo and vertical rhythm and beat alignment.
159
Summary and Conclusions
The research produced in this dissertation should become the basis for
extended and deep exploration of all musical and cultural factors. Although one has
to be careful of how the religious element is presented in a public school chorus,
there is no reason for the student not to learn the context that is so important to
music's meaning. All cultures, for example, adhere to some kind of cyclic
recognition that permeates their lives, whether the seasons, church or school
calendars, employment patterns, or life and death issues within a family or
community, all contribute to an awareness of life's joys and challenges. How the
music is structures is important, but why may bring about a higher level of
consciousness that is the foundation of learning. The mere learning of notes and
rhythms is less effective than the context, musical and cultural, that contains
sufficient meaning to keep a young person involved in the process has to be the
primary reason for an educational endeavor.

CHAPTER 7
SUMMARY AND CONCLUSIONS
The purpose of this research was to investigate the use of selected double
chorus works suitable for the advanced high school chorus. To propel this function,
a context for the learning environment was discussed, emphasizing a process-
orientation that produces a positive learning environment. Emphasizing meaningful
learning experiences results, as Elliott suggested, in "self-growth, self-knowledge,
flow, and self-esteem" (1995,133). Learning musicianship skills and developing
artistry through repertoire places the performance component as an important
expression of the learning process.
A discussion on setting a standard for an advanced high school chorus
provided insight into selection of repertoire. Repertoire that is appropriate for the
advanced chorus suits their abilities, provides for a quality education, challenges
them to grow as musicians, and provides an aesthetically pleasing performance
experience.
A historical overview provided a context for why this genre is significant.
This advanced a rationale for why double chorus works should be counted as an
integral part of the high school choral curriculum.
The selected double chorus works were analyzed for their suitability for use
in the choral curriculum. The five works are representative, but not exclusively so.
161
There are many others that could have been chosen. Nevertheless, these five reflect
the abundance that is available and with an interested choral director, the field is
open to exploration, which this author considers to be ripe for study.
Double chorus works display a unique quality because the music emanates
from two different sources, thus magnifying the sonic qualities of this genre of music
that is challenging for the performer and more interesting for the audience.
Communication between these groups and the conductor, the relationship between
two interdependent choruses, provides an added challenge from which students can
develop as musicians.
RECOMMENDATIONS FOR FUTURE STUDIES
There is a need for future studies on specifically how repertoire relates to the
broader scope of a choral curriculum. More publications are needed to guide
especially the newly prepared conductor, as well as those more experienced, in
selecting repertoire appropriate to their performers and how to rehearse a variety
of works. For example, GIA Publications has published two volumes, Teaching Music
Through Performance in Choir (Vol. 1,2000; Vol. 2, 2007]. The purpose of these
volumes is to "be used as a reference or guide for the selection and teaching of
repertoire and also to investigate topics of interest..." [Buchanan 2007, xix).
Opening chapters are dedicated to topics interesting to conductors, such as
"Preparing the Chorus for Performance with Orchestral Accompaniment" (Vol. 2,
Chapter 3, Anne Howard Jones), and "Does it Dance? Stylistic Awareness from
162
Polyphony to the Classical Period" (Vol. 1, Chapter 2, Weston Noble). Subsequent
chapters are dedicated to information on each work and presented in the
"Repertoire Resource Guide" section. This model could be expanded to include
choral works outside the Western canon and those of an improvisatory nature.
Choral curriculum design is another area that requires attention. Reflecting
upon Hylton's adaptation of Contemporary Musicianship (Comprehensive Choral
Music Education), how do teachers of high school design a curriculum that fosters
learning in a manner that builds a student's musical understandings through
repertoire sequentially over the course of a few years? Related to this, what role
does performance play in the choral curriculum? And, what attitudes do high school
conductors have toward the role of performance and consequently, the number of
performances per year? These kinds of studies could be done across a variety of
methodologies, for example, descriptive, experimental, historical, and qualitative.
The process of writing this dissertation has fueled interest in other aspects of
polychoral music. For one, it would be helpful to the profession to survey select
high school choral directors in those states and regions that hold choral festivals (i.e.
All State Choir), to learn more about their programming history. This author has
prepared students for Texas regional and the All-State choir in which, although rare,
a double chorus motet was programmed. Are polychoral works being utilized with
the 21st Century high school chorus? Such a study would seek to learn if the rich
history of polychoral music is being passed to the next generation of choral
musicians through their university preparation.

In addition to performing works of historical interest, anything before the
21 s t century, the profession needs to know more about contemporary works in this
genre. What works would be suitable for the advanced high school chorus? In
addition to the Hovhaness piece, The Aim Was Song, 20th and 21st Century
composers have been writing both sacred and secular polychoral music. For
example, Randall Thompson wrote a number of double chorus pieces, as can be seen
in portions of The Peaceable Kingdom {Have Ye Not Known? and Ye Shall Have a
Song).
Most choral teachers are involved in their craft to the exclusion of writing
about their teaching, how they establish choral programs, and how their students
achieve high levels of performance. It is recommended that time devoted to this
aspect of their professional lives be implemented on a variety of issues: 1) how to
approach the teaching of choral music, specifically double choruses; 2) how is
teaching double chorus works different from a standard work of SATB music; 3)
what special needs do the students have in relation to double chorus works; 4) what
special problems are attendant to the performance of double chorus works?. Other
questions arise that can be answered by the practicing choral director: How have
conductors dealt with accompanying instrumentation to double chorus works in
terms of rehearsal, instrumental-choral balances, venue selection and their spatial
problems, and the problems of exploring this literature within a single or multiple
choruses?
Alan Hovhaness' output was enormous, much of which is for the choral
medium. Of interest here would be a survey of his choral works, in particular any
written for two vocal groups that may be well suited for the school ensemble. For
example, his Magnificat, Opus 147, scored for SATB chorus and soli SATB, is
reported to have been performed by a high school chorus.
Experimental research is not out of the question. For example, St. Mark's in
Venice was examined for its acoustical properties appropriate to the 16th century
literature that was developed there. Presumably, the voices utilized for the study
were of adult age level. One can conjecture that acoustic studies can be made both
on venues and the younger voices that occupy them. Are there differences between
the adolescent voice and the adult voice? As a result of data obtained, are their
special problems that confront the choral director in this instance?
Musicological research of the earlier music periods is profuse and well
developed. What is presently needed is modern performance editions with
sufficient information for the choral director. While it is possible for the choral
director to be engaged in both sides of the academic coin, as has been recommended
in the course of the foregoing discussions, he or she can be helped in the task of
obtaining authentic editions with accompanying explanations on performance
values in tempos, modalities, musicaficta, and related factors. In other words,
collaboration between two sides of the musical spectrum can unite to aid young
students to advance their understandings and musicianship skills.

It was the aim of this study to search for avenues of improving the overall
quality of choral music learning and performing processes, particularly in the realm
of double chorus literature. Expanding the curriculum, creating meaningful
experiences through the curriculum, and providing a better understanding of the
polychoral genre offers a means of accomplishing these objectives.

166
APPENDIX A
REFERENCE SCORES FOR ANALYSES

Renaissance
Hodie Christus natus est a 8
by Giovanni Gabrielli, Michael Gibson, ed.
(Choral Public Domain Library edition)
CPDL Editions may be freely distributed, duplicated, performed, or

Hodie Chrlstus natus est (a8)
Ctmnimw motet Sot t mim. m tiro, stpcwt thmn (Um Opemii}
Giovanni Gabrieli ^1335 - 16125
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Baroque
Jauchzet dem Herren, (Psalm 100, SWV 36)
by Heinrich Schutz, Wilbert Berendsen, ed.
CPDL Editions may be freely distributed, duplicated, performed, or recorded.

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Cruciflxus by Luigi Cherubini
ed. Karl-Heinz Schnee
Published by Walton Music Corp., 1978
Walton Music has granted permission to reproduce their 1978 edition of
Cruciflxus for the non-profit, research purpose of this dissertation.

CRUCIFIXUS
(CRUCIFIED)
Double Chorus (SATB/'SATB)
with Optional Keyboard
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207
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208
Contemporary
The Aim Was Song
by Alan Hovhaness
unpublished work commissioned by the

Town of Winchester, Massachusetts
Copyright 1987 by Fujihara-Hovhaness Music Company, Inc.
Hinako Fujihara-Hovhaness has graciously granted permission to reprint the
full score of The Aim Was Song. Per the limitations of Fujihara-Hovhaness Music Co.,
Inc.: this score may be reprinted by permission for research reference only. Under
no circumstances may any portion of the following score be reproduced or
reprinted in any manner for the purposes of performance, publishing, or editing. No
reproduction fees will be charged to the author of this dissertation or ProQuest UMI
Dissertation Publishing.
209
Tm MM WAS
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CN&ms JZ Soft*** A*.n>, Tifton JMS
Twe FLvTBf
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35 Jf re* Mezzo
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C^fytUm Q 11*7, By AlA* HwHAmSS

&xm* *•**

The Aim Was Song may bereprintedby permission for research reference only.
Under no circumstances may any portion of this score be reproduced or reprinted
in any manner for the purposes of performance, publishing, or editing.
c«^«r#«.f <g) *nS7, BfMjk'f* //•*M«m
The Aim Was Song may be reprinted by permission for research reference only.
*v$re
ffow>
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MeWKATa
SfSSSP?

Under no circumstances may any portion of mis score be reproduced or reprinted
213

214
M**mm &m*

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HDL. - I*mA»c*jr#
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The Aim Was Sang may be reprinted by permission for research reference only.
222

The Aim Was Song may bereprintedby permission for research reference only.
IS,
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Under no circumstances may any portion of mis score be reproduced or reprinted
225
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II
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228
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231
APPENDIX B
WINCHESTER-HOVHANESS CONTRACT
COMMISSIONING OF THE AIM WAS SONG

TOWN OF WfNCHeSTCR
(Jv*.->..e: 1 , *..»«
ift?M S t t t Avenue i k u * :
M e a s e Jnrcj-ve s y C e l j y i s •»rK„.vj t-j l e i l j v ) ^v. ur, tft* . r : u - i

j«VMC«a O ne n« **># rsvjss*" ts^res s t t ^ « a^rfWE-rf, yo^ *,>>'* ^^ t
i«MiCb*<i. 4f«S J * B w r i t i n g on b « s « : £ »{ t a * c0aAu.ce.cmn9 trtXSy* tii«*
KiAcft#»ter ftrts iAstEeiy Cour.uslr t-u c c n f i t m tarn., II ttt» r o » l o » -
sns cavits^d t c s $ s s s e «ot c o n s i s t ^ * ^ u f ' yoyr yê-s^tssrs^-Kf* o*
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t w l u i l l *•» Cifte n j l . u a l l y aflr*<»*£»ii» 1.5 yoy Srt€ Mrs. t y n n e
CQsa.t!isi£.-5!i:'!> y a s t y till p l a y r e £'î« i s tfis s e i e c t t c r . c^ thi>
Kf. AJan SiwiiMBSs
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a c t i o * !<>r t h » C&Mslsaianing P a r t y , « t fc'irwberetaf High S«t»OoJ r 88
s m l u n g s » » a , wincfc*&lei, K&s*»cmi»eU& C*.8» c o t J a t p r t h a n
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t o JM«fr. c u p i « j t i i e j e o ! a s r ^ c r s s a r y f a r s h e t*r.ea?tonl a n a
p « f f s m a r t e r $£ t r e w s r » ,
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<?? *¥>«. w<>*fc duj?in9 :"&3£, snclMHrt^ h-?*.'w% l i m i t e d
fey tt-.e ps«B(i«c*? peytWctsun i n Wistchestes by t&**
b) i*f.cZasivm tivrtt t o ptprjotn t h e Wsr< f s i e n o y u a :

foliewlns i ' . t rt«>;iM*iy, t r -JI t i l »!S(.j»tv iii .*f^-
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H-.tiSiC^l yfeiips i f 3s3c£ perlerisâfic* *s approve** tiy
Su&f<£ « t S e i e c t n e a ,
H o n s ot* t R r x c c t e » a r d . ' o r r e c o r c j o f , srrt i n pr<Kjr.•<«.«.•

234
Mr . Alan ffuvKanRftfr
Octobex i r W
t i e a , s&&£l be «ceoe£«d t o t h e Co&Kift4&er.itt9 J*arty»
*s) t%8 s i g h t t o c e ^ a i n snd r e p r e € a c e # for v$* only *<"
t ^ c ^ r d i r g s t.nff::ta:£> ^ K * : ; I s u s h t : w as s&se s n s ; -
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fnrma*K'-*!& lis*-*** abiav* s*« i e r a !-,&*«#««; e s M a (SO*}**--
v i s i o n o r l u c ^ l r«<Sio e t a t l o n a t o e t « e ea j^ytnent e£
ttti^ftefttar f s R s d e s t s 4ftfl «ny o t ^ a r s wfto s i g h t tfius*
n e a r »4n*.
^ ) tt,» t:qft i ^ pafei,£ii2.** ""io* .~-^~i*-tar? =$ra f r;** p*?*
£&%•&*$&%$$• prritxttedt fterriHwter* *r*,tft a p p f c p r i a r . c
Ccmposies or anyor.B cepEftSentimj yua, en t a e *msr hand, *m$ th«

t h i s A^ro^fMnt w»y «OE b» As^sgniHS by <#-ii'h<&? p * r t y h e r e t o v * u o u l
fchw o t h e r ' s corassot* aswS i t u i l l be i*tfc(prpr«tta«i i s aeôr *!•»*'&«# wsrh
1 0 , Tfte fctfrme <*C t h l * *w?i***wit ««y fee 4r»«r>tS&£ only xr.
*£«r !c*s?5* forvfsrd t o Thss vfi--/ ^H*l~? urni**'Mfe ^ a rm£ f ^ ^ r ;>>•** i ;*

mj*k w i t h y*>j i.-t tr*!-STy ^ u ^ ' t i i ^ *«y.
Two cc©ic« a£ thift 2£"£.e£ *qcjM3MM}t: sri* «:£;ciasi®4<. I t you
-, fi fh* ^J^cg 1 p r o v i d e d tmicw AffS r***jrr r«% -arq^crt c^pv t o t.yf,n# J -
.âi-^ne£oc, Hir.ctt«fftt«fr Ki^h School«. 60 Sk3.ilir.9s P.<tiao„ ~ainc?i#s,\6n >
I t £ 1 &;rii:s.£®£ 1 or- o r chan^*5 .i*ed be £x&c\i%&&&+ j i U a ^ ^-^'J

Krt* l u ^ e . v r or e« &l t h e loilowijs^ i:kfl>i?t«r
t^yrRi» J . na?m#l^r ( < i ' f | ^'^f^^^s^ lf*K<*»vi
<6*7) ?42-S;QO ty«rkS

235
ft***; you imain Ida? ye^r court **:**.
David S. Kartaafisn
1 Kavts sij&d t h * t&t&ji&lftty l * t t « £ &«?rtf*es^£ill &s*ij h e r e b y acewpt

fit«fjS agf^« t o i t s . tersir*.
Alan 'K-avS'sjtns-s " " - —

236
APPENDIX C
WINCHESTER CONCERT PROGRAM
PREMIERE PERFORMANCE OF THE AIM WAS SONG

237
WINCHFSTFR
350jfi
( W ^ * ^
238
The Department of Music

of the
Winchester Public Schools
presents
THE FESTIVAL CONCERT
in
Celebration of the Arts
and the
350th Birthday of Waterfieid-Winchester
June 3, 1988
Winchester High School Auditorium
Director oi Music. Lynrte Rahmeier

Superintendent of Schools, Dr. Grtaries Mitsakos
239
I D * Mm Was Sane'
ftota»«F«»M
IMOIM man cam* to wwr it rigjW
Ira wind gnea bkm AM* unteurjht,
.»r.J Ok) us kXKKttt &•)• and ntgtn
In any rough ptaoa whan 9 caught.
Man cam* to w* * what we* wrong:

« hadnltound lh» ptaeo 10 Wow,
it btew too hard -- tha aim was song,
a^d tistan - now « ougr* 10 90I
Ha ttnk a lo!» In his mouth.

said ria« H long ennugn Apr north
ID bacorwarsad Into south.
.iriel men tw measure bl*w i fonh.
By mvasure. M was word and ncrtB.

lha wind the wind had niaartf to b» --
a tttia trough itt» tips, and thftpat
tft* a*n was «on^ — tt» wind routd s#*
* I hss is trio pmms'o 0! "Trie Aim Was Song', commissioned iff th»
Winchester Arts Council at honor o) Wa-efo'slw'e 350th, and
composed by Atan Hotrhaness.
Tonight's soloist, Eric f ieteki>. Is a 1994 graduva at WMS.and a

r ae*nt Piano P«rto«marx3t graduate from tna Otsarjin Conservatory
ot Mjslc. WhSa Wng in Wtnrtayar, ha studUsd p>ano wtth his
mother. Catof FmSeka. and A Hamcn Rtawa Ha tacawad the
PadarawsM Mattel Horn tha NaNonal Cudd of f'tano laachere. and
mas awarded ihatr Marvin Kshft Scholars**, 8rw»g oslwr swards
rJwMB r»s Mgn school yaara. MuSa Mixtfine «< CburSn wssh Pater
Tafcaca. n» won saoana ptaca in the coHatpMa division to the
ComtrxKwraaWi ConvaMlun fe» Vwrss Wanisis, arte, in iBBf, w»h
uojil'.w unset at OtiwSsi war S» jt ^kttM in she 8bStf*tri-8otf»!9»i
cctrtpali&tn *>» (Sus-pSanffiS?.
The Festival Concert
"Happy Orthday"
WHS Heralding Trumpeters
John Douce!, Eltot Foloy, Pftoeb* Goodwtn
Keith Uwiwrd. Erie Mortaroan, Marc Schwtttsra
Directed by Priscilto Miller
Sonata id B-flat major, o. 960 Franz Schubert

Mrt, I molto mtxteiato
M»l, IV aSegio ma non trappg
Plantst: Ericfteleke
The /Urn Was Song Alan Hovhaness

Lyrics by Robert Frost
WHS Chorus and Aduft Festival Chorus
Pianists: Jessica Clayton and JuHe Kerorson
Ftutfete: Weti Wen Chen and Phoebe Goodwin
Directed by Lynn© Rahmeief
Stars and Stripes Forever John Philip Sousa

WHS Concert Band
Directed by Pit&Oita Mider
America, the Beauiifuf Samuel A. Ward

arr. by John Kinyon
WHS, SlcCaii Choruses, Orchestras, Bands
Directed by L«*y Hunter, David KontoS, Mary
Alice fArCarw. PrisdSa MiSer, Nancy Petersm
Lynne Ranmelor
A reception In honor of the imtvtcZmn* dlf*c«jp (ol»ow» tn ltw
c&letert*. The Art Show win icmnin opentfntJSttr3Gpm_
Tfce MCIKIC Dtt>*H(nM!rt W4wld Uk* to ffcanfe tht

f»M*>w!*g TAT t**#J* VWpfW-Ttl
M»h«.w>> R«xfcy Lfttflr. Uv hum nf plnntx
Jaa»i Muttroc And Use calcic* id St alt
ilcra*&v%gttuiHpeiw*:M m Droctt, E I K * Fafccy,, ?%»**» Oc**3wbt.
&«Htf* LeanatYiJ, Enc Monenxn, M « S&lswnsrs; (kncws Or
thr. Cork Nittah A stt#jea* mw»ct«m ?«»» &£ W « Coetm MttSh.

&jtex>J. few {*£*? «)Bje white fte A i t S h « w mm open:
Q i a x h t t h C!stvltcfc, Megan I fcrtihy r DavneUe Nafcawwrti • * Vbavi Y i i *
B i r * t x i h C^vtidh, O t f h j Kfwnc, K i m 59mJbnMl» Ftwte Trw»
Hen Com-.tcy, M a * » y * Dafcufca. Anya Schoct*:$s& - RcKOrtier T r i *
C')cW>ic Kwririett, Mary O t f t c i w r Sejjnt* - R « w D » n
rSA fasadrnt £.{/ Woffmn sari n u n f c a l ' l g c c i Stisjst? flxstal! far
C 5 A m o w V w P w s fejvfiy ?SHJ M * j y gHwa Lywd*. py&K&y

C S A rremfa^ Otrry 5nrfifei>w»c7 fsr iwEjs&iJ-jftjt tlw. f«.*?pU<f«
Arrrtsrww: principal, Ckmrgc Rjrom, pg-srt&vpal U«|saw, for 5|W5ti*i»*fi
MeCaJl pnncfpat, Gvaaiier HrsrtSi
M C W . T Y O F T H K A m WWAKTMJPfT*
ART HOMK £CONOMICS
Pswirf Atxton Mwry FnwfcHn
liwissra i&fcS Many Ann 1 .****<«*
Mjocume Mucrifp J WW M*traa*cy
SOptot Moor fixmel & Nelssn. CoosdinauM
M«T?OH
IJN*^ t$*w$tar
INWISTOIAL ARTS xhmn#mm
K<»in x«ie timet fmmm

1*3*id HiHvj. t.^nwiwrflr l*we-t)iiiiKter.Oli«eiwr
242
Matt Bdwiltft Stacey Smtlh

Lisa CarlWM Stephanie Smith
Michael Chen Slscy Smith
JcssiCS Ctaymn Aaron Slevrrts
Seamier Clement
!,ydsa Cvepct
JcnnHtf Davis SaariBc
Desnna D c i i j Cioppa
Amy Oene Linda Ourfe*
Cirickcn Eveihwt Joan KUtg5bo>y
Ptmebc OWMJ'W tn Jtaft MOHCRSI!!!
iîij Hasting* Kathy Mortensen
Miorveii H u r l r y Ssiiati N*vicf)
Michelle Johrsjoe Carol W e n
Julie Kc-D«i»rin
Kalhy Xingsbuty iJM
A-.lam Laats
Margaret Ixe Judy Blaine
Kirn Levins Nancy Biuestem
Christina MAitaio Ciare K«*r'"
Hun MalsHi Karen F. Lauieiwastrf
Courwnay M c M i l l a n Marilyn M c M i l l a n
fUsie Mssetvt CnnMmce Ro§*nhe;ig«t
Laurie Js»« M i n m i i Ma-'ilyn While
fUic M o f T t i m a
t-»uicn Muftsy
"i'tuiy Pacwmt
tSBM.
Debbie P»/$i>n»
Michael B d n k r
Sabiina Patrick;
Sieve G»uverm4n
Laurie P e d u m
Bruce L * u i e r w , « « i
Tisn Rahtneicr
Peter KMCiibcff.cf. M . D .
K i m Kosenhcrgt'r
(tobert White
Sclb R«seBbcrRCf
Robert Sact
Kelly Scon
April Shaw
243
lircgury Mi«.S>tniKj!i
John Dwffy Mefista Mackenzie
Martin Ituchcocfc M u h a j l MaeKerwic
Richard Kmgslwry, MU>. ftiandttn MacNcil
!>jvtd Muficntcn Maureen Magwre
Psul Rahmeiet itowsjd Msboncy
JOllJK MsiAKC
WUS..,CeBcaLJtMai Andy Maurer
Jennifer McCarthy
Kara McOiitrcuddy
Margate! fsaumasi
l i j v t i ) Mclnonc
Jennifer B u r n e r
Erir. M o t K n u n
Kachti Ikwnelt
Ann Mueller
Amy Callahan
Awltey NacamaU
Elirabcitt CaiFiKli
Danielle Nacamuti
Wen W r n Chen
Kalhryn (VReiity
1-aiiia CQlCita
SrcniJa O u t * * ! * *
Joey I'ancioSph
Marilyn Cummins;*
ilstwkx l*arli
Shelley C. Cunis
I-atioe Pedulla
John Dnneel
Leilic i'tdulla
Catherine Pinncmti
Joriftlhan Krcek
Elmi l-uS*y
l.j»na Ruiticrford
Suzgmte F-'ofcy
Marc SchwiMers
Tama G i i m b r e
John Segois
Danir.f Golden
Deboiah Skahao
I;i*oer iiihîwm
NSSCY SpcnccK
f*ho*bc f.i<n>dwit*
Andrew Sudbury
Sarah Teste
R. J. Hacked inon Upprr
Krislia H t r t i h y r*«:icr W a t a a n
M a n i a Herlihy Ua»e Wcwaer
Megan Hecilby Nick Zcrvnglas
Rebecca H i l !
Aiysoa Xtssel
VCaia Xiftjewftki
T h e r t K Kr*jsw*ki
Kails Leonard
Melisia Lslleri
244
WHS'McCall
OxsJucsuia
l.tt*ne Aultero
Srmbhartn Abyn Catheriru? Banks
LJkvtd Hanks Etnity Banks
Karen Bauiaaa Krrtiee (iellmofe
Matgrei flchnke Lis* Boutwcll
Jennifer Campbell Megan Brsiiy
Lydia Coopf.r David Burke
lf:atmrUC ('TOSS E-ric Biuret}
idiilana Cullct Jessica Capon*
Kiiiim Dieser At!i»a Curreri
Pnca Dodson Zoe 09KKBI
Phr-p.br; trCMMtsctn
Nicholas Demtta
Andrea DeSicf»r-o
Cair»«rine Greene
Jennifer T>o©lcy
I>isil!> Hu<j|!<05
Jennifer Firquirhsun
fara Jiswa
Stephanie Feola
Jennifer l.c*
Deanna Foley
Margaret Lcc John Frsnke
William Lcc Cheryl Gallagher
^rampecra Lugira Rachel G&Hcry
Brian Mask Brian Gaudei
l.siu > MajS; jeamne Ciqurnm
:.oieltc MrWtliiaffiS Lauren Haider
J:.rrlta Molmbcrg
Thomas Moore CVurlncf Jlowarti
i-iiy Palacicra Allison Jervey
Raymond Kcgsn
\lison Roberts i'eicr Jones
Scih RiMenbefjier Claie Krcbs
Attrv Schwttlcrt Matlhcv*- Krumnl<:
Clifford Swip Deborah Lcnnan
rsavjd Wearier Christine McGormgli;
Tobj While Julie MiHcrkk
Janice Nelson
Daphne Oliver
Kri5ien Pi'earell')
Tanva Queen
Michelle Rousync
Jennifer Rwsso
Anne Mcitî»c
Tw» Sc.bi«!>c< Aic*oa McK-ay
UnSi*>- Scblotfi Ucrek Mcdun
Kfisicn Scoil Hrcw Milium
Tyson Snrnh PSSAÎI Mif-rj
AMI* Sobiowici CbfU M«t:,»
Jsaa-Chairici Toussaiat Kaitn MumtM
Bui! Tsisoiisepeu'.os Davui Munroc
(Jeirfrs Mttrdoci
MtCUt,, jCttttCMt.. ilMal Chris Murphy
Sivbiun Murray
Mk'htKl Ar«4tt Nicole Nacamuli
Jcmiifer A*ftul* Ptiilip OWiaisS
M&tt HaUiwin AUiaon Q'CMUICI!
Tr»t*>- BcaU S<uab O'Qtuly
Patricia isoyie Jwlm OstHsroe
Jjsse Buchanan AUKIKI <toi$
Jeha Chen Mary C. Stgou
Maik Cloiimy Anys Sboeaiicge
Sars Coieila .\ntie Sehwiilcis
1'Birk.i Ciimmitics Millies Spanja&rd
lsnn?f<r lytpvsiiu Julie Struihcr*
i « n t s Faluor-e Mictlttl Si«panik>
Maubcw Fantasia f.suH'o Tavarei
Campbell Fusier Came Tozza.
Ftitr French Hujfh Turcoiic
AIUA Fuller Sharon Wilbur
Z»Gkiary Qsumcr PiMicU Williams
liberals lUmbltu
Laura hthflitm ikf aid i int.—Jnumtta
Aar,< JosepSi
M&rline Xjtiscr irifcn i>»uc«l
Chuck Kccfc
ManlKvr Kisicfcsii Phoebe <i«oi!*iB
Krickti Lombirdo Ktiih Leoruitl
Aliion Lynch Es'ic MactenicH
Tracey Mirfcanly Marc Schnnucia
Andrea ManjUM<l<
Michelle M a s s i f s
ffctvvca Mawn
i.eaii MiCuuiAtk
246
APPENDIX D
DOUBLE CHORUS REPERTOIRE SUITABLE FOR HIGH SCHOOL CHORUS
The following list is not an exhaustive list of works within the polychoral
genre that are suitable for high school chorus. This alone, would provide a basis for
an extensive study. Rather it is a representative list. In addition to studying scores
and conducting searches, resources drawn upon include the New York State School
Music Association Manual (2006), the Texas University Interscholastic League
Prescribed Music List (www.utexas.edu/uil/pml), the repertoire list found in
Barnicle's Sound in the Round (1979), a double (or multiple) choir list found on
Choral Net (www.choralnet.org), and found in annotated bibliographies on choral
repertoire (Perry 1990) (Rosewall 2007).
In addition to providing a list of works, several prominent composers of
polychoral music have too an extensive output to list within the scope of this
appendix. It is worthwhile to research multi-choral works, or double chorus
movements found in extended works of these composers: Andrea Gabrieli, Giovanni
Gabrieli, Heinrich Schutz, J.S. Bach, Johannes Brahms, Randall Thompson, and
others.
247
Bach, J.S., Kommjesu, Komm, SATB/SATB
Bach, J.S., St. Matthew Passion, SATB/SATB
Bach, J.S., Nun ist das Heil und die Kraft, Cantata 58, BWV 50, SATB/SATB
Berger, Jean, How Lovely are Thy Tabernacles, SATB/SATB, Part II: Blessed Are They;
a cappella
Biechteler, Sigismund, Victime Paschali Laudes, SATB/SATB
Brahms, Johannes, When We Do Suffer Grief and Woe, 3 Motets, Op. 110, SATB/SATB
Britten, Benjamin, Hymn to the Virgin, SATB/SATB
Chatman, Stephen, Gloria, SATB/SATB, single mass movement
Corgiliano, John, Amen, SATB/SATB, a cappella
Daley, Eleanor, Psalm 100, SATB/SATB
de Victoria, TomSs Luis, Ave Maria, SATB/SATB a cappella
Durante, Francesco, Misericordias Domini, SATB/SATB
Gabrieli, Giovanni, Hodie Christus Natus Est, SATB/SATB
Gabrieli, Giovanni, In Ecclesiis, SATB/SATB
Gabrieli, Giovanni, Jubilate Deo, SATB/SATB
Gabrieli, Giovanni, Lieto Godea, SATB/SATB
Gabrieli, Giovanni, 0 Magnum Mysterium, SATB/ATBB, alternate voicing:

SSAB/ATBB
Gabrieli, Giovanni, Vuccinate, SATB/SATB
Gallus, Jacobus, Haec Dies Est, SATB/SATB
Gallus, Jacobus, Repleni Sunt Omnes, SATB/SATB
Gregor, Christian, Hosanna, Blessed is He That Comes, SATB/SATB

Hammerschmidt, Andreas, Alleluia! Freuet Euch Ihr Christen, SSATB/TBB
Handl, Jacob, Duo Seraphim, SATB/SATB
Hassler, Hans Leo, Im Kuhlen Maien, SATB/SATB
Hassler, Hans Leo, Verbum Caro Factum Est, SSA-TBB
Hoist, Gustav, Ave Maria, Op. 9b, H.49 SSAA/SSAA
Hovhaness, Alan, Magnificat, Opus 157, SATB/SATB
Howells, Herbert, Nunc Dimittis, SATB/SATB
Ives, Charles, Psalm 150, SSAA/SATB
Ives, Charles, Sixty-Seventh Psalm, SSAA/TTBB
John Biggs, Epitaph, SATB/SATB
Kverno, Trond,/lve Maris Stella, Cantemus 3, SSA /TBB
Lassus, Orlando, Gloria in Excelsis Deo, SATB/SATB
Leisring, Volkmar, 0 Filii Et Filiae, SATB/SATB
Mendelssohn, Felix, Heilig, SATB/SATB single mass movement
Nystedt, Knut, Kyrie, A Thanksgiving Mass, SSA/SATB
Orff, Carl, Carmina Burana: Temus Est locundum, SATB/SATB
Orff, Carl, Carmina Burana: Veni Vemias, SATB/SATB
Pachelbel, Carl Theodore, Magnificat, SATB/SATB
Pachelbel, Johan, Der Her is Konig, SATB/SATB
Pachelbel, Johan, Exsurgat Deus, SATB/SATB
Pachelbel, Johan, Gott ist Unser Zuversicht, SATB/SATB
Pachelbel, Johan, Jauchzetdem Herren, SATB/SATB

249
Pachelbel, Johan, Nun DanketAlle Gott, SATB/SATB
Pachelbel, Johan, Singetdem Herrn Ein Neues Lied, SATB/SATB
Pachelbel, Johan, Troste, Troste Uns Gott, SATB/SATB
Palestrina, Giovanni, Hodie Christus Natus Est, SSAB/SATB
Pearsall, Robert Lucas de, arr., In Dulci Jubilo, from Oxford Carols for Choirs, Vol. 1,
SATB/SATB
Phillips/Gresham, Hodie nobis de coelo, SATB/SATB
Praetorius, Michael, Sing with Joy, Glad Voices Raise, SSATB/SA
Praetorius, Michael, We Turn Our Eyes to Thee, SATB/SATB
Quintana, Ariel, Hodie Christus Natus Est, SATB/SATB, optional brass quartet,
keyboard
Raminsh, Imant, Gloria, Missa Brevis, SSA/SSA, Opt. oboe, opt. solo
Scheidt, Samuel, Er Gebe Uns Ein Frohliches Herz, SATB/SATB
Scheidt, Samuel, Surrexit Christus hodie, SATB/SATB
Schiitz, Heinrich, Deutsches Magnificat, SATB/SATB
Schiitz, Heinrich, Meine Seele erhebt den Herren, SWV 494, SATB/SATB
Schiitz, Heinrich, Saul, Saul, Was VerfolgstDu Mich, SATB/SATB
Schiitz, Heinrich, Simget dem Herrn dien Neues Lied (Psalm 98), SWV 35, SATB/SATB
Schiitz, Heinrich, Warum Toben Die Heiden (Psalm 2), SATB/SATB
Stanford, Charles, Coelos ascendit Hodie, SATB/SATB
Stanford, Charles, Magnificat and Nunc Dimittis, SATB/SATB
Tallis, Thomas, Jesu Salvator Saeculi, SATB/SATB
Taverner, John, Two Hymns to the Mother of God, SATB/SATB

Thompson, Randall, Peaceable Kingdom: But These are They That Forsake the Lord,
SATB/SATB
Thompson, Randall, Peaceable Kingdom: Have Ye Not Known?, SATB/SATB
Thompson, Randall, Peaceable Kingdom: Howl Ye, SATB/SATB
Thompson, Randall, Mirror ofSt. Anne, SATB/SATB optional antiphonal instruments

or organ
Thompson, Randall, The Leave-taking: Ye Were Sometimes Darkness, Requiem,

SATB/SATB
Thompson, Randall, Frostiana: The Telephone, SSA/TTBB
Thompson, Randall, Peaceable Kingdom: Ye Shall Have a Song, SATB/SATB
Vivaldi, Anatonio, Paratum Cor Ejus, SATB/SATB continuo
Vivaldi, Antonio, Beatus Vir, SATB/SATB
Vivaldi, Antonio, Kyrie, SATB/SATB
Vivaldi, Antonio, Magnificat, SATB/SATB
Vulpius, Melchoir, Today is Risen Christ the Lord, SATB/SATB
Walton, William, Jubilate Deo (Psalm 100), SATB/SATB
Williams, Ralph Vaughn, Lord, Thou Has Been Our Refuge, SATB/SATB
Williams, Ralph Vaughn, Te Deum in G, SATB/SATB, organ or piano, some double

chorus sections
251
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VITA of SABRINA E. QUINTANA

37 E. Springfield St. #4, Boston, MA 02118, squintana@verizon.net
PERSONAL INFORMATION
Date of Birth: January 10,1959
Birthplace: Ipswich, England
Heritage: Father, John Quintana, is Mexican whose ancestors are from Spain.
Mother, Frances Quintana, is American with lineage from England and
American Indian.
Childhood: Lived in Manitou Springs and Colorado Springs, Colorado
Siblings: Eldest of six children; brothers: John, Valencio, and Christopher; sisters:
Christina and Jennifer.
Adult: Lived in Colorado Springs, Colorado; Arlington, Texas; and Boston,

Massachusetts
Daughters: Jessica Hays and Kaliah Hays
Fiancee: David Rose, M.D.
EDUCATION
2001-2009 Doctorate of Music Arts in Music Education: Concentration in Conducting,

Boston University. MA
2004-2005 Educational Administration coursework, Boston University, Boston, MA
1999-2001 Private conducting lessons, studio of Donald Bailey (Baylor University) and
private composition lessons, studio of Robert H. Young (Baylor Univ.)
1999-2001 Private voice lessons, studios of Edward Baird and Laurel Miller
1987-1994 Master of Music in Music Education: Concentrations in Conducting and

Voice, University of North Texas, Denton, TX
1979-1984 Bachelor of Music in Music Education: Conducting and Voice, Colorado State
University, Ft. Collins, CO
269
CONDUCTOR AND MUSIC EDUCATOR
I. COLLEGE TEACHING
2001-2005 Boston University, Boston, MA

Choral Music Education Instructor: Choral Materials and Methods
2002-2004 Northern Essex Community College, Haverhill, MA

Adjunct Music Instructor: Choral Conductor, Music Theory, Music History
II. CHURCH MUSIC
2003-2006 St. John's Episcopal Church, Westwood, MA, Director of Music, Conductor
2001-2003 The Presbyterian Church in Sudbury, Sudbury, MA, Director of Music,
Conductor
1995-2001 Epworth United Methodist Church, Arlington, TX, Director of Music,

Conductor
III. PUBLIC SCHOOL
2005- 2008 Winchester Public Schools, Winchester, MA:

K-12 Director of Music and
Winchester High School Choral Director
1985-2001 Taught in public schools in the Dallas-Fort Worth, Texas Area:

High school choral conductor - 6 years
Middle school choral conductor - 4 years
Elementary general music teacher - 6 years
Arlington (Texas) Girls Chorus conductor - 3 years
PROFESSIONAL COLLEGIALITY
2009 Plymouth Public Schools: music curriculum consultant
2006-2008 Massachusetts Music Educators Association: All State Concert Manager
2006-2008 Massachusetts DOE: Arts Frameworks Revision Team
2005-2008 Massachusetts DOE: Arts Advisory Committee Member

270
2004-2005 Boston Public Schools, Boston, MA: Private consulting: Boston Arts
Assessment Model
1999-2001 Texas Choral Directors Association: Social Committee Chair
AWARDS
2005- 2008 Massachusetts Instrumental and Choral Conductors Association Choral

Festival: choirs under the direction of Quintana received first and second
division ratings
2005- 2008 Massachusetts Music Educators Association: led many students to successful
auditions and placement in Northeast District Choir and All-State Choir
1993-2001 Texas University Interscholastic League Concert and Sightreading Contests:

choirs under the direction of Quintana received first and second division
ratings
1993-2001 Texas Music Educators Association: lead many students to successful

auditions and placement in All-Region, All-Area and All-State Choirs
1993-2001 Texas Music Educators Association Solo and Ensemble Contest, Regional and
State: lead many students to successful first and second division ratings
LICENSES
Massachusetts Department of Elementary and Secondary Education:

Supervisor-Director: Arts
K-12 Music
Texas Department of Education Lifetime Teaching Certification, All-Level Music

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BOSTON UNIVERSITY

COLLEGE OF FINE ARTS

SELECTED DOUBLE CHORUS WORKS SUITABLE FOR THE

ADVANCED HIGH SCHOOL CHORUS

B.M., Colorado State University, 1984

Submitted in partial fulfillment of the

requirements for the degree of

Doctor of Musical Arts

All rights reserved.

Bernadette Colley, Ed.D. /

Richard Bunbury, Ph.D.

To my mother and father, John and Frances

To my siblings, John, Valencio, Christina, Christopher, and Jennifer

To my daughters, Jessica and Kaliah,

and to David, my love.

1 thank each member of my dissertation committee for their invaluable

contribution. I wish to express my gratitude and appreciation to my dissertation

challenged me to expand my views and to grow intellectually. As an expression of his

commitment and dedication, he has offered a wealth of knowledge, experience, and

I would like to express my appreciation for the professors along my education

Sheveloff; my music theory professors: Eugene Cho and Graham Phipps; my

A few people were instrumental in providing historical information about the

Lynne Rahmeier, who was the driving force in the project

research and my doctoral studies without their support, encouragement, patience,

support... what a wonderful and challenging journey we have made together.

ADVANCED HIGH SCHOOL CHORUS

Boston University College of Fine Arts, 2009

Major Professor: Anthony J. Palmer, Ph.D., Professor of Music Education

and beyond the specific historical periods that they represent.

A context for the learning environment emphasizes a process-orientation.

Learning musicianship skills and developing artistry through repertoire places

performance in its proper context as a component of curriculum and as a means

through which students learn.

framework for a quality education, challenges the students to grow as musicians,

and provides an aesthetically gratifying performance experience.

A historical overview provides a context for why this genre is significant. A

part of the high school choral curriculum.

1. Renaissance: Hodie Christus natus est a 8, by Giovanni Gabrielli

3. Classical: Crucifixus by Luigi Cherubini

4. Romantic: Heilig, by Felix Mendelssohn

5. Contemporary: The Aim is Song, by Alan Hovhaness

an appropriate venue is discussed and the attendant problems are examined.

Expanding the curriculum, creating meaningful experiences through the use

of repertoire, and providing a better understanding of the polychoral genre offers a

means of accomplishing musical learning objectives.

Statement of the Problem . 3

Cultural, Musical, and Curricular Contexts 6

Parameters of Suitable Double Chorus Works 7

Analysis and Appraisal 8

Need for the Study 9

Delimitations of the Study 14

CHAPTER 2: REVIEW OF THE LITERATURE 23

Literature About Polychoral Music 23

Selecting Repertoire for the High School Chorus 25

High School Double Chorus Repertoire 30

CHAPTER 3: CHORAL MUSIC EDUCATION AS A PROCESS OF LEARNING . . . . 34

Value of Music Participation 35

Tenets of Comprehensive Musicianship 38

Choral Processes That Lead to Student Growth 41

Two Models of Choral Music Programs 41

Performance as Means and Ends 45

Focus Upon Student Growth 52

CHAPTER 4: THE SUITABILITY OF DOUBLE CHORUS WORKS FOR