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1 37q h8( sta. co AN ANALYSS OF ROBERT NATHANEL DETT'S N THE BOTTOMS THESS Presented to the Graduate ouncl of the North Texas State Unversty n Partal Fulfllment of the Requrements For the Degree of MASTER OF MUS By Debra A. Mles, B.S. Denton, Texas December, 983

2 984 DEBRA ANN MLES All Rghts Reserved

3 ----. w-- - Mles., Debra A., R. Nathanel Dett's "n the Bottoms" Pano Sute: An Analyss wth Hstorcal Background. Master of Musc (Musc Theory), December, 983, 7 pp., 3 tables, 26 muscal examples, bblography, 24 ttles. The purpose of the thess s to analyze formally, harmoncally and melodcally the fve movements of the sute both as separate movements and nclusvely as one cohesve unt. The thess wll be wrtten n three parts: Part One wll nclude a bographcal sketch of the composer, a general dscusson of hs musc, background nformaton on the sute and Dett's antecedents and contemporares nfluencng hm. Part Two wll dscuss the followng: A) Form, B) Harmonc Analyss, and ) Melodc Analyss and the nfluences of black folk doms. Part Three wll nclude the keyboard musc of Dett's contemporares as compared to hs sute n terms of ther contrasts and smlartes.

4 TABLE OF ONTENTS Page LST OF TABLES r v LST OF MUSAL EXAMPLES......v FOREWORD... " hapter. "NGHT" (The Prelude) "HS SONG"...a..." "HONEY" V. "BARAROLLE" V. "DANE" (Juba) ONLUSONS "..."...e APPENDX BBLOGRAPHY Y _ P*-

5 frr- - LST OF TABLES Table Page. "Barcarolle," Thematc and Tonal Dagram (mm. -7) "Barcarolle," Thematc and Tonal Dagram (mm. 7-2)...3. "Hs Song": Breakdown of Motvc Fragments (mm. -6) v

6 LST OF MUSAL EXAMPLES Example Page. "Some Ancent Modes" From, "The Authentcty of the Sprtual" n The Dett ollecton of Negro Sprtuals (Thrd Group) Robert Nathanel Dett, n the Bottoms, "Nght," Theme A, mm "Nght," mm (Theme B) "Nght," mm. -4 (motf a) "Nght," m. 49 (motf...9 b) "Old Folk Song Scale" "Nght," mm "Nght," mm "Nght," mm "Nght," mm "Hs Song" (Theme A), mm "Hs Song," mm "Hs Song," mm "Hs Song," mm. -2 (Motf cx) "Hs Song," mm. 3-4 (Motf cy) "Hs Song," mm "Hs Song," mm "Hs Song," mm "Honey," mm "Honey," mm v

7 . ;., LST OF MUSAL EXAMPLES (ontnued) Example Page 2. "Barcarolle," mm "Barcarolle," mm "Juba," mm (ThemeA) "Juba," mm (frst ten measures of Theme B) "Nght," mm (score) and mm (chart) "Hs Song," m. 4 (score), m. 4 (chart)...47 v

8 ,. FOREWORD The n the Bottom sute, subttled by Dett as "a characterstc sute for the pano," depcts scenes and moods n the lves of Black Amercans along the rver bottoms of the Southern Unted States. The sute s comprsed of fve movements: the "Prelude" ("Nght"), "Hs Song," "Honey" ("Humoresque"), the "Barcarolle" ("Mornng") and "Dance" ("Juba"). t was composed n 93, durng Dett's tenure at Lane ollege, and was publshed later that year by layton F. Summy. The sute was premered n hcago by Fanny Bloomfeld-Zesler, a dstngushed concert panst of the tme. The performance of the sute by Percy Granger on many programs helped t to acheve popularty. On June 3, 94, n hcago, the n the Bottoms sute (along wth Dett's Magnola sute) was performed by Dett n an "All olored omposers' oncert." Also ncluded n ths concert were works by Samuel olerdge-taylor, Harry T. Burlegh, J. Rosamond Johnson and Wll Maron ook. n the June 4, 94, ssue of the hcago Evenng Post, the Magnola and n the Bottoms sutes were gven very favorable revews, as was Dett's performance. The concert was one of two whch contrbuted to Dett's standng as a composer and panst. The other, n whch he and Burlegh performed, was presented at the Samuel olerdge-taylor lub, and ncluded the Magnola sute. Havng been nspred by Dvorak's ncluson of tradtonal folk melodes n larger forms, Dett, n n the Bottoms, made use of characterstcs ndgenous to Black folk musc. (These characterstcs wll be dscussed n ensung paragraphs) (4, p. ). Dett felt that not only

9 2 were Black folk melodes worthy of beng used n art musc, but that they themselves could be expanded to become larger forms. t was not, however, untl several years later that ths concept clearly became hs objectve (4, p. 43). The most obvous and pervasve use of a Black folk dom n the sute s that of syncopaton. The syncopated pattern (U),}), appearng frst n measure 37 of "Nght" labeled as the head motf of the sute (snce t appears n three of the fve movements), s a rhythm pattern whch s characterstc of Ante-Bellum folk dances (2). t s used both melodcally and accompanmentally. n "Nght," t appears n Theme B as shown above; n the "Barcarolle," t appears n Theme A n dmnuton; n "Honey," t s used both as an accompanment to Theme A, and once n the melody of Theme B. n addton to the usage of the syncopated head motf, other syncopated patterns are an ntegral part of the frst, thrd, fourth and ffth movements. Another characterstc of Black folk musc employed n the sute s the gapped or altered scale. Dett, n hs collecton of sprtuals, lsts seven scale patterns upon whch most Black folk musc s based, notng that these scales are also the bass for most Amercan ndan folk songs (). Example. "Some Ancent Modes" from, "The Authentcty of The Sprtual" n The Dett ollecton of Negro Sprtuals (Thrd Group) lentalomlfc a-od Fok Song Sae 3,yzantne 4ungaran Gyjy d c ewh ) tl )ra dd 7.Aeolan (mod lx)

10 3 Supportng Dett's postulates concernng the use of gapped scales s Krehbel's research pertanng to the scale structure of Black folk melodes n whch he catalogued 527 Afro-Amercan folksongs. Of these, were found to be bult upon the pentatonc scale and 78 contaned no seventh (3, p. 43). These fgures and scale structures become sgnfcant when examnng the varous elements of the sute, and wll be mentoned later, n dscussons of the ndvdual movements. Stylstcally, the sute s Romantc. Dett makes frequent use of nnth, augmented sxth and appoggatura chords. Hs use of a head motf throughout the sute creates a cyclc effect, a very popular late- Romantc technque. Also typcal of the Romantc era s Dett's use of remote key modulatons, sometmes to and from keys that are n a thrd relatonshp to one another. Panstcally, he uses full sonortes and a wde panstc range. The consstent use by Dett of melodcally, harmoncally and panstcally Romantc technques throughout the sute clearly makes n the Bottoms stylstcally anachronstc, placng t more n a category wth the works of Dett's Romantc predecessors than wth those of hs contemporares. Wth the excepton of "Hs Song," whch s more homophonc, all of the movements have a melody-wth-accompanment texture. "Honey" and "Juba" are closely related to one another n mood n that they contan syncopated melodes, are n the same major key and have a lght, bouncy qualty. "Nght" has an openng theme that s somber n mood, n contrast to the lyrcsm of the second theme. t thus serves a twofold purpose: to add an ar of solemnty to the movement, and to balance the playful mood of "Honey" and "Juba." "Hs Song," an anomaly n the sute

11 4 because t s homophonc, contans no syncopaton and begns n a mnor key. n character, t s n drect contrast to the bouncness and gaety of the last two movements. The "Barcarolle," although not an anomaly, s unque. t s wrtten n the panstc style of hopn, but stll has the head motf n the melody (Theme A).

12 :, HAPTER BBLOGRAPHY. Dett, R. Nathanel. "The Authentcty of the Sprtual," The Dett ollecton of Negro Sprtuals, thrd group, hcago: Hall and Mcreary, "n the Bottoms," The ollected Pano Works of R. Nathanel Dett, Sutes reproduced from the orgnal edton publshed by. F. Summy o., J. hurch o., and Mlls Musc; Evanston, llnos: Summy-Brchard ompany, c Krehbel, Henry Edward. Afro-Amercan Folksongs - A Study n Racal and Natonal Musc, 4th ed., reprnt of the 94 edton publshed by G. Schrmer, New York; Portland, Mane: Longwood Press. 4. McBrer, Vvan Flagg. R. Nathanel Dett: Hs Lfe and Works ( ), Washngton, D..: The Assocated Publshers, nc.,

13 . HAPTER "NGHT" (The Prelude) There exsts just cause for labelng the form of the frst movement ternary, but wth some aberratons. The movement contans three sectons, two of whch contan themes n dstnct contrast to one another. Example 2. Robert Nathanel Dett, n the Bottoms, "Nght," Theme A, mm. -9 Adago Sostenuto 54 D - -- E S, M {4 v "t 6. 4

14 7 Example 3. Theme B mm dra~o " Ast ~Lpegger 3ttU7 The end of Secton A at measure 36 s clearly delneated by a perfect authentc cadence after whch there s a 2-measure transton, the materal of whch forecasts the contrastng theme of Secton B (whch begns at measure 49). Note that untl measure 9 the openng melodc motf and harmonc progresson (labeled Aa) appear n both hands. Beyond ths pont the motf appears n the left hand only and may be nterpreted ether as thematc wth ornamental materal above t, or accompanmental. Snce, however, motf Aa appeared at the begnnng of the movement t would more than lkely be defned as thematc. Also, untl measure 9, a tonal level has been establshed but the mode has been establshed only through harmonc progresson and scale usage as there s no thrd present n any of these chords. t s at measure 9 that a cadence s arrved at for the frst tme, thus establshng more frmly the secton's modalty as well as ts tonalty. n Secton A' (mm. 8-5) motf Aa appears n shorter segments as t was used both n the begnnng of Secton A (n both hands), and n the latter part of Secton A (n the left hand only).

15 .. -T c Wthout further examnaton t would seem as though the form of ths movement s most decdedly ternary, the two motvcally and thematcally contrastng sectons beng cted as the determnng factor. However, the tonal scheme, whch along wth the contrastng themes would generally consttute ternary form does not exst here. Secton B (mm. 49-8) also begns and ends on the tonc wth a rather bref departure to and return from the relatve mnor key n the mddle of the secton (mm ). Although the lack of contrastng keys s atypcal of ternary form, the closed key scheme and the two strongly contrastng themes are ndcatve of t. The resultng segmentaton of the movement nto three dstnct sectons causes the argument to weght heavly n favor of ternary form. The closed harmonc structure of the three sectons of the movement s also llustratve of Berry's defnton of compound ternary form, n whch each secton s harmoncally closed, (, p. 82). Dett, n ths movement, has captalzed upon both bnary and ternary form, n that Secton B (mm. 49-8) s n rounded bnary form. The frst part of the secton (mm ) s n the tonc key whle the second part (mm ) begns n the relatve mnor key (and progresses back to the tonc) and s based upon the same thematc materal as the frst part of the secton. The return to the tonc and to the orgnal thematc materal n the thrd part of Secton B consttutes the rounded part of the bnary form. The thematc structure of ths secton s bnary whle the tonal structure s typcal of ncpent ternary forms - thus, wthn ths mcrocosm of formal structure, Dett has ncorporated the hybrdzaton of the bnary and ternary forms.

16 9 There are two motfs upon whch the entre movement s based (Refer to appendces A-F for detaled motvc nformaton): Example 4. mm. -4 (motf a) Adago Sostenutu 54 4 n a"t.ln Example 5. n. 49 (motf b) Moderato d 76,,qtrlegg4er ss ale"p The openng motf, labeled a_ s a rhythmcally based motf. Motf bh ("H" denotng the presence of the head motf) s melodcally and rhythmcally based and ts functon s threefold. t serves a dual functon n measures 37-44, actng frst as an ntroductory passage by forecastng materal n secton B, and second, as transtonal

17 materal between sectons A and B. Thrd, motf bh s used thematcally, as part of Theme B. Melodcally, motfs a and bh are used qute dfferently. The varatons of motf a are used exclusvely as a theme n sectons A and Al whereas motf bh, when t appears n Secton B, has been expanded and therefore consttutes only part of a theme. Dett uses open ffths as an mportant structural element n the movement, perhaps as a component of the Black folk dom, the ncluson of whch s a prme characterstc of hs musc. He observed that the sprtual s a unque type of song n that t was born already harmonzed, and he s of the opnon "after much research" that there are more open fourths and ffths used n harmonzng sprtuals than s evdent n exstng records. He observed also that these fourths and ffths are consstent wth the harmony of the musc of Afrca (2, p. 4). The syncopaton whch gves motf bh ts strong rhythmc character embodes the syncopated pattern ( whchh functons as the head motf of the entre sute (3, p. 33). Ths pattern, typcally present n Ante-Bellum folk dances, was often "msused for purposes of carcature" nstead of used as a characterstc dom (3, p. 33). n keepng wth the structural conventons of ternary form, motf a (used as Theme A) returns n Secton A' whereas no element of motf b s restated later. There s lttle real stepwse moton n the melodc structure of Secton A, makng the scale constructon less apparent, but, every degree of the D major scale s present. n Secton B, however, t s qute easly ascertaned that the basc structural element of the melody

18 - -. theren s the D major scale. Upon further examnaton, however, one wll notce that the seventh scale degree s not used. Dett has apparently chosen to alter the scale n the manner whch he mentons n the foreword to hs collecton of Negro Sprtuals n whch he dscusses varous altered scales. He labels the major scale wth no seventh as "The Old Folk Song Scale," whch he says s often found n sprtuals (2, p. 33). Example 6. "Old Folk Song Scale" Henry Edward Krehbel categorzed a group of 527 sprtuals from sx collectons accordng to scale content. Of ths number, 78 were found not to contan a seventh scale step (4, p. 43). Harmoncally, the style of the movement s Romantc. Dett, n ths melody-wth-accompanment texture makes frequent use n Secton B of appoggatura chords, favorng the use of the domnant nnth chord for ths purpose.

19 . j 2 Example 7. mm Moderato 76 p eggersssno : S Vs Also, chords bult upon the sxth scale degree seem to be a sgnfcant pont of departure n ths movement. n Secton A, the progresson -V---v (the modes of the chords mpled only n progresson) s repeated several tmes, wth the v chord agogcally stressed each tme. Example 8. mm. -8 Adago Sostenuto 54 L"~ *: Y V t ) t s mportant to note that the mode of the v chord s unspecfed untl measure 22, at whch tme t s major (nstead of the customary mnor). t s possble that the v chord used n the major mode foreshadows Secton A' n whch chords bult upon the sxth scale degree are used n varous confguratons at varous levels as a pont of departure nto remote key areas, a dscusson of whch wll be pursued presently.

20 wo. 3 (Ths type of modal shftng and nterchange s typcal of compostons of the Romantc era, whch Dett's style parallels.) n the frst part of Secton B (endng wth measure 64), the v chord (used n mnor mode) s used only as an appoggatura chord, but, begnnng at measure 65 ts functon s expanded so that t becomes an entre key area. Example 9. mm t s A t - Ar D a Aw 6: Vol Y Note also that the functon of the chord (whch appeared also n the orgnal progresson wth ts mode unspecfed) has also been expanded to become a secondary key area. Example. mm ~- -- L &L~F4 L to- 5 fr-, u F' _ - _A- = - lpp - d:)- -- J b V ~: v ~36-2 ~' - -, -.,..-.-.w-,,,

21 4 Mentoned earler n the dscusson was the use of chords bult upon the sxth scale degree as a pont of departure nto remote key areas. n the clmax of the movement whch begns at measure 8, the v chord n measure 92 s used n ts most altered form, functonng as a German augmented-6th chord leadng to the E-flat major key area. mmedately followng, n measure 93, the flatted sxth scale degree of D major becomes the bass of the 6 chord n E-flat major. n measure 95, the bv chord n E-flat (enharmoncally the V chord n D major) also functons enharmoncally as the domnant of E major, whch occurs n measure 97. Note that the bass of the chord whch begns the E major segment s also the sxth scale degree of D major. Referrng back to the augmented-sxth chord n measure 92 whch served as the pont of departure to E-flat major, note that t serves a double functon. Frst, t functons as a #v German augmented-sxth n the key of E-flat, but t s spelled as an ncomplete domnant seventh n the key of E major, the fnal remote key destnaton before the return to the orgnal key. Dett compares Theme B to the "'tummng' of a banjo" and the open ffths n Theme A to the "stllness of the nght." Theme B, he says, s only "ncdental to the gloom" (3, p. 33). Perhaps the reteraton and evoluton of the v chord s emphaszng the pervadng gloom.

22 - HAPTER BBLOGRAPHY. Dett, R. Nathanel. "The Authentcty of the Sprtual," The Dett ollecton of Negro Sprtuals, thrd group, hcago: Hall and Mcreary ompany, c "n the Bottoms," The ollected Pano Works of R. Nathanel Dett, sutes reproduced from the orgnal edton publshed by. F. Summy o., J. hurch o., and Mlls Musc; Evanston, llnos: Summy--Brchard ompany, c Krehbel, Henry Edward. Afro-Amercan Folkson s, A Study n Racal and Natonal Musc, 4th edt., Portland, Mane: Longwood Press,

23 M * HAPTER "HS SONG" Though there are devatons from what would be consdered the "normal" formal structure, "Hs Song" falls most decdedly wthn the constrants of bnary form. The movement s monothematc (theme A' beng based upon theme A) wth each phrase consttutng a phrase of the theme or a fragment derved from t. Example. "Hs Song" (Theme A) mm. -6 J:2 Andante non troppo, ma p6 patetco -r-ten - - to rd. accel. a rmpo ss _-- ASP *5 r b.. * at A(' Ye ~ tvz 7 -- ' 4 a atetnpo-u-t + r accept.,~foo acl Ltnut _ b * tax: Amd= uo*,o d :;

24 7 Because t s monothematc, ths movement s not as much of a formal engma as the precedng movement though, melodcally speakng, t s dvded nto three sectons. (rounded) bnary, Sectons A' Overall, the form s an asymmetrcal and A" combned (because of lke key) beng sgnfcantly longer than the frst. The key scheme follows that whch s typcal of bnary form n that the second secton centers around the domnant. Ths s an occasonal excepton to bnary peces n' the mnor mode n that t centers around the major domnant (, p. 37) (A), and later crosses the relatve major (F). As s also the case n bnary form the second secton traverses several key areas (see Appendx [chart]). The theme s restated n the major tonc n Secton A" (measure 85) whch consttutes the rounded part of the bnary form. That ths restatement, however, s separated from the second secton by transtonal materal therefore creatng a thrd secton would seem unusual, but t s mportant for one to notce that the transtonal materal (beng a fragment of the theme) s remnscent of Sectons A and A' as well as a forecaster of that whch s about to follow.

25 8 Example 2. mm Another slght devaton from the norm s found at the end of Secton A. Ths secton s harmoncally closed, and cadences on the tonc nstead of the domnant. Though only one secton of the movement s labeled as transtonal n the dagram, the passage from measures 6-76 performs a double functon n that t serves as an extenson of the last phrase n Secton A' and s also harmoncally transtonal.

26 9 Example 3. mm rvsc :.t t.g t (7V}.T v e L 4 By examnng both transtonal passages (measures 6-76 and measures 77-84) one wll notce that they are based respectvely upon the last two and frst two measures of the frst phrase of the theme. t s a very nterestng thought that n treatng each half of the phrase separately, 'developng' each somewhat, perhaps Dett s hntng at the hybrdzaton of the bnary and sonata forms. Thus usng a formal structure havng ts orgns n a trpartte structure and applyng t to a monothematc structure usng the two halves of a phrase as separate enttes.

27 2 The movement s bult upon two motfs whch consttute the frst and second halves of the frst phrase (and thrd phrase, snce t s the same), respectvely. Nether motf s treated separately untl measure 6 as mentoned earler. Example 4. mm. -2 (Motf cx) [P: - p S. Example 5. mm. 3-4 (Motf cy) r. accel. The underlyng melodc structural element of the theme s the harmonc mnor scale. t s remnscent of the sprtuals (modelng the plantve rather than joyful type), and depcts an old man sngng a

28 2 sorrowful song (2, p. 33). The theme of ths movement bears a strkng resemblance to a lttle known verson of "Nobody Knows the Trouble 've Seen" (Appendx G) n scale structure and melodc contour (3). t s not known, however, f Dett was nfluenced by ths verson n the wrtng of ths movement, or, for that matter, f he had ever seen or heard Perhaps t s the style and dom that Dett was tryng to portray t. rather than a specfc pece of musc, as t was Dett's msson to nclude and elaborate upon the Black folk dom n art musc. A predomnatng element n the theme and throughout ths movement s that of arch and balance. n the frst phrase, the steady upward movement n half notes of the melody n the frst three measures s counterbalanced by a stepwse descent n trplets n the last (see example -3). The entre theme reflects a macro-structure n ths manner as the melodc moton n the frst three phrases s predomnantly upward, and t s downward n the last phrase. There s further counterbalancng of melodc elements n Secton A' when the melodc contour of the theme s nverted (mm. 49-6). Note, however, the absence of the fourth phrase, and n ts place the extenson-transtonal materal. As mentoned before, the materal s derved from the frst phrase of the theme.

29 22 Example 6. mm p atempo semplce p.acce. atempo semplce un p o. pa ;clone, 4arg pa acel. Harmoncally, "Hs Song" s closely related to "Nght" n that Dett emphaszes chords bult upon the sxth scale degree. n measures 7 and 23 an augmented-sxth chord s bult upon the mnor sxth scale degree, and s used n a tradtonal manner, as a domnant preparaton. (n measures 4 and 3 the same chord s mpled n functon but s spelled dfferently and s n a dfferent nverson). n Secton A', the sxth scale degree s not used as the root of any chord untl measure 69 but n measure 58 plays a most mportant role as a passng seventh, affectng a tonczaton of (or temporary modulaton to, dependng upon one's pont of vew) F major. :

30 23 Example 7. mm )ne allarg. c: 78w 4t- F: 73 ts ' Of prmary mportance s the role of the sxth scale degree n Secton A" at measure (whch s now the flatted sxth scale degree as the movement has modulated to D major). As B-flat has been emphaszed throughout the movement t seems qute fttng that Dett would affect a bref toncczaton of t here. Example 8. mm. - t&*. ta t. cvh Y2V

31 HAPTER BBLOGRAPHY. Berry, Wallace. Form n Musc, Englewood lffs, N.J.: Prentce- Hall, nc., c Berry ponts out that ths devaton sometmes occurs n the mnor mode. 2. Dett, R. Nathanel. "n the Bottoms," The ollected Pano Works of R. Nathanel Dett, sutes reproduced from the orgnal edton publshed by. F. Summy o., J. hurch o., and Mlls Musc, Evanston, llnos: Summy-Brchard ompany, c Source of sprtual unknown. n performance, the seventh step was rased, but t s wrtten wthout the rased seventh step. 24

32 HAPTER "HONEY" "Honey" s a 2-part form (AB); however,, to assgn the label of bnary to ths partcular 2-part fbrm would be somewhat naccurate, because the two parts are motvcally unrelated (refer to Appendx ). The two parts of the movement combne to create an asymmetrcal form, wth Secton A (mm. -28) twce the length of Secton B (mm ). Secton A s further dvded nto two smlar sectons whch are separated from each other by a bref transton (mm. 7-2). Ths dvson of Secton A helps to balance the brevty of Secton B. Secton A ends n the tonc (F) and although Secton B begns there, t modulates to A-flat major (m. 36), after whch the key of B-flat mnor s hnted at, but there s no full cadence theren. nstead, n measure 39, a #v 6 T chord n the key of B-flat mnor resolves to V. 25 _

33 { 26 Example 9. "Honey," mm molto teneramente e cantable r express. a empo -t- - v b; v*7 r ten - u - to The domnant chord, however, s not resolved to ts tonc, but serves as a pvot chord n the subsequent movement back to F major whch culmnates n a perfect authentc cadence n that key, n measure 48. Example 2. "Honey," mm tf a tempo quas ec/o nj r. e p u express.,, 'll- 4 w -owusml,. ul lq

34 27 Allegro con bro quas echo r. e ( pp p A espress. ll'mm nam. AO L sf pz. :po- There s no actual restatement of Theme A, but the secton begnnng wth the last two sxteenth notes of measure 44 and extendng to measure 47 serves as both a coda and the rounded part of ths bnary form. Although there s no actual restatement of Theme A, the coda (whch s n the orgnal key) s based upon t and s related closely enough to t to be perceved as a restatement of t. As n other movements n the sute, the head motf s the source of motvc materals. t s used accompanmentally n Sectons A and B, and melodcally n Secton B. (See Appendx D for motvc dervaton.) As n "Nght" (and "Barcarolle"), the flatted sxth scale degree s emphaszed but not to so great an extent. t s mportant to pont out that n ths movement, the flatted sxth s merely emphaszed and s not used as a pont of departure as n the Prelude. t frst appears n Secton A (n measure 9) and, although t s stressed metrcally, t s only used melodcally. n Secton B (n measures 3 and 32), t s used

35 28 harmoncally as the root of a flat-v chord. The chord s emphaszed by means of repetton of the -bv chord progresson. n measure 35, the chord bult upon ths scale degree also appears as a V chord n the key of A-flat major. The flatted sxth scale degree s then used for the last tme n measures 43 and 44 as a pont of melodc pause, addng a small amount of tenson to the melddy before the fnal cadence. 'mussa-u- loom,&

36 ,.,{. t.,.. st.rydulfaw. latl );.r._... HAPTER V "BARAROLLE" "Barcarolle," n the style of hopn, s characterzed by the pervasve use of nnth chords, appoggaturas and appoggatura chords. Also characterstc of hopn's musc and of ths movement are the use of runs n the rght hand over the left hand accompanmental pattern, and the broad panstc range. The movement, n an ABA'B' organzaton, defes further formal ttle categorzaton. The second theme (mm. 2-56) s stated not n a contrastng key, but n the tonc, and s followed by a four-measure transton (mm. 57-6) after whch the frst theme, "A" (derved from the head motf), s restated. Note that A' s a sngle, not double, perod as was A. TABLE "Barcarolle," Thematc and Tonal Dagram (mm. -7) mm ntro. A B Trans. Rentro. A' (cont'd) T T T T The second theme, followng a 9-measure transton (mm. 7-79), s also restated as B' n a melodcally vared form. Ths statement of B' s also n the tonc, begnnng wth a tonczaton of the subdomnant, creatng a sense of departure from the tonc. There s no further 29

37 3 statement of the frst thematc group. Although measure 8-2 provde a coda effect, measures 95-2 (nstead of measures 8-2) have been labeled as the coda for three reasons: n measures 8-94 a varaton of Theme B s stated whereas measures 95-2 are only fragments of the theme. Another reason s the release of the "" pedal after measure 98. t has gven measures 8-94 a coda effect but ts release causes a break n the unformty, thus creatng the feel of a new secton. The last consderaton s the number of measures the coda would occupy f t encompassed measures 8-2. A 32-measure coda would consttute a dsproportonately long coda for a movement of ths length. TABLE Thematc and Tonal Dagram (mm. 7-2) mm Transton B' oda Transent T T Note that the coda serves a double functon, both as a coda and as a phrase extenson of B'. The transtonal materal n ths movement s of specal nterest. There are two transtons, the frst of whch (mm. 57-6) connects Theme B to Theme A'. Ths re-transton, derved from thematc group B, reflects a harmonc rhythm smlar to that n each of the thematc groups n that t contans no more than two harmones per measure.

38 ,,. -, d E <,.. - :.,.,...:, n --,,;;<-. -,;-a;;,,yq _;, awe;'-one,",a n - w 3 Example 2. mm dnt thlto tranqutll The second transton (mm. 7-79) connects Theme A' to B'. Motvcally, t s derved from motf H. Unlke the frst, ths transton has a rapd harmonc rhythm, contanng at least four harmones per measure n the frst fve measures (mm. 7-75). Ths transton s also nterestng n that t cannot be defned n terms of a specfc key, but may be consdered eventually as a chan of French augmented sxth chords resolvng rregularly nto one another. For example, the frst chord of measure 75 s an enharmoncally spelled French augmented sxth chord, but the augmented sxth above the bass (spelled as F) and the trtone (D-flat) resolve down nstead of up a sem-tone, and the remanng two ptches resolve normally, thus formng another French sxth. t s mportant to note that the bass resolves normally. The pattern s followed for the duraton of the measure, thus resultng n the chan whch ends wth a FR chord n major, whch resolves to the domnant of that key.

39 32 Example 22. mm Tempo updolce agrazoso Ths second transton assumes mportance also, because, even though t s not n a specfc key but traverses several, t s the one porton of the movement that s most defntely not n the key of major. Perhaps Dett uses ths secton to affect contrast, snce t was preceded by the restatement of Theme A (n the tonc) and wll be followed by a restatement of Theme B (B', also n the tonc). Also worthy of attenton are the comparatve lengths of the two thematc groups, and, consequently, the comparatve amounts of space they occupy wthn the movement. Note that each thematc group contans four phrases, but the phrases n Thematc Group B are twce the length of those Theme A (four and two measures, respectvely). Themes B and B' are sxteen measures n length and occupy sxty-four measures, whereas Themes A and A' are eght measures n length, and occupy only thrty measures. n Secton B', as n "Nght" and "Honey," Dett emphaszes the flatted sxth scale degree. However, n ths case, t does not assume NA

40 - 33 the harmonc sgnfcance that t dd n the Prelude. The flatted sxth (A-flat) n ths case s used repeatedly as an appoggatura to V, thus emphaszng the domnant. _,

41 HAPTER V "DANE" ("JUBA") "Juba" exhbts perhaps the most pervasve use of the Black folk dom wthn the sute. t s fashoned from a dance rhythm of the same name whch was popular wth the slaves and had ts roots n Afrcan musc. Reported by European travelers as early as the seventeenth century, the practce of "pattng juba" (or "juber" as t was referred to by some) evolved among the slaves because of the prohbton of the use of drums by slaves n the colones. Thus t compensated for the lack of a rhythm nstrument (4, pp. 4-43). Juba later developed nto an Ante-Bellum Lousana folk-dance, whch was the nspraton for ths movement. Whle lvng on the campus and teachng at Lane ollege n Jackson, Tennessee, Dett saw two boys playng outsde hs cottage. He captured the rhythm of the game and wrote "Juba." t was only after completng the composton that he found out that the game was derved from the Lousana folk-dance, and thus, gave the composton the same name (5, p. 6). The rhythm pattern n the left hand (,F2j), whch s present throughout the majorty of the movement, depcts the term "juba" whch s a stompng of the foot followed by two short claps of the hand n two-four meter (3, p. 33). The pattern was used to accompany dancng, and a fddler was usually present. Another nterestng feature of ths movement that draws upon the Black folk dom s the wdespread use of the nterval of a fourth n 34

42 35 the rght hand throughout Sectons A and A'. As was already dscussed, Dett states that the sprtual s unque n that t was born 'already harmonzed' and that hs research led hm to conclude that ts harmonzaton contaned more open fourths and ffths than was evdent n exstng records--a characterstc consstent wth the harmony present n Afrcan musc (2, p. 4). Also reflectve of the Black folk dom n ths movement s Dett's use of the pentatonc scale n the melody of Theme A. Although there s some controversy surroundng the belef that ts use s ndgenous to Black folk musc, there s evdence n support of ths belef (, pp. 5-6). "Juba" fts well wthn the boundares of formal ttle categorzaton, though not wthout some devaton. The movement s n ternary form wth the second theme stated n a contrastng key. Example 23. "Juba" mm. -8 (Theme A) Non Troppo Allegro ( 2-44 ) non le~al

43 36 Example 24. mm (frst ten measures of Theme B) ss 4 - S 'ft Yt 4. fs The one departure from conventonal ternary form s the statement of Theme B (mm ) n the subdomnant. n addton to ths reversed tonal relatonshp between the two themes, Dett once agan departs from conventon by begnnng Secton A' (mm. 57-8) n the supertonc (the relatve mnor of B-flat, the key n whch Theme B s stated). Theme A s, however, restated n the tonc (mm. 73-8) before the secton ends. Snce Secton A begns wth a statement of Theme A n the supertonc, ths segment (mm. 6-72) functons as a retranston or false recaptulaton to Theme A n the proper key of the tonc. t s nterestng to note that Secton A' (n G mnor) s related harmoncally to Theme B whch t follows, and motvcally to the statement of Theme A n the tonc whch t re-ntroduces.

44 37 n Secton A', the restatement of Theme A s abbrevated, wth some of the materal (mm. 7-3B) from Secton A deleted. Thus, the restatement of Theme A s only twenty measures long; whereas, the length of the ntal statement s thrty-eght measures. Ths justfes, however, the use of a rather lengthy coda (mm. movement. 8-3), whch balances the Although no thematc materal s present n the coda, the rhythm pattern that was present n the bass lne throughout Sectons A and A' (,Pj ) s dvded between the rght and left hands, alternatng wth a contnuous sxteenth-note pattern. A smlar dvson of ths rhythm pattern between both hands s also present n measures 7-28 of Secton A.

45 HAPTER BBLOGRAPHY. ourlander, Harold. Negro Folk Musc, U.S.A. New York and London: olumba Unversty Press, c Dett, R. Nathanel. "The Authentcty of the Sprtual," The Dett ollecton of Negro Sprtuals, thrd group, hcago: Hall and Mcreary, c "n the Bottoms," The ollected Pano Works of R. Nathanel Dett, Sutes reproduced form the orgnal edton publshed by. F. Summy o., J. hurch o., and Mlls Musc; Evanston, llnos: Summy-Brchard ompany, c Epsten, Dena J. Snful Tunes and Sprtuals, Urbana, hcago & London: Unversty of llnos Press, c McBrer, Vvan Flagg. R. Nathanel Dett: Hs Lfe and Works ( ), Washngton, D..: The Assocated Publshers, nc., c

46 ONLUSONS There are several characterstcs whch n combnaton contrbute to the cohesveness of n the Bottoms. Dett's use of a head motf s the strongest unfyng force wthn the sute. As shown prevously, the head motf (the rhythmc confguraton of whch s a part of the Black folk dom) s used accompanmentally as well as melodcally. The sute s further unfed by other uses of the Black folk dom such as syncopaton other than the head motf, and the melodc usage of scales wth a confguraton other than major or mnor, as was seen n the frst, thrd, fourth and ffth movements. Three of the movements share formal charactertstcs n that they may be categorzed under formal ttles. "Hs Song" s n bnary form, and "Nght" and "Juba" are ternary. There are, as dscussed earler, aberratons wthn the formal structures, and they are n the form of tonal, not thematc devatons. Whle "Hs Song" s monothematc, the other movements each contan two themes. A rather nterestng occurrence s that the second theme n the frst, thrd and fourth movements all begn n the tonc. As was mentoned n the ntroductory paragraphs, Dett's use of nnth and augmented sxth chords as well as appoggaturas and appoggatura chords s farly consstent throughout the sute. Hs penchant for chords bult upon the flatted sxth scale degree s evdent n more than one movement, as was seen n the frst, thrd, and fourth 39,_ e

47 4 movements. For example, n "Nght," the v chord s agogcally stressed n Secton A. n Secton A' a varety of chords bult upon the sxth scale degree are used. n Secton B' of the "Barcarolle" the V chord s stressed agogcally, and the same s true n Secton B of "Honey." The smlartes and contrasts n the n the Bottoms Sute have been combned by Dett n a manner that gves t dvergence whle mantanng cohesveness. The n the Bottom Sute (and Dett's musc n general) parallels more closely that of hs Romantc era predecessors than that of the era n whch he lved and composed. n the Bottoms and the musc of both Dett's European and Amercan contemporares do, however, share common elements. Of Dett's European contemporares, there are several who ncorporated the Black folk dom n ther musc although ther compostonal styles and Dett's were unrelated. Debussy n "Gollwog's ake Walk" uses a syncopated melody wth a steady bass, depctng a ragtme pano pece. Stravnsky n 92 wrote Pano Rag Musc as well as nstrumental musc n Ragtme style. There s, n Hndemth's pano sute of 922, a Ragtme fnale (3, pp ). t s nterestng to acknowledge what was takng place n the European compostonal manstream durng the tme that n the Bottoms was composed. n addton to mpressonsts Debussy and Ravel and the more tonalty-orented composers who exploted tonalty to ts lmts (such as Hndemth, Rchard Strauss and Scrabn) Schoenberg, Webern and Berg were actvely composng. "Juba" was composed n 92, the same year as was Schoenberg's Perrot Lunare, and Stravnsky's Sacre Du Prntemps was composed n 93, the year n whch "*WA-

48 4 Dett composed the remander of n the Bottoms. The dsparty between the styles of these composers and, that of Dett s obvous. n Amerca, at the tme that Dett was actvely composng, there was a movement toward Ragtme n whch large numbers of Black Amercan composers were nvolved. These composers had taken a style of musc that was essentally European and added an ethnc flavor to t, thus creatng a new genre, whereas Dett used the Black folk dom but mantaned the European style. n some cases he took the dom and expanded t to a larger form rooted n the European tradton. Although Dett was not a composer of Ragtme, t appears that he may have been nfluenced by ths new genre. There s such evdence n "Juba," wth ts steady-beat, eghth-note bass and syncopated melody n Theme A. Dvorak, who as mentoned earler nfluenced Dett wth hs use of the Black and ndan folk doms, encouraged Amercan composers to let the Black folk melodes be a source of nspraton to them, when he arrved n Amerca n the early 89's. Although he espoused the practce of usng the Black and ndan folk doms n larger forms, t s sad that the materal that he used cannot be desgnated exclusvely Amercan n character because "gapped scales and 'Lombard' rhythms are also promnent characterstcs of zeck folk musc" (, p. 23). Edward MacDowell (86-98) and Lous Moreau Gottschalk ( ) were two Amercan composers to whom Dett's compostonal style was closely related. MacDowell, who composed durng Dett's lfetme, beleved n composng n contnuous forms rather than wthn the constrants of tradtonal forms. Two of the movements of Dett's n the Bottoms ("Barcarolle and Honey") defy formal ttle categorzaton and

49 42 the remanng three are tradtonal forms but wth aberratons. Lke Dett's, MacDowell's style was Romantc. nfluenced by Greg, he made use of nnth chords, remote key modulatons and very full sonortes, often emphaszng the lower regster. n addton, he used Wagneran chromatc harmony, appoggatura dssonances and frequent enharmonc modulatons--characterstcs not as radcally employed by Dett. Hs musc, lke Dett's, was often programatc. He was not, however, as strongly nclned as Dett toward the use of the Black folk dom n hs musc. The dom s much more pervasve n the pano and nstrumental musc of MacDowell's pupl, Henry F. Glbert ( ), whose pano musc shows the nfluences of the cakewalk and of ragtme. Gottschalk, whose pano works were Romantc n style and closely resemble Dett's, also made use of the Black folk dom. Measures 7-86 of "Le Banjo" bear such a strkng resemblance to Stephen Foster's "amptown Races" that t s dffcult to beleve that Gottschalk was n France when t was composed and was therefore unaware of t (, p. 75). n constructon, "Le Banjo" bears somewhat of a resemblance to "Juba," wth ts steady eghth-note rag-type bass and the dvson of a steady sxteenth note pattern between the rght and left hands. n "Souvenr de Porto Rco" a specfc knd of syncopated pattern (emphaszng J and A), whch s beleved to be an essental component of "pattng juba," s present (2, p. 2-2). Lke Dett, Gottschalk made use of Romantc technques such as nnth chords,; a Wde panstc range, runs and remote key modulatons. Lke MacDowell, he made frequent use of the lower regster. Dett, n takng the Black folk dom and ncorporatng t n (or expandng t to become part of) a style rooted n the European tradton

50 43 has, along wth hs compostonal counterparts created a successful hybrdzaton of two genres, thus makng a unque and valuable contrbuton to muscal composton.

51 ONLUSONS BBLOGRAPHY. Htchcock, H. Wley. Musc n the Unted States: A Hstorcal ntroducton, Englewood lffs, N. J.: Prentce-Hall, c Longyear, Rey M. Nneteenth-entury Romantcsm n Musc, 2nd ed., Englewood lffs, N.J.: c. 973, Southern, Eleen. The Musc of Black Amercans: A Hstory, New York: W. W. Norton & ompany, nc., c

52 APPENDX A hart nformaton The nformaton suppled n the followng charts s a comprehensve representaton of the formal, tonal, harmonc and motvc elements n the movement. The formal nformaton s provded n the top porton of the chart. There s, however, some duplcaton of ths nformaton, at the bottom of the chart, whch wll be dscussed later. Each secton (and theme) s demarcated wth an upper case letter. Ths letterng begns anew wth each movement. Note that the appearance of a new upper case letter sgnfes the appearance of a new theme as well as a new secton. The nformaton regardng phrase lengths s suppled at the top of the chart, n the form of measure numbers, wth the measure numbers of each phrase bracketed together. nformaton regardng the tonal and harmonc structure of the movement s suppled n terms of key areas, chords and cadences (see Appendx for cadence abbrevatons and chord symbols). The level of a cadence s ndcated by a Roman numeral n the secton of the chart mmedately below the cadence type. At ponts where some modulatons occur and n nstances where there s harmonc ambguty, layered analyss s used. For example, n measure 65 of the Prelude, there s uncertanty as to the tonal level of the secton, snce there s no real modulaton to or cadence n another key. Therefore, the secton may be 45

53 46 analyzed n terms of D major, the orgnal key, and n terms of b and f-sharp mnor, because both ptches are metrcally and agogcally stressed. The layered analyss begns at measure 65 and contnues untl measure 73 when t s evdent that the movement s, once agan n the key of D major. Example 25. "Nght," mm (score) and mm (chart) A 2 " -- A VWr A _F Sect on Phrases Meas # Key Area ' q9 o 2 (z) hords VR 4;v' N v c v v:' V.. m -

54 47 Some chords are spelled one way but functon enharmoncally n another. Such chords are n parentheses and labeled accordng to the manner n whch they functon. there appears to be a V7 chord. For example, n measure 4 or "Hs Song," Snce ths chord functons as a #vgr (spelled enharmoncally), t s n parentheses and thus labeled. Example 26. "Hs Song," m. 4 (score) m. 4 (chart) accel. 4 mpled and non-essental harmones are also parentheszed. The motvc nformaton s located at the bottom of the chart and s dvded nto those motfs appearng n the rght and/or left hand(s). As mentoned earler, formal nformaton s also ncluded n ths porton of the chart. The formal and motvc nformaton n ths porton of the chart s consoldated so that each motf s labeled wth an upper case letter ndcatng the secton (and theme) n whch t s located, and a lower case letter ndcatng the motf's chronologcal appearance (and parallelsm between phrases). For example, motf "Ac" means that t s located n Secton A of a movement and s the thrd motf n the sute. Upper case letterng, demarcatng the sectons (an themes), as

55 48 mentoned prevously, begns anew wth each movement whle letterng for the motfs s contnuous throughout the sute. Transtons, ntroductons, and codas are lsted as such, along wth lower case letters (placed next to them n parentheses) sgnfyng the motvc dervaton (f any). All motvc and thematc materal referred to n the text s referenced by the label assgned to t n the chart. The nformaton suppled n the charts s n the same order and format for each movement. However, there may be occurrences n a movement that are unque or that requre further explanaton. Such exceptons are explaned below: Prelude As mentoned n the dscusson of the "Prelude" there are chords n Sectons A and A' that contan no thrd, and, therefore, cannot be analyzed accordng to qualty (mm. -34 and mm. 8-9, respectvely). These chords have been analyzed accordng to what the qualty of the complete chord would be n the key of D major. These chords have been placed wthn brackets. Hs Song t was not possble to dagram n detal the motvc structure of ths movement n the chart, because ths monothematc movement contans several confguratons of motf "c." The motf has been dvded nto two fragments, "cx" and "c," demarcatng the frst two and second two measures of the motf, respectvely. has been omtted from the dagram.) (The "A" demarcatng the theme As wll be dscovered by comparng measures -4 to measures 5-8, the "y" half of motf c s vared, thus,

56 " - 49 labeled "cy'." By examnng the dagram below one wll see the varous confguratons of both halves of motf "'," as well as parallelsm between phrases. Table. - "Hs Song": Breakdown of Motvc Fragments mm# Motf cx c c cx --- cx(nv.) cx2 Barcarolle Measures 7-75 are tonally transent, a qualty best dagrammed wth a layered analyss. The complex tonal structure of ths passage, however, rendered ts dagram too nvolved to be ncluded n the chart. t has, therefore, been provded below. (See Appendx D-). Symbols Used The followng symbols are used n the detaled charts of each movement of the. sute.. MOTV AND THEMAT NFORMATON Upper case letters - denote sectons and themes, begnnng wth "A" n each movement. Lower case letters (except x and y) - label motfs. The letterng s contnuous, from the begnnng to the end of the sute. (x and Y) - denote the frst and second halves of a motf. Subscrpts - denotes varatons on a motf. A frst varaton wll be labeled as "," a second varaton as "2," etc. (Note: f there s a varaton on a motf whch begns a theme, a varaton on the theme wll also be ndcated.) nv - motf s nverted.

57 5. HARMON NFORMATON Roman Numerals- ndcate the functon of a chord. Upper case Roman numerals ndcate major chords or trads and lower case Roman numerals ndcate mnor trads. Symbols: + - Augmented chord or trad. o - dmnshed chord or trad. Note: ntroductory materal, transtonal materal or a coda followed by a motf name n parentheses sgnfes that such materal s based upon that motf. - half dmnshed seventh chord. adences: P.A.. - Perfect authentc cadence. A.. - mperfect authentc cadence H.. - Half candence Note: Both the horzontal and dagonal slashes (-, ) are used to denote secondary functon chords such as secondary domnants.

58 APPENDX A BBLOGRAPHY. Arnold Schonberg. Structural Functons of Harmony (New York: W. W. Norton, 969). Layered analyss as descrbed n llustraton by Schonberg throughout the text s used n the charts. 5

59 - -ex d _T. f -- p E H.- 4- to,2 - ( - H- E SE.. LJ M J.. -r- cv Y 3. t" w r to O () H r-... "r. -- e -. u ) Z A ). m d f- 8 ' 4 +-w-- n. D o e e- " -V

60 R H Lt) H H 3 * o D u l Ea 6x 6 ) -4 t( L- '\ 4 pn cr l c rl r- Qe f' - a- t W co F F F L +2 H H d 6 V "

61 -s 4) (-.. L 5 L. r L L4!3 H c H s H f (, f!! {! ra E f u! -ol! v! t - M, rc a N n H H a 6 u4u f J f f f f { a es "w H -VN*ADAW*,-A ON PARMPNN NOW e Ln + r

62 ,.,:n.;tv. +, rat..' ns s... _, Y:n J,.V.-..,.. e;.... :,... =.. -tr.:_- x,.a ;r::-a... _,:. R, a...,r:-, rr :>' -- _ - +t RWf'': l _. _ tldb,. - w - qtr L r6o 4n e r ob. M L) L - rcs E, LU,-f xh ) rk <. "f = *Q 4. t a L m ao J n. U 3* L * >>=

63 4 Lg - L R~ J t ' _ ; s a l J u t E c v' {,- 6 r Et 45 -o -r- XL- L) LO) t' u V - E -{ 9 r N r v t! +

64 H t a~ '-J' M 3 l l A t co t f a m H L~ p r?' --- Al, Z N f a l t { t. f G. l J t : l R 4-4 X. z LU c ' SE t3 ' n r Q a:.c. w Q -d

65 4-5 Lp4 Ltt l >O y6 JJ -

66 . R ^ G3 f UV. r r f r- E 7 "., :. : P{ L[ S * ' 4 P ' e r- U H H -p > M E f 7<. W U 9 m as m L.U.. E 5.- Lr p M ~ st x r -)- c 4r H H t,«-cr K 9 t V,Ea 8 ;e: " O-e - - "O* u) gae- +L.. q Q - - Lr, Fs * a

67 A 4- d w t-.h~; -t H to H H H - G V F 4- -' '( ' 4 -' T ", LU. O.. 4 F F '( ' M ) +,,., r... _.: [ - Pk -- Q...,f M

68 rr, -... cog _ :.r.::.e, ; * -. f t s. e:wxwsx u,.>,c s ; - L f A { f L l t h- + a G t ' { E O S-t, A t 4) 7 '8 Pt U H t LUJ L E ts- r.v N f k l t4 c -r r) O 5- a) ) S.. re) F F H. L- ] Q- x H f "c M v - ~- 4 L..-- 'on N. MG} L... L Y -b TEE - U L U - c V U c >+ 4- D... L. 7 e -,,.. k, - t -, , 7,,- j- - WASP~,

69 MM f c J - a 4 :-- HHt cotw- J J- f J xz J H f u c

70 %9 Le [ H f- M! ar ') r --3 U t ) L. ; H YO WU H Pr,d O } o

71 . - - UO) a) n. U, > - LLJ a U),-.m r a to LJ...., E r - SLc-.c3Z V a - - r. d

72 r 4.r_' Pt!. { -r-- o r- r - S.- > c p LLL n -n L )--.L.s >) M*&~ s 6 &

73 ) - f '. E -.F :.' _.,. Ym"' 'r w. _ "-? 3Ks-, wwaa,-e.,=c.+ma+.w e.ra.-ed - e<+. m as 9 L r ca t.t t [ - F H f s P, H r- 4 f O Lp co t H t f f t UJ N9 -. P k -a 5 H a f { -td [ V z b4 H e { E 3 4 LL J J a a

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