Copland and the Folk Song: Sources, Analysis, Choral Arrangements

Transcription

1 Copland and the Folk Song Souces, Analysis, Choal Aangements -;)-'"." /",'", ",37 " ','.%(/J.. 'j',,, "'/'Jf,'", t' "-'#'6",'. ", c \f.;ij ".. '.-J''. by May A. Kennedy Duing the winte of 1950, Aaon Copland took a beak fom his wok on the Dickinson Songs to set a goup of Ameican foilc melodies. The five songs in Set and the subsequent five in Set (1952) have gained a pemanent place in vocal and choal epetoie. Pete Peas and Benjamin Bitten gave the wold pemiee of Set at the Aldebugh Festival on June 17, This was followed by the Ameican pemiee at Town Hall on Januay 28, 1951, sung by baitone William Wafield with the compose at the piano. Wafield and Copland pemieed Set on July 24, Copland late aanged both sets of songs fo medium voice and small ochesta. Stil1late, vaious composes ceated divese choal aangements. Copland entitled the sets Old Ameican Songs (Set Boosey & Hawkes, 1950; Set Boosey & Hawkes, 1954). became inteested in locating Copland's souces and compaing the oiginals with his settings. Would the oiginal melodies and lyics be etained, o would thee be alteations? What types of accompaniment would Copland ceate? Would the song settings contain any hallmak devices of Copland's style-any "Coplandisms?" Would thee be noticeable diffeences between sets and? And what about the choal aangements? Would they be faithful endeings of the Copland settings? This aticle seeks to addess these questions with a view to poviding useful backgound fo pefomes and choal diectos. May Kennedy is a doctoal student at the Univesity of Washington, Seattle, while on sabbatical fom he position as Music Diecto at St. Andew's Regional High School in Victoia, Bitish Columbia, Canada. MAY 1999 Souces Copland selected his ten songs fom a vaiety of souces. The Hais Collection of Ameican Poety and Plays, Bown Univesity, povided thee of the songs The Boatmen's Dance, Long Time Ago, and Ching-a-ing Chaw. 1 Anothe thee wee taken fom folk-song collections The Dodge fom Ou Singing County, 2 The Little Hoses fom Folk Song USA, 3 and Golden Willow Tee fom a Libay of Congess ecoding. 4 An additional thee wee dawn fom eligious collections Simple Gifts, a popula Shake tune, fom a book on Shake ituals, songs, and dances by Edwad D. Andews,5 Zion's Walls fom Down East Spiituals, 6 and At the Rive, fom one of many possible hymn collections, among them the Ocean Gove and United Methodist hymnals? The final song, Bought me a Cat, was taught to Copland by playwight Lynn Riggs, who had sung it as a boy in Oklahoma. s The goup of ten melodies epesents seveal distinct song types. Two ae dawn fom the epetoie of minste1sy-the Boatmen's Dance and Ching-a-ing Chaw--while thee have eligious themes-simple Gifts, Zion's Walls, and At the RiVe] Two can be classified as ballads-geen Willow Tee, a taditional Anglo-Ameican stoy ballad, and Long Time Ago, a lyical ai-while anothe two ae childen's songs- Bought me a Catand The Little Hoses. The tenth song, The Dodge, is a political campaign song. The vaiety of song types and themes makes an engaging collection fo compose, pefome, and listene. Although all of the songs have fo11c-like chaacteistics-the expessions of common folk head in the lyics and the simple, stophic natue of the melodies-not all ae stictly taditional folc songs.1 Fou of the songs have known composes. The Boatmen's Dance ("De Boatmen's Dance") was witten in 1843 PAGE 17

2 by Daniel Decatu Emmett, bette known as the compose of Dixie. Long Time Ago ("Nea the Lake") was witten in 1837 by Geoge Pope Mois (lyics) and Chales Edwad Hon (music). The similaities in the "long time ago" esponses with those of the sentimental "black-face song," Long time Ago (1833), point to a fank deivation by the Mois/Hais collaboation fom the ealie tune. Zion's 'Walls, a evivalist song, is cedited to John G. McCuy, compile of the Social Hap. He composed the song and dated it At the Rive was witten by the Rev. Robet Lowy. The Copland edition dates the song fom 1865, while the Methodist hymnal lists The emaining six songs ae pue folk mateial, in that the authos of the lyics and the composes ae anonymous. Analysis Teatment of Tunes and Lyics Fo the most pat, Copland etains the oiginal tunes and lyics. Alteations seve to update o povide politically coect lyics, to add hythmic vaiety o punch, to ceate a musically pleasing whole, o to contact a longe song into one of moe Copland High ow the boatmen ow Floatin' down the ive, the Ohio The boatmen dance, the boatmen sing The boatmen up to ev'ything And when the boatmen gets on shoe He spends his cash and woks fo moe Then dance the boatmen dance o dance the boatmen dance o dance all night 'til boad daylight And go home with the gals in the moning manageable length. This being said, thee ae exceptions and supises. Copland execises his ceative impulse, paticulaly in Set. The Boatmen's Dance Copland uses stanzas 1, 3, and 6 of the Hais Collection Song #32 and emoves the dialect. "De" becomes "the," "eby" becomes "evey," etc., (Figue 1). He is faithful to the oiginal melody, only inseting syncopated hythms in measues 3 and 6. The Dodge Copland selects thee stanzas fom the oiginal, #1, #4, and #7. The wods and the melody ae etained. Howeve, Copland altes the hythm. He elongates the fist note of each stanza and the fist note of the thid phase. He adds syncopation on "look out boys" and slows down the chous by doubling the majoity of the note values. Long Time Ago n this lyical ballad, Copland is faithful to the oiginal. One might judge the decoated cadences to be poducts of Copland's invention, bu they ae indeed pesent in the souce vesion. Simple Gifts n compaing the facsimile of Simple Gifts epoduced in Music Educatos Emmett High ow de boatmen ow Floatin' down de ive, de Ohio De boatmen dance, de boatmen sing De boatmen up to eby ting An' when de boatmen gets on shoe He spends his cash an' woks fo moe Den dance de boatmen dance o dance de boatmen dance o dance all night till boad daylight An' go home wid de gals in de moning Figue 1. "The boatmen's dance," chous and fist stanza of the Emmett and Copland lyics. Figue 2. "The little hoses," m Jounal 9 with Copland's setting, one finds again that Copland is extemely faithful to the oiginal tune and lyics. 9 Bought me a Cat This song pesents an inteesting poblem. Since Copland leaned it fom the playwight Lynn Riggs, one has no way of veifying whethe Copland made any changes in his setting. What one can say, howeve, is that this nonsense song is found in many othe souces, a notable one being the vesion included in Ameican Folk Songs fo Childen. 10 Despite the fact that one can tell this vesion is a vaiant of the one employed by Copland-simila wods, stuctue, cumulative aspect, and melodic popetiesyet thee ae both melodic and lyic diffeences between the two. Copland states his souce as emanating fom Oklahoma, while the Seege vaiant oiginates in Akansas. An investigation of the vaiants of this childen's nonsense song would be necessay in ode to locate the vesion used by Copland. The Little Hoses With Set, Copland begins to take inceased libeties with the folk songs. n this fist numbe of the second set, Copland makes changes to the fom, the wods, and the melody. He chooses to epeat the middle section of the stanza "blacks and bays... "-in each case athe than finish the stanzas with the "hush you bye" section as in the oiginal. He efains fom using the second stanza of wods, adapting instead the fist stanza fo use as his second. The most emakable change, howeve, is in the melody line, whee in the second stanza Copland aises the pitch of the wod "coach" a majo second and elongates it, ceating a sense of dama and climax (Figue 2). He epeats this in the coda, just to show us that the fist instance was not a mistake. Zion's Walls Copland tanfoms this Chistian evivalist song into a Judeo-Chistian one by eplacing "the paises of Jesus" with "the paises of Zion." He extends the oiginal melody by epeating phases and including a final phase a fifth highe than the oiginal. This allows Copland to inset an intelude in anothe key (Ai> majo). Copland etuns to the oiginal key (F majo) to have the singe pesent his oiginal countemelody. Mte anothe PAGE 18 CHORAL JOURNAL

3 bief intelude in M, the piece concludes in F majo with a estatement of the evivalist tune by the singe. Golden Willow Tee Copland's Libay of Congess ecoding souce tuns out to be a vaiant, #101 to be exact, of the child ballad, The Golden Vtini/) documented in The Taditional Tunes of the Child Ballads. 11 This vaiant was sung to banjo accompaniment by Justus Begley of Hazad, Kentucky, and ecoded by Alan and Elizabeth Lomax. Copland collapses the eleven stanza ballad to seven sections, some obviously longe than othes, and some sepaated by inteludes. Despite textual omissions, this song is still the longest in the collection. Copland is faithful to the melody at fist and then begins to make alteations that include seveal modulations. He ceates a poweful climax in section five with the use of ambiguous tonality within a G key signatue. He then etuns to the oiginal G-majo tonality fo the concluding section. The esulting setting has an "atsong" feel. At the Rive Copland sets stanzas 1 and 4 of the Lowy hymn. He etains the melody except fo one notable change. The last note of the vese is aised to the thid degee of the scale, athe than closing on the tonic. This gives fowad motion to the melody, popelling it ahead to the chous. Ching-a-ing Chaw Copland changes emotionally chaged wods and meanings. He altes the wod "dakee" to "lakee" and estuctues the wods aound the theme of the pomised land, wheeas the oiginal efeed to the epublic of Haiti as a potential haven fo nego slaves. He takes the essence of the tune and eodes phases fo his own puposes, adding a coda with a shout at the end. Types of Accompaniment n examining the accompaniments fo Copland's Old Ameican Songs, one notices thei vaied natue, fom the simplest banjo style to the lyical quality of Long Time Ago, to the inventive countepoint of Zion's Walls. Rathe than discuss each accompaniment individually, will addess the issues of function and inteest, efeing to the vaious songs as appopiate. MAY 1999 With egad to function, Copland's accompaniments seve many puposes imitation of instuments, ceation of mood, mioing of text, and povision of hythmic dive. Copland himself alludes to the imitation of instuments in volume two Modeately fast (J =100) mp "f \ l\iuslc ]J)lRECTO/ORGANJST i Fist PeshYteian Gllu'cl Glen Eliill llinois gadually Jaste gadually Jaste l., A CTVE, 120Q-membe chuch seeks full-time Music Diecto/Oganist. The successful applicant will be a committed Clu'istian witil eal)eience in chuch music. A gaduate degee in chuch music! choal conducting is equied, togetiw with a stong poficiency in classical ogan. Position involves woking with adult choi,!;aded childen's cllois, and handbel1s. Possible combination witil anoti1e music pofessional. Fo infomation o to submit eslll1e, contact Janet Moses Fist Pesbyteian Chuch Glen Ell), L Telephone 630/ of his autobiogaphy. " composed the accompaniment [of The Boatmen's Dance] in imitation of minstel banjo playing" (Figue 3).12 Thee othe songs, The Dodge, Bought me a Cat, and Ching-aing Chaw, make use of this banjo style. the the boat men Figue 3. "The boatman's dance," ffi ERY ACTVE, 1000-membe VUnited Methodist Chuch in San Diego, Califonia, ich in taditional and contempoay woship styles, seeks an oganist with a complete backgound in classical chuch ogan and choal liteatue. The sanctuay includes a 21-ank, 1400 pipe, 3- manual and a pedal division Reute pipe ogan and a 7 -foot Steinway gand piano of supeb quality. Oppotunities o expand into leadeship with the pesent gaded handbell, choal, and fine ats pogam, including pivate lessons, ae available. Position will emain open until filled. Send esumes to Foothills United Methodist Chuch, 4031 Avocado Blvd., La Mesa, Califonia 91941, Attention Caol Paton, Diecto of Music Ministies, o Rev. John Faley, Senio Pasto. Phone 619/ Fax 619/ foothillsm@aol.com. Kapelhneiste Choi Stools Kapellmeiste Entepises, nc. Custom Designed & Built Single & Double Height Choi Stools Tamaack D. - St. Helens, Oegon (503) PAGE 19

4 The most stiing examples of mood setting occu in Long Time Ago, whee the deamy accompaniment ceates a pastoal tone that matches the lyics (Figue 4), The Little Hoses, whee the open fifths and sixths ceate a sense of stillness appopiate to a lullaby, and At the Rive, in which the plodding chodal accompaniment gives the feel of a host of woshippes malcing thei way to the ivebank. Text painting occus fequently. n vese l Modeately slow ()=76) ;i f i OJ - _L 11 p On the lake whee doop'd the wil-low t -.t -.t -.t 11 legato.. OJ!e * OJ thee of Long Time Ago, the ippling accompaniment echoes the "flowing wate" of the text. Simple Gifts has an instance nea the end whee the epeated octaves in the ight hand match the "tuning, tuning" lyics in the vocal line (Figue 5). Bought me a Cat playfully depicts the sounds of the vaious animals in the text (Figue 6). Both vocal pat and accompaniment shae in this imaging. n the Golden Willow Tee, Copland eflects the f=f=i l mp (;oco it. i Figue 4. "Long time ago," m. 1-8.!tempo =-- 11,/'i\... Long time a - go - ;;;--- -.t -.t! OJ -.t * * * a - shamed To tum, tum t;n be ou de - light 'Till it. l.-...1' ".' f =- 1!'P p tm-ing, m-ing we cme ound i.j!ht. OJ E t 1\ " =---= Figue 5. "Simple gifts," m y convesation between a young boy and an olde man by modulating upwads when the man begins to speak. Late in the same song we hea the boy swimming "down so low" as the ight hand of the piano plays descending pefect fifths. The singe enhances this image by descending to a low G on the final note. The piano pat of At the Rive is a contempoay wa1lcing bass. Half-note chods in the ight hand ae paied with a descending halfnote bass line to epesent the woshippes maching to the ivebank. Copland uses the piano pat fo hythmic dive in many of the songs. Sometimes the stong halves of beats will be accented, as in The Boatman's Dance (Figue 3), Zion's Walls, Golden Willow Tee, and Ching-a-ing Chaw. n othes, like The Dodge, accents ae placed on weak beats (Figue 7), Still othe songs, such as Bought me a Cat and At the Rive, have accents in both places. Copland uses the accompaniment to ceate inteest. While adheing faily closely to the oiginal folk melodies, Copland insets just enough mete and tempo changes to make his collection unique and sustain the audience's inteest. A chaming example of mete change occus in Bought me a Cat. n this cumulative song, each vese begins in mete, changes to mete fo the animal esponse(s), and etuns to fo the punchline "my cat says fiddle eye fee." The esulting uneven hythmic flow ceates an element of supise that makes this song effective. Copland uses tempo changes to advantage in The Little Hoses. The fist section is set at a slow, delibeate tempo befitting a lullaby. When the singe begins the section "blacks and bays," the tempo begins to incease in a hythmically pecise way to depict the movement of the coach and hoses. t becomes even faste with the second endition of these lyics, slowing down at the conclusion of the vese. Copland uses these tempo changes to enliven the lyics and ceate momentum. Copland composes countemelodies to enich the simple folk tunes fo example, Zion's Walls, whee the countemelody becomes an inticate pat of the accompaniment and the voice pat. Copland intoduces both tunes duing the intoduction and follows this with a stong statement of the evivalist tune in PAGE 20 CHORAL JOURNAL

5 both voice and piano. The second statement gives the countemelody to the voice, while the piano states both melodies. n the thid statement the voice etuns to the evivalist melody, while the piano has octaves with tiadic figuations. The esulting song is bold, stong, and stiing. Coplandisms n studying the scoes of the OfdAmeican Songs, was stuck by the numbe of instances in which these settings seemed to be "classic Copland." Copland is known fo his spaing use of mateials. Often, melodic fagments of the tune will be used to constuct the intoduction, as in The Dodge and Simple Gifts. Copland wites exteme egistes and widely spaced chods (The Boatmen's Dance, Long Time Ago, Simple Gifts, and The Little Hoses). Zion's walls uses open octaves and widely spaced chods in the thid statement of the tune (Figue 8). Copland uses hythmic dive and accent to ceate tension and sustain audience inteest in his songs. A stiking example occus in The Little Hoses, whee Copland ceates a counte melody in opposition to the vocal pat in vese two. The teble egiste of the piano begins the countemelody two measues ahead of the voice enty, effectively displacing the nomal accent (Figue 9). Copland uses melodic and hamonic clashes. An example comes fom Bought me a Cat, whee Copland insets a mino second clash on the duck's "quaa, quaa," and the goose's "quaw, quaw" (Figue 6). At the Rive has an accented leading tone octave in the bass pitted against the tonic thee times. Copland fequently wites paallel octaves, fifths, and thids. Octaves ae pominent in The Boatmen's Dance, Simple Gifts, The Little Hoses, Zion's walls, and Geen Willow Tee. Fifths play a pominent ole in The Little Hoses and thids in the bulk of the songs. Copland's deft odeing of the songs balances tempi and emotion in a way that sustains inteest and is aesthetically pleasing. Both sets begin with a slow numbe (in the case of The Boatmen's Dance, a slow section), move to a fast numbe, include at least one slow song in the middle, and conclude with a fast song. Balance apat, thee is a qualitative ) 1 AJJ, JJ, JJ, JJ, f.. f.. f.. f.. f.. > hen says "Shim - my shack, shim - my sack" My goose says "Quaw, ;. ;. (dy) w----= > (ff) > > > P f.. f.. duck says "Quaa, quaa" My cat says fid-dle eye > > (ff) (ff ) p - > > Heavy, not too fast cd =96-100) Figue 6. " bought me a cat," m > ;; -&.i.i if heavy stacc. (banjo style) > > >---=--.. > > > ff ff exaggeate all U'.accellls A Figue 7. "The dodge," m.l-4. iff (softly) Come ;!d-'" fa - thes and na - thes come,..--. """ 1";;. -.;,.;. Figue 8. "Zion's walls," m. 41ii42. As at fist (slowly) =- -- p '-'" Hush you bye, Don't you cy, '""' ff = =- iff =- P Figue 9. "The little hoses," m. 20fi24. * fee. t\.. > quaw" > (ff) > My i.i > >....,. -'-' MAY 1999 PAGE 21

6 diffeence between Sets and. Although both ae easily accessible, Set pesents a moe eflective and intepeted style. Copland indulges in moe textpainting in this goup and allows himself the luxuy of modulations. He composes st Fabics including Pemanent Pess and Wash & Wea. Supeio Quality. Fee Colo Catalog and Fabic Swatches on Request. Guaanteed Satisfaction. Toll Fee oiginal countemelodies (Zion's Walls), altes wods to be politically coect (Ching-a-ing Chaw), and eaches the heights of the at-song with Golden Willow Tee. Choal Aangements Choal aangements have been made fo nine of the ten songs. (Golden Willow Tee has no choal aangement.) Copland's fiend and colleague, ving, cafted many of the aangements, while R. Wilding-White, Ken Stake, and Glenn Koponen povided the est. As Boosey & Hawkes has sole ights fo Copland's music, they ae the publishes fo all the aangements (Table 1). One voicing of each aangement has been selected fo discussion. was inteested in detemining if they wee faithful endeings of the Copland settings and in discoveing ones suitable fo school-age singes. All nine etain the oiginal melody and Copland's accompaniment. The Boatmen's Dance (TTBB & solo) a. ving assigns the intial boatman call to a solo baitone and has the chous ente on the second statement. The soloist etuns to sing veses one and two of the fast section, with the chous handling vese thee. This is appopiate since Copland changes the accompaniment figuations in vese thee. has the two bass pats tade off the melody duing this vese. The soloist etuns fo the coda, with the final statement of the boatman call. This aangement is effective though beyond the each of most high. This is you chance to puchase you own copy of Rock Choal, the video. 43 of the wold's top choal goups pefoming amidst the spectacula beauty of Newfoundland and Labado, Canada. Ove 1500 voices stong, they came fom 10 counties to paticipate in Festival 500, Shaing the Voices. This one-hou pefomance documentay chonicles thei stoies. Bing the celebation into you home. Ode Rock Choal today and expeience a once in a lifetime event that will leave you applauding again and again To ode, call toll fee in Noth Ameica o visit ou website at Visa, Mastecad, Amex accepted. $9.95 Shipping and handling chage. PAGE 22 CHORAL JOURNAL

7 school chois due to teno and bass tessitua. Table 1. Choal Aangements (Boosey & Hawkes) The Dodge (TTBB & solo) Title Aange Voicing Numbe a. ving sets this song in simila fashion- The Boatman's Dance SATB OCTB1904 a baitone soloist suppoted by a foupat TTBB (solo) OCTB1908 male chous. Stanzas one and two ae begun by the soloist, adding cho- The Dodge TTBB (solo) OCTB1909 us humming in stanza two, and end with the full chous. allots the melody to ong Time Ago Stake SSA OCTB5423 the baitone section in the thid stanza SATB OCTB1906 and altes the final fou-pat chous witing fo vaiety. With only a few top G's imple Gifts SNTB OCTB1903 fo tenos and no note highe than a D fo baitones, this aangement suits high Bought me a Cat Stal(e SSA OCTB5338 school male voice anges nicely. SATB(solos) OCTB1905 Long Time Ago TTB(solos) OCTB1910 (SATB) a. ving The Little Hoses Wilding-White SA OCTB5508 begins this aangement with fou-pat homophonic witing, etaining the oiginal cadential onamentation in the melody line. n stanza two, tenos and basses ente fist, with tenos caying the melody. Sopanos and altos ente a half beat late, poviding hythmic movement in opposition to the melody. wites a beautiful sopano obbligato in mm , effectively painting the text "high and low." Stanza thee is set fo SA, and stanza fou etuns to the style of stanza two with slight vaiations. Ranges in this aangement ae well within the capabilities of high school chois. The challenge is to sustain the ion's Walls ttherive Ching-a-ing Chaw Wilding-White Koponen Koponen Koponen Wilding-White. Wilding-White Wilding-White Wilding-White Copland. TTBB SATB SSAA TTBB SA SSA SATB TTBB SSAA SATB TTBB OCTB5510 OCTB6070 OCTB6071 OCTB6072 OCTB5511 OCTB5512 OCTB5513 OCTB5514 OCTB5025 OCTB5024 OCTB5518 long deam-like phases. Simple Gifts (SA o TB) a. ving n Simple Gifts, uses many of the same techniques as he did fo The Boatmen's Dance. He has the sopano and alto tade off the melody in the second vese and gives the alto a epeated "tuning" pat at the end of vese one. t is possible to use this with mixed voices o as Unson. Bought me a Cat (SATB & solos) a. ving does an excellent job cafting a lively mixtue of solos, duets, and fouvoice sections, always keeping the last phase hamonies the same fo ease of leaning. He balances vese thee with the last vese, giving the bass and the sopano the same countemelody, one section in each vese. maintains momentum thoughout by constantly changing the pats that sing the melody o esponses. High school chois can handle this aangement nicely. The Little H01"Ses (SA) a. R. Wilding-White Wilding-White matches the simplicity of Copland's open fifths and sixths with a unison opening fist statement. The aange adds a simple countemelody to the second statement of the tune and moe movement in the B section, ending with a unison descending passage. Fo vese two, Wilding-White takes inspiation fom Copland's own piano countemelody and constucts a haunting descant of fifths and octaves. A change occus at the climax whee Wilding-White adds a lowe neighbo appoggiatua on the wod "coach." The simplicity of the Copland setting etuns as Wilding-White ends the aangement in unison. Middle and high school equalvoice chois would do a nice job with this aangement. t is equally as effective with men's as with ladies' voices. Zion's Walls (SATB) a. Glenn Koponen Koponen cafts an effective aangement. He begins with sopano alone, followed by SA and then SATB in unison befoe the pats beak into hamony. He ceates hythmic dive in mm and again in mm in two ways fist, by setting the tenos and basses in hythmic opposition to the alto melody, and second, by witing a lilting sopano obbligato that is an offshoot of the main MAY 1999 PAGE 23

8 LUMNAMUSC Featuing enduing, meaningful texts set to povocative, oiginal music. Buy one. Copy foeve. DRECTOR. OF MUSC Tinity Luthean Chuch Lilbun, Geogia THE FFTH lagest ELCA (Luthean) congegation in Geogia is seeking a Diecto of Music who is also an oganist and keyboad musician (1986 ten-ank Zimme Pipe Ogan; Yamaha Clavinova with built-in enhance). Position involves woking with adult and youth pogams (vocal and instumental). Bachelo of Music degee O equivalent expeience. Stong planning and oganizational skills needed. Expeience with litugical sevices a plus. Job desciption may be viewed on the web atwww.tlclilbun.og. Send esume and salay equiments to Tinity Luthean Chuch, 1826 Killian Hill Road, Lilbun, GA No phone calls, please. melody. The high tessitua fo the sopano demands an olde high school goup with stength and technique, but it is suitable fo this age ange. At the Rive (SSA) a. R. Wtlding-White Wilding-White daws much of the hamonic mateial fom Copland's accompaniment. A notable exception to this occus in the chous, whee the alto pat has a countemelody that begins two beats afte the main melody, sung in thids by sopano and. Wilding-White has the alto imitate the dotted-eighth-sixteenthnote hythm pesent in the main melody. This aangement is suitable fo use in middle and high school. Howeve, the emotional intensity equied to pesent a convincing pefomance will demand a thoough undestanding of the piece. Ching-a-ing Chaw (SATB) a. ving sets this song in much the same fashion as Bought me a Cat. He extacts fagments fom the oiginal melody to constuct countemelodies. Fo example, he assigns sopanos and altos the "chinga-ing" hythmic figue while tenos and basses sing "you don't need to fea." He altenates homophonic passages with countapuntal ones, ceating a delightfully engaging aangement fo SATB chois. Conclusion At the outset of the aticle, seveal questions wee posed. As we have seen, Copland etained, fo the most pat, the oiginal melodies and lyics in his settings of the Old Ameican Songs, making alteations solely to suit his own atistic puposes. The accompanimants he fashioned 1999 Summe Augsbug Fotess woshty & Music C Exciting new wokshops and eading sessions with music clinicians Millilyn COllie Kathy Eblill1-TJl0me Badley Ogan, Piano and nstumental music Childen's Choi Handbells Handbells Choal Music Plus D ntoduction of long-awaited new congegational song esoues D Hymn Festival with Timothy Albecht and Fank Stoldt D mpotant new wokshops fo woship plannes,educatos,and altq guilds! Fidley, MN - July Columbus,OH..;..Aug Columbia, SC-July Schaumbug; u... Aug.ll-12.. '* Mece sland,. WA - Aug. 6-1 Phoenixville, PA - Aug13-14 *No handbell sessions atthis session.frf;e!no Peegi$tationC!quiedCa180f).2';4648 toqustclinicbochue o visit.ou website! AublxgF()tess. PAGE 24 CHORAL JOURNAL

9 ae inteesting, vaied, and functional. "Coplandisms" ae appaent eveywhee, fom the "customay economy of means,"13 the employment of egiste extemes and widely spaced chods, the play with hythm and mete, the utilization of melodic and hamonic clashes, to the inclusion of chaacteistic intevals. With egad to diffeences between the two goups of songs, Set pesents a moe eflective and intepeted style. Vaious aanges have tansfomed the songs into aangements that ae not only faithful to Copland's solo settings but also eminently suitable fo school age chois. Thus a potential ecital-hall audience of a few hunded has been expanded to include thousands of young people who can come to lmow ten songs fom thei Ameican heitage. With the Copland centennial appoaching in 2000, pogamming these delightful songs on a solo ecital o on a school concet is appopiate. n addition, delving into the backgound of the songs can be a pofitable and educational endeavo fo school music students. would encouage teaches to conside building teaching units centeed on the Old Ameican Songs fo example, eseaching Copland's souces and his style, tacing the histoy of Bought me a Cat, consideing the impotance of minstelsy in the development of Ameican music, discussing the pos and cons of being politically coect musically, and examining the use of Simple Gifts in Appalachian Sping. Howeve, exposue to the songs in pefomance will bing its own ewads. Childen, teens, and adults will continue to find enjoyment though contact with Copland's chaming collection. Notes S. Foste Damon, ed., Seies of Old Ameican Songs, epoduced in facsimile fom oiginal o ealy editions in the Hais Collection of Ameican Poetly and Pose (Povidence, R Bown Univesity Libay, 1938). 2 John A. Lomax and Alan Lomax, Ou Singing Countly A Second Volume of Ameican Ballads and Folk Songs (New Yok MacMillan Company, 1941), John A. Lomax and Alan Lomax, Folksong USA (New Yok Duell, Sloan, & Peace, 1947), Aaon Copland, OldAmeican Songs, Second Set. (New Yok Boosey & Hawkes, 1954), ntoduction. S Aaon Copland, Old Ameican Songs, Fist Set. (New Yok Boosey & Hawkes, 1950), ntoduction. 6 Geoge Pullen Jackson, ed., Down-East Spiituals and Othes (New Yok J. J. Augustin, 1943), 21l. 7 Ocean Gove Edition of the Cokes buy Woship Hymnal (New Yok Abingdon Pess, 1938), #202, and UnitedMethodist Hymnal (Nashville, TN The United Methodist Publishing House, 1989), # Aaon Copland and Vivian Pedis, Copland Since 1943 (New Yok St. Matin's Pess, 1989), Salli Tei, ''The Gift of Shalce Music," Music Educatos Jounal, 62 (1) (Septembe 1975) Ruth Cawfod Seege, Ameican Folk Songs fal' Childmz (New Yok Doubleday, nc., 1948), Betand Hais Bonson, The Taditional Tunes of the Child Ballads, Vol. 4 CHORALWEB PUBLSHNG NC. hhp/ Toll Fee 877-WEB-MUSC o Music Though the ntenet View, Listen, Puchase and Download Choal, Handbell, Keyboad, and Solo Vocal Music ove the ntenet See THE BLACK FOLDER on ou website Shadow Pess pesents the music of Elliot Z. Levine (of The Westen Wind) A new 35-minute wok fo Chistmas The Cantata of the Animals chous, soloists (fom chous), fl, ob, vc, handbells Libetto Jabez Van Cleef Pefonned at Povidence, R.L - ACDA 1998, by Hannonium. Also by Westminste Singes, Yale Cameata, & Tokyo Voices. Fo sample & tape contact tel/fax 212/ Shadowpess@hotmail.com tem Quantity Unit Pice Total Pice Bumpesticke Lapel Pin Coffee Mug Desk Folde wi Pad of Pape Golf Shit,. White 'Golf Shit, Blue. Golf Shit,W1ite w/colla & Stiped Sleeve Black Nylon Music Biefcase Soft. Bliefcase.@ $ '@ 65,00 'TtaPuchase YeSSend mtheitenis lia ve inclicated above. Nane Steet Addess City State Zip Code Telephone ( ) Enclose pepayment with ode. Make check o money ode payable to ACDA. Scnd 10. Boutique tems ACDA P. O.Box 6310 Lawton, okj MAY 1999 PAGE 25

10 -1L TRNTY LUTHERAN SEMNARY SUMMER MUSC COURSES -Week, 3-Week Couses June 14 - July 2,1999 Gaduate Cedit June 14-July 2 (thee weeks) Chuch Histoy - John Keven Peson in Ministy - Leland Elhad Litugical Choi - May Schwaz June (one week) People's Song Leading - Alice Pake June (one week) Childen's Chois - Amy Chivington Hymns Old and New - Caol Doan June 28-July 2 (one week) Music & Theology - Walte Bouman Fo moe infomation, contact Pof. May Schwaz, Diecto, MACM pogam Tinity Luthean Seminay 2199 E. Main St., Columbus, OH Phone (614) Fax (614) music@tinity.capital.edu (Pinceton, Nl Pinceton Univesity Pess, 1972), Copland and Pedis 13 Neil Buttewoth, The Music of Aaon Ellison Tous Tous piced in Canadian $ Fo infomation contact Heathe at (Can. / U.S.A.) heathem@ettave1.com o visit ou website at Copland (Glouceste, UK Toccata, 1985), C]- (Fom the Executive Diect01; continued fom page2.) academic pusuits, he is Diecto of Music at Univesity Pesbyteian Chuch, Austin. We welcome Caoll to this vey impotant position. Gene Books (hom the Pesident, continued fom page 3.) beathing life and significance into music, to have a pat with them in the mutual accomplishment of high atistic ends, to see them gtow in sensitiveness to the efinements of pefomance and in the appeciation of what is tue and enduing in at- cannot believe that many occupations offe geate ewads. James A. Mooe ULD A LBRARY OF fhoral EXPERTSE Though the luediulu of' video, ACD.A on Location bings you the expetise of' distinguished choal conductos as they lectue, ehease, and pef'olu. ""V <0>]1 lui llill1 e 1 focuses on teaching and leaning in the childen's choi with the Glen Ellyn Childen's Chous and its music diecto emeita, Doeen Rao. Rao demonstates the pinciples of developing musicianship and selfesteem though choal music expeience. "'i.t co> ilu 11l!l!l e 2 is an inteview with the late Howad Swan, 1987 ACDA National Convention Honoee. Swan eviews the histoy of Ameican choal music duing the fist half of the twentieth centuy, discusses the state of choal music in chuch and school, and gives leaned advice to the young choal conducto. ""V <0> llln ln"l e 3 featues Jeste Haiston, intenationally enowned compose, aange, conducto, and 1989 ACDA National Convention Honoee. n this inteview, Haiston taces the histoy of Afican-Ameican spiituals in the United States, gives suggestions fo intepetation, and demonstates the use of hythm and dialect in this gene. Name Addess City State Zip Code Videotape Volume Volume 2 Volume 3 Quantity $37.50 Total Payment Enclosed Subtotal $_- $_- $_- $_- Send check o money ode, payable to ACDA, to Videotapes' ACDA P.O. Box 6310 Lawton, OK Videotapes ae shipped immediately upon eceipt of ode. PAGE 26 CHORAL JOURNAL