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74-10,934COWELL, felon Loftln, 1935-COMPOSERS AS TO ITS APPROPRIATENESS IN THE ELEMENTARY SCHOOL.Tht Ohio State University* Ph.D., 1973 Music

University Microfilms, A XEROX Company, Ann Arbor, Michigan

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© 1974

HELEN LOFTIN CORNELL

• ! 5 ii-fTy i >r + ^ V v,^ ■- •, .* ; 1,t.

THIS OMSRATATION HAS K IN NMCHOf ILMfD EXACTLY AS R EC! IVED

AN EVALUATION OF VOCAL MUSIC BY AMERICAN WOMEN COMPOSERS AS TO ITS APPROPRIATENESS IK THE ELEMENTARY SCHOOL

DISSERTATIONIPresented in partial Fulfillment of the Requirements for the

Degree Doctor of Philosophy in the Grcduate School of The Ohio state University

DsrHelen Loftln Cornell, B.M., M.A.

* « • *

The Ohio State University 1973

Reading Committee:Dr. Elsie AlbertyDr. Marshall BarnesDr. Henry CadyDr. peter Costansa

Approved by

AdviserDepartment of Music Education

ACKNOWLEDGMENTS

The writer wishes to thank all who have participated In this dissertation. She is particularly grateful to her adviser, Dr. A. Peter Costanza for his patient guidance and continued encourage­ment, and to menibers of the reading committee, Dr. Elsie Alterty,Dr. Marshall Barnes, and Dr. Henry Cady, for their invaluable criticisms and their assistance in the preparation of this dissertation.

The author appreciates the cooperation of those musicieducators in Columbus, Ohio, and Nashville, Tennessee, who completed questionnaires.

Finally, appreciation is extended to author and composer, Julia Smith for her pertinent advice; and to the music publishing industry and the many American women composers who contributed the music essential to this study.

11

VITA1950-56............... Menfeer of Nashville Choral Society,

Affiliate of The Nashville Symphony, William Strickland, conductor,Nashville, Tennessee

195lt-56 . . . . . . . . . . Organist, Church of the Mvent(Episcopal), Nashville, Tennessee

195 6 ................ B.M., George Peabody College forTeachers, Nashville, Tennessee

1956-57 . . . . . . . . . v Teaching Associate, preparatory pianodepartment, university of Louisville, Kentucky

195 7 ................ Piano soloist, Mozart Double PianoConcerto, awards concert, University of Louisville Orchestra, SidneyHarth, conductor

* *

195 8 ................ Private piano teaching, Las Vegas,New Mexico

1958-59 ............... Piano and organ Instructor,Truett-McConnell College, Cleveland, Georgia

1959-63 }............... Organist-choir director, and privatepiano teacher, Owensboro, Kentucky

1960 ................ Plano duo concert, Kentucky WesleyanCollege, Owensboro, Kentucky

196 1 ...... ......... Solo piano recital, Kentucky WesleyanCollege, Owensboro, Kentucky

*

1962-63 ............... Piano instructor, preparatory. department, Kentucky Wesleyan College, Owensboro, Kentucky

1963-61 *............... Elementary vocal music teacher,Des Plaines Public Schools, Des Plaines, Illinoisiii

VITA (CONT'D)196b-present.......... Elementary and junior high school

vocal mualc teacher, Metropolitan Nashville Public Schools, Nashville, Tennessee

, 4

1965-70 ............... Vocalist, Christ Episcopal Churchchoir, Nashville, Tennessee

1966 ................ ESEA Workshop: CompensatoryEducation for Cultural Deprivation, Nashville, Tennessee

1970 ................ Original compositions performed atVanderbilt University, Nashville, Tennessee

1970 ................ Contemporary Music Project, PeabodyCollege, Nashville, Tennessee

1971 ................ Black Studies in Music Workshop,Pisk University, Nashville, Tennessee

1971................ M.A., University of Louisville,Louisville, Kentucky

1971 end 1972 .......... Original compositions performed atThe Ohio State university, Columbus, Ohio

1971-73 ............... Teaching Associate, elementaxy musiceducation, The Ohio State university, Columbus, Ohio

iv

AWARDS

La Vergne Noyes Scholarship 1952-56; Sigma Alpha Iota Scholarship 1955*56) State Winner, National Federations of Music Clubs College Student Auditions, 1952, 195*S and 1956 (piano); Sigma Alpha Iota Sword of Honor, 1956.

HONORARY AND PROFESSIONAL MEMBERSHIPSSigma Alpha Iota (Alumni Chapter, Nashville, Tennessee); Music Educators National Conference; Ohio Music Educators Association; Tennessee ftusic Educators Association; Orff-Schulwerk Association; Association for Supervision and Curriculum Development.

FIELDS OF STUDY Major. Field: Music Education

Professors Henry L. Cady, A. Peter Costanza.Minor Field: Music

Professors Marshall Barnes, Behrman, Burdette Green, J.A. Huff Minor Field: Educational Supervision

Professor Charles Galloway Minor Field: Humanities

Professors Rolf H. Soellner, Carl C. Schlam

v

TABLE OF CONTENTSPage

acknowledgments.................................... liVITA ................................... . . illChapter

I. INTRODUCTION AND PROBLEM STATEMENT........... 1ProblemPurposeSignificanceQuestionsAssumptionsDefinitionsDelimitationsMethodologyPersonnel and Facilities

*

II. RELATED LITERATURE............ 11Vomen and Music Creativity Research Pedagogical FactorsThe Child Voice and Vodal Capabilities Criteria for Evaluating Music Summary

III. METHODOLOGY................... <40Securing of MusicDevelopment of Evaluative Instrument Evaluation of Music

«

IV. FINDINGS........................... 56

Compositions Appropriate to the Upper Elementary . Sipging Program

Compositions Judged Inappropriate to the Upper Elementary Singing Program

Application of criteria: Compositionsvi '

CONTENTS (CONT'D)Page

V. SUMMARY, CONCLUSIONS, IMPLICATIONS ANDRECOMMENDATIONS . . '..................... 70SummaryPurposeProcedureFindings

Conclusions end implicationsRecommendations

APPENDICES iA ................. 79B ........................................... 81C ........ 83D ............................... 92E ..........................................F .......................................... 96G ............................................ 217H ............................. 219I ■.................................... 221j ......................................... 230

BIBLIOGRAPHY . .................................... 232

vii

CHAPTER I INTRODUCTION AND PROBLEM STATEMENT

Singing has been the dominant activity of elementary classroom music programs in this country. The research of Davis1 attests this fact. Yet, within these singing programs certain areas of music literature have received profound neglect. One such area, the music of other cultures, is at present the recipient of attention long overdue as evidenced in the Music Educators Journal and certain federal programs. An area of equal or perhaps greater neglect is the music of women composers. "Only two of the hundreds of pre­twentieth century composers listed in the Schwann Long Playing Record Catalog are women— Clara Schumann of the Romantic period and Elizabeth J. de la Guerre of the Baroque,1,2 Stratton, in his study of the topic, found only thirty names ’of female composers listed in

3Grove1 s Dictionary of Music and Musicians. Hlrti Fidelity Magazine

Donald Evan Davis, HA Survey of Public School Vocal Music in Oregon" (unpublished doctoral dissertation, University of Oregon, 195*0 » abstract.

^AB, "You Won't Have 'Lady Musicians' to Kick Around Much Longer," Music Educators Journal. LIX, (September, 1972), i.

®Royal Musical Association. Proceedings 1882-33 (Cavendish Square, 1883), P. 123*

1

2

lists only twenty-nine available recordings of works by women composers.4 Many women composers have been forced to use **noms de plumes" in order to receive publication or performance, among these, Hermann Zenta, E.M. Smyth, and clem, de Bourges.5 An investigation of Book Four of the Discovering Music Together series, one of the most widely used music texts in our elementary schools, reveals not one name of a woman composer.

Yet women universally outnumber men in concert attendance0 and • the young female child,with music achievement scores equal to those of the male, exhibits greater enthusiasm for music than the male child.7

The woman composer, the patron, music, and music education are victims of traditionally imposed sex roles. Patrons of music, generally men, have patronized male artists. "Bach had the Hargrove of Brandenburg and Prince Leopold of AnhKlt-C6’thenj Hadyn had Prince Nicholas Joseph of Esterhttsa, and Vagner had Ludwig, the Mad King

"Available Recordings of Works by Women Composers," High Fidelity Magazine. February, 1973, p. 53-

5Judith Rosen and Grace Rubin-Rabson, "Why Haven* t Women Become Croat Composers?" High Fidelity Magazine. February. 1973.P. 51.

°H. de Jager, "Listening to the Audience," Journal of Research in Music Education. XV (Winter, 1967), 293.

7Herbert L. Silverman, "A Comparison of the Keyboard and the Vocal Approach in the Teaching of Primary Music Theory1' (unpublished Ed.D. dissertation, Boston University, 195*0, Brie abstract; Oliver Henry Broquist, "A Survey of the Attitudes of 259*+ Wisconsin Elementary School Pupils Toward Their Learning Experiences in

of Bavaria...." The patrons of music are the employers. it is they Who have greatly limited opportunities. available to women composers. "This form of exclusion has permeated all levels of musical opportunity for female composers.**6

A few have managed to endure* such odds. Rosen, in a recent High Fidelity Magazine «rtleleT cites outstanding accomplishments of the lady composer: Prominent from the Renaissance are FrancescaCaccini who won the favor of Queen Maria de Medici for her operas,Tar quin a Molza who was both conductor and composer, and the previously mentioned Clementine de Bourges. Of the Baroque era Rosen lists Antonia Bembo and harpsichordist Elizabeth Jacquet de la Guerre.iboth of Whom were aided by Louis XIV due to the encouragement of one of his mistresses. Rosen considers as superior the classical piano music of Maria Szymanouska and other classical works by Maria Theresia von Paradis, god child of the Empress of Austria.Hie Romantic composers, Clara Wieck-Schumann, pianist-composer Teresa Carreno of Venezuela, and Fanny Mendelssohn, whose songs were frequently incorporated in her brothers compositions, are in Rosen* s commentary praised for music of highest caliber. Grand Prix de Rome winner, Lili Boulanger; first female Guggenheim winner,

Music** (unpublished doctoral dissertation, University of Wisconsin, 196l), Eric abstract; Margaret T. Siemens, **A Comparison of Orff and Traditional Instruction Methods in Music,** Journal of Research in Music Education. XVII (Fall, 19&9), abstract.

^osen and Rubin-Rabson, "Women Composers," p. U6.

; k Ruth Crawford Seeger (step mother of folk singer Peter Seeger); young English composer, Nicola LeFanu, and the electronic music composer, Pauline Oliveroa, are listed by Rosen as significant contemporary composers,9

In contrast, Rosens co-author, Groce Rubin-Raibson points out that Clara Schumann was panned by her contemporary critics, and Louise Bertin, though respected by Berlioz for her intelligence, was not for her music} that college teacher Marion Bauer had no plan to her music; and that Cecile Chaminade and Germaine Tailleferre were criticized respectively by Grove* s Dictionary of Music and Musicians for "agreeable drawing-room music" and "slender talent.""The inclusion of the latter in Le Six," says Grove's,"was undoubtedly due to enthusiasm for the sex on the part of the five male members." . One female composer, Ethel Smyth, has the distinction of being jailed as a suffragette.30

Grace Rubin-Rabson does offer some praise for the Boulanger sisters, Nadia and Lili, both winners of the Prix de Rome; and to Louise Talma for her design and rich orchestration.

Though most women composers lack recognition (for reasons to be later emphasized), Germaine Taillefere, Ethel Smyth, and Lili Boulanger are best known abroad; end from this country, Marion Bauer, Mabel Daniels, Radie Britain, Gena Branscombe, and Louise Talma have achieved some minor fame.11

°Ibid, 51-52.30 Ibid.. fcT-W.11Ibid.. 1*7.

5

As writer Virginia Woolf relates: "Die woman composer standswhere the actress stood in the time of Shakespeare.1* Citing CecilGray's Survey of Contemporary Music. Woolf quotes his remark regardingGermaine Tailleferre* "Sir, a woman's composing is like a dog'swalking on his hind legs. It is not done well, but you are surprisedto find it done at all." (A remark also used in describing Shakes-

.12pearean actresses and later female preachers.)From this discussion it is apparent that the music of women

composers Is rarely performed in the elementary school or elsewhere, that though such music does exist it is virtually unknown, and that a variety of opinion exists as to its value, both by those who have heard and those who have not.

Cognizant of two factors, one, that a prime duty of musicH

education Is to present representative compositions of all musics, and two, that the music of women composers has not as of this date been represented in our schools, an evaluation of vocal compositions by American women composers as to their appropriateness in the elementary school is a logical step.

^Virginia Woolf, A Room of One's Own. (New York: Harcourt,Brace and Company, 1929), p. 95•

6*

PurpoaeThe purposes of this study were:

1. To evaluate unison and two-part (SA) secular vocal music written by American women composers, and through such evaluation to select compositions appropriate for use in the elementary school;

2. To design an instrument capable of evaluating vocal literature appropriate to the elementary school child.

Sub-Purposes In addition, the study sought to:

1. Increase knowledge of both the music of women composers and woman as a composer;

2. Determine requirements of appropriate elementary vocal literature.

Significance _An investigation of this topic has revealed no research or

information dealing with woman as a composer. A significant fact in the study of woman's creative efforts is the lack of published material on the ’topic.

The result of the research will form a bibliography of vocal compositions written by American women composers, which are appropriate to the elementary school. Such a list should be useful to the elementary music teacher, and indirectly to her students; to the music historian, and to all who are concerned with elementary vocal literature or with woman as a creative artist.

Specifically, in the area of music education, this research will increase the tody of music literature for children and will enable the music teacher to present representative compositions by women composers.

In addition, psychological benefits are offered by such a study. Viewing woman as a composer, and hearing and performing compositions that she has written should Increase the available roles for future music makers j and will enable the observer to see woman in a creative role in society.

Questions

Considering the investigator's present knowledge of this topic the following questions appear reasonable and answerable:

1. What Is the quality of vocal music written by American women composers?

2. Which of the published vocal compositions by American women composers are most suitable for use in the elementary school?

3. What guidelines are appropriate in the selection of elementary vocal literature?

AssumptionsThe study assumes that the National Federation of Music Cltibs

Directory of American Women Composers contains a representative listing of feminine composers and categories of composition. In addition this research assumed the cooperation of music publishers

8

and .American women composers in securing music essential to this research.

DefinitionsElementary school; a school containing grades K-6, or in the

absence of a kindergarten, grades 1-6.Choral music; music composed or arranged for a chorus or a

choir.Vocal music; music composed or arranged for the human voice.

Delimitationsmis study Is delimited to secular unison and two-part 8A

vocal compositions by American women composers, to published compositions of this nature, and to their application to grades four, five, and six of elementary school.

MethodologyThere were three major tasks in Ibis research: unison and

two-part SA vocal music by American women composers was secured, an evaluative instrument was designed, and the music obtained was evaluated by the designed Instrument,

Procedures for securing and evaluating this music were as follows:

1. A list of published choral music, vocal music and songs from the National Federation of Music Clubs Directory of American Women Composers was made.

9

2. A second list was formed from the first list, grouping compositions according to publisher, to facilitate the ordering of music.

3. A form letter was designed to be sent to publishers requesting complimentary or "on-approval" copies of listed works which are unison or two-part SA and secular. Such letters were mad led at various time intervals, allowing time for the arrival of music, its evaluation and its return.

It. A check sheet was kept for the arrival and return ofmusic.

5. A second letter was designed to those publishers whodo not comply with the first, requesting the purchase of such music.

6. The music was evaluated using the instrument designed, and a record vas kept of scores relative to each composition.

7. Results of the evaluation was tabulated, analysed, and Interpreted.

8. A summary and conclusions were drawn from such findings, including a bibliography of recommended vocal compositions by American women composers suitable for use in the elementary school.

Designing an evaluative instrument included the following' procedures:

1. A consideration of research and statements by authorities regarding elementary vocal music and the critique of music, including pedagogical factors, vocal factors, criteria for evaluating music,

and rating scales.2. Drafting the evaluative instrument based upon a synthesis

of available information and including criteria for the evaluation of music, and a rating scale.

3. Reviewing the Instrument with authorities.If. Incorporating suggested modifications into the instrument

of evaluation.

Personnel and FacilitiesThe study will demand cooperation of publishers, since such

works are not readily available in most libraries and music stores. Difficulty is not anticipated here, for other dissertations have enlisted the aid of publishers with reasonable success.

In addition, it may be necessary or desirable to correspond with the National Federation of Music Clubs headquarters or Sigma Alpha Iota music fraternity, with Brown University or Rutgers where departments exist in women studies, and with William Strickland, conductor, who has recorded numerous symphonic works by women composers. Due to the keen interest of these persons and agencies in topics of a similar nature to this study, the writer did not anticipate difficulty soliciting their aid should this be needed.

No unusual facilities or equipment will be required in thisistudy. A piano, a typewriter and duplication facilities are the

necessary tools.

CHAPTER II RELATED LITERATURE

This writer was unable to find research dealing specifically with the music of women composers or the use of such music In education. There are, however, articles pertinent to this topic, studies related to this matter, and at least one significant directory.

A review of related literature will include the following areas: women and music, creativity research, pedagogical factors, the child voice and vocal capabilities, and criteria for evaluating music.

Women and MusicA document significant to this study is the 1970 Directory of

*

American Women Composers compiled and edited under the auspices of the National Federation of Music Clubs. The advent of such a document evidences both the growing number of women composers and increasing interest in the topic. The directory contains names of over six hundred composers, their addresses, types of music composed by each, and publishers, where applicable.

Stratton, in 1683, listed several hundred women composers, though not an exhaustive or systematic investigation, nor one limited '

«

11

to any particular geographical region.19 While considering these compositions and acknowledging the effectiveness of woman in roles ranging from queen to beast of burden, both Stratton and hia twentieth century counterparts, Nochlin and Rubin-Rabson, state that woman has failed to produce a great musical composition. Stratton adds in his commentary that most of the listed compositions he has not heard.

In contrast, women of early cultures and of twentieth century primitive societies are held in high esteem as composers. Here woman is found to be procreator and guardian of music, responsible for creating music in honor of birth,, death, love, work and even war. Woman's creativity as a composer was employed in ancient Greece where she was frequently hired as a professional mourner.14

Present attitudes regarding woman's pos'sibilltles as a composer are discussed by Rosen who blames the rise of Western Civilization, primarily the Christian Church, for the current situation. The canonical law, "mulier tacet in ecclesia" (women are silent in the church), greatly influenced possibilities for women in music, Rosen argueB. "When music was finally freed from the

^Royal Musical Assoc., Proceedings 1862-83, p. 129jLinda Nochlin, HWhy are There No Great Women Artists?" in Woman in Sexist Society. ed. by Vivian Gornick and Barbara K. Moran (New York; Basic Books. Inc., 1971), p. 3 7j Rosen and Rubin-Rabson, "Women Composers,"p. m-7.

14Rosen and Rubin-Rabson, "Women Composers", p. k6.

13

church... thousands of years of custom had established men as the musical leaders.**15

Stratton* s 1883 commentary and a recent MENC student article cite reasons for woman's lack of success as a composer.16 Out­standing deterrents listed are: matrimony, lack of physicalstrength and fighting power, defective education, traditional positions of music and musicians} and the realities that

...women were discouraged and even prevented from * expressing themselves fully,... they were never given proper musical training,-...their time was consumed with child rearing, and.. .works they did produce were put down by critics and others as the efforts of 'lady composers.'X7

On the contrary, Rubin-Rabson states that "factors transcending social repression must be at work." While citing woman's lack of motivation in this art, the author suggests that the nature of higher order musical composition and the nature of women hold the answer to this puzzle.18

Early attitudes regarding woman as composer are reflected in nineteenth century Niecks' remark: "Even if she try, it will only

19be a woman's work."

15 15Ibld.. 51.10Royal Musical Assoc., Proceedings 1882-83, p. 130; FAB,

"Lady Musicians," p. ill.17FAB, "Lady Musicians", p. iii.laRosen and Rubin-Rabson, "Women Composers", p. kf,1BRoyal Musical Assoc., Proceedings 1882-83, p. 127.

Several contemporary writers discuss the future of the woman composer. Rosen and Rubin-Rabson agree that it is only out of quantity that quality will emerge, emphasizing the point with theirquestion, "How many male composers had there been before there was

soone Bach?"Psychologist Grace Rubin-Rabson states that should a great

woman composer appear, she will be...naturally possessed of marked musical talent,[and exhibit] aptitudes for abstract and quantitative thinking, tenacity in the face of deep discouragement, patience in developing skills until the talent flows free and masterpieces have time to evolve, and a conviction that composition is the primary purpose of her existence. Like other high achieving women she will be socially aloof, self-sufficient, minimally nurturant, indifferent to outside Influence, innovative, agonistic. She will also demonstrate a working know­ledge of machines and electronics if she is to carry musical sound forward.21

Faith in the woman composer and her future is observed in the New York Times quote of California electronic composer, Pauline Ollveros: "Critics can quit being cute and start studying scores."22

The limitation of woman's possibilities in music are not found exclusively in the field of composition. A study of meoibers of Music Educators National Conference reveals that 80 percent of

^Rosen and Rubin-Rabson, "Women Composers," p. 1*6-52« axIbld. p. 502 *AB, "Lady Musicians", p. iii.

15

elementary music teachers are female, 75# of secondary school andcollege music teachers are male, 68 percent of choral teachers arefemale, 85 percent of instrumental music teachers are male, and 75

83percent of music administrators and supervisors are male. Such statistics are further verified in the research of Harrison and Belcheff.*4

In a Music Journal study of 1, USJ persons under concertmanagement, only J1 percent were women, and of these 7U percent weresingers. Of other performance areas surveyed in the study, women

* fwere found primarily as harpists, flautists, harpsichordists, violists, pianists and organists, but even on these instruments females were outnumbered by males. Ho female brass performers were found in the study. Of the nations five leading orchestras, thirty-eight out of the total 527 members were female, most of these, string players.89

Some change in this situation is apparent in an American Music Conference survey which shows that between 1970 and 1971 amateur women trumpeters increased from 12 percent to 51 percent and female drummers from 14 percent to 27 percent.

23Ibid., i&4ttussell M. Harrison, **A Survey of PUblic School Instrumental

Music in Oregon** (unpublished doctoral dissertation, University of Oregon, 195U), Eric abstract* Koate Belcheff, "Summary of a study about the 1960-69 graduates of the Oberlin Conservatory of Music** (Dept, of Music Education, Oberlin university), pp. 27-JO. Dittoed.

^FAB, **Lady Musicians'*, p. i. aaIbld.. ill.

• 16From these findings and statements by Nochlin and Rosen It is

observed that women have been accepted in music primarily as singers.Where there is a need there is a way institutionally speaking."Once the public and the authors themselves demanded more realismand range than boys in drag or piping castrati could offer, a waywas found to include women in the institutional structure of theperforming arts,” states Nochlin.

Student MENC-ers insist men overlook "advantages they too willenjoy when careers are no longer rigidly identified as male or

28female domains."Thus is shown the precarious position of women in music

endeavors, particularly that of composition.Numerous writers have been attracted to this dilemma, and

attempt to explain the question. Significant is ozick's statement from the collection, Woman in Sexist Society; "Until now no one has been serious, passionate and argumentative concerning attitudes about women," and indeed, "she [woman] joins the general mockery at her possibilities." Ozick adds that it is to society's advantage to keep woman at home and out of the job market. Stratton in an 1885 discussion of "Woman in Relation to Musical Art" cites social law, prejudice and lack of freedom and opportunity for Independent action as limiting factors. Feminist Rosen, in a recent High Fidelity Magazine article, stresses that the requirements for the

. Nochlin, "Women Artists", p. 3U7. fi8FAB, "Lady Musicians", p. iii.

successful functioning of the creative inagination: a position withresulting financial rewards, and audience recognition were denied woman. Artist Nochlin emphasises that woman has no model to emulate, that equal achievement is not encouraged, that our white, middle- class, male oriented institutions and education limit woman, and that women have been warned against trying to excel in any one thing, even as recently as Friedan's Feminine Mystique. A 1972 student MENC article expresses, "Sex roles, which we learn from birth can be great blinders." The article further states that our life options have been controlled by forces of which we were not fUlly aware: "From infancy we have fallen into a sexual trap— malesare supposed to be aggressive, active, and pulsing with creative energy females are to be submissive, sedentary, sensitive to the needs of others, and attentive to minor details." The article expresses that females "may hesitate to pursue many of their, interests because society has decreed that certain things are unfeminine or worse, that they are beyond female capabilities."29

Contrary to these opinions are statements by psychologists Abraham Mas low and Grace Rubin-Rabson. Mas low insists that men are messianic, women are not, and while man subordinates all to his messianic mission, women often do not bother to publish a good work.

^Ozick, "Women and Creativity", p. 317) Royal Musical Assoc., Proceedings 1882-63, p. 121) Rosen and Rubin-Rabson, "Women Composers", p. 32) Nochlin, "Women Artists", p. 337; FAB, "Lady Musicians", p. i, iii.

i 18

Rubin-Rabson concludes that "fundamental, and deriving from the sexual function, are differences in interests and motivations*; and that "high-level human creativity is investigative, innovative, agonistic} receptivity and passivity will not conjure it into

30being.*Pointing to future realization of woman's creative capacity,

Stratton remarks: "The right estimate of woman's genius belongs tothe future*} and pioneer, Virginia Woolf speaking of the ficticious *Shake8peare's sister" writes: "Drawing her life from the lives ofthe unknown who were her forerunners, as did her brother before her, she will be born."®1 (

Creativity ResearchIn addition to writings of opinion regarding woman and

creativity, pertinent to this study is the research of creativity.Paul Farnsworth concluded from a Stanford University study that

...women appear to be so impressed by the dismal picture history has so far given of their contributions to the arts that they picture creativity as an enduring character­istic of the male role} [and that] so long as they retain this picture of themselves, it is likely that relatively few will be willing to put forth the effort essential to sustained creativity.32

^Rosen and Rubin-Rabson, "Women Composers", p. 49.®*Royal Musical Assoc., Proceedings, 1882-8J, p. 132; Woolf,

A Room of One's Own, p. 199.3SRosen and Rubin-Rabson, "Women Composers", p. 48-49.

19

Helaon, in a Mills College study, found that "women who show the ability to do original work of value in the arts, sciences or humanities, have narrower interests than comparison women, whereas creative men do not differ in this respect from comparison men."39

In a second study of the topic, Helson concluded that "the combination of enrichment of personality, assertiveness and outer’ orientation was more characteristic of creative men as compared with other men than of creative women as compared with other women; [and that] a directed reflective inner-oriented pattern was more characteristic of creative women.”34

Stringer and Littlejohn studied creativity and masculinity- femininity. Stringer found that the mean Dynamic Personality Inventory scores for both sexes tended to depart significantly from student norms over a wide variety of measures; that male art students showed sex-role deviation with high scores for tactile interests and creative interests, and with low scores on authoritarianism, exhibitionism, masculinity, and initiative; and that female art students showed sex-role deviation with high scores on verbal aggression, drive for achievement (active), interest in exploration and adventure, and sexuality and with low scores for emotional

33Helson, Ravenna, ”Narrowness in Creative Women.” Psychological Reports. XIX (1966), 6l8.

34Helson, Ravenna, "Generality of Sex Differences in Creative Style”, Journal of Personality. XXXVI,. No. 1 (March, 1968), 33-Jf8, author summary.

20

dependence, femininity, social roles, and interest in children.1*The study of Littlejohn shows that on the Welsh Figure Preference Tests Female-Male, both high-creative adolescent boys and girls scored significantly higher than the low-creatives.35

Two studies of the personality of creative adolescents are pertinent to this research. Kurtzman's findings were that creative students tend to be more intelligent, adventurous, extroverted, and self-confident} they have a less favorable attitude toward school} and while higher creative boys receive greater peer acceptance, the more creative girls are less accepted by classmates. The findings of Cashdan and Welsh indicate that creative adolescents are very

30similar despite sex or specialty differences.Getzels and Csikszentmihalyi concluded from their study of

creativity in prospective artists that *'the most effective under­standing of creative achievement will have to come from the study of the reciprocal interaction of the person, the process, and the

37product." To this investigator's knowledge, such a study has not

^Peter Stringer, "Masculinity-feminity as a Possible Factor Underlying the Personality Responses of Male and Female Art Students", British journal of Social and Clinical Psychology. VI (196?), 186-191*, Journal Abstract} Mary F. Littlejohn, "Creativity and Mascuiinity- femininity in Ninth Graders," Perceptual and Motor Skills. XXV (196?), 757-71*3, Journal abstract.

aeKenneth A. Kurtzman, "A Study of School Attitudes, Peer Acceptance, and Personality of Creative Adolescents." Exceptional Children. XXXIV, 157*162, Journal abstract} Sheldon Cashdan and George s. Welsh, "Personality Correlates of Creative Potential in Talented Higi School Students," Journal of Personality. XXXIV, 1*1*5-1*55, Author summary.

21been done.

Pedagogical Feotore Though a multitude of pedagogical writings are applicable to

this study, one is significant; Musical Characteristics of Children by Zitanerman.30 This 1971 document is a synthesis of research regarding music and children with reconmendatlons to the teacher, based upon research In the areas of perception, conceptual development, affective development, and vocal and manipulative development. Of prime importance to this study are the text's discussion of Piaget's theory of the development of intelligence, Petsold's research based upon this theory, and the findings of Smith concerning vocal development in children.

Piaget, from his research, isolated four stages in the develop­ment of Intelligence: sensori-motor, prc-operatlonal, concreteoperations and formal operations. The latter three stages, but primarily the middle two stages, pre-operational (approximate ages 18 months to 7 years) and the period of concrete operations

97J. W. Getsels and M. Csikssentmlhalyi, "The Study of Creativity in Future Artists: The Criterion Problem,** in Experience.Structure and Adaptability, ed. by 0. J. Harvey (New York; Springer** Pub. Co., 19&OJ, pp* ^9-568.

Marilyn P. Zimmerman, From Research to the Classroom Ho. 1: Musical Characteristics of Children (Washington: Music EducatorsNational Conference, 1971 J, PP> H-27.

' 22(approximate ages 7 years to II or 12 years) fall within the ages of elementary school children. In the preoperational stage perception Is dominant and "things are vhat they seem to be In Immediate egocentric perception." During the period of concrete operations the child Is able to deal with many relationships and solve problems as long as they lie within the realm of "immediate reality." The. child cannot, however, hypothesise, for this is characteristic of the latter period, formal operations. The exceptional child may reach this latter stage of intellectual development by age nine or ten. Thus Piaget shows the development of reason in children, the unfolding of imagination and intelligence as a developmental process, progressing throughout various stages of the child's life.

In a five year study Petzold "investigated the development of auditory perception in the areas of melodic perception, phrase learning, melodic reproduction with varying harmonies and timbres, and rhythmic ability." His major hypothesis that age is a major factor in the development of auditory perception was supported, although with limitations. For most tasks, a plateau in auditory perception was reached by the age of eight (third grade), and indications were that the most significant development occurs between ages six and seven (first and second grade)."40 Such research

a8 Ibid.. p. 16 40ibid., pp. 11-27

*23

shows the importance of many early singing experiences for the child.From this and other research 'findings a developmental

sequence of music perception is shovn. Loudness discrimination develops first, followed by perception of pitch and rhythm during approximate ages six to eight, and later by the perception of harmony at about age eight.41

Zimmerman's suggestions to the elementary music teacher basedupon 8Uch research are pertinent to this study.Included are;

1. Singing and playing melody instruments such as the song bells should be a part of every melodic experience since these activities give a concrete representation to pitches that are otherwise abstract.

2. Hide intervals should be used in early experiences in pitch discrimination, with the smaller intervals being introduced gradually and with older children.

3* Experiences to aid tonal memory, for exasple,Immediate repetition of £ phrase on the song bells or vocally, should be emphasized with eight- and nine- year-olds.

U. Simple chord progressions and keyboard and outoharp chording should be Introduced at about age eight, or the third-grade level.

3. Conventional notation should not be stressed at the primary level until the children have had many opportunities to notate sound according to their own suggestions and ideas.

6. Active participation on the part of the children in the musical experience by performing and moving to the music should be sought continually.

41Ibld..

2k

7* Inversion and modal changes should be taugit in the context of familiar songs. Melodic inversion can be introduced by the intermediate level.

8. Music of all styles, periods, ethnic groups, and media should be used. Contemporary and avant-garde music can be used beginning In the kindergarten.

9. Children should be encouraged to organize environ­mental sounds into patterns of sound. Sounds produced by clapping, patting, tapping, and snapping also should be used."42

The text's discussion of vocal development will be considered in the ensuing section regarding the child voice.

In addition to the writings of Zimmerman based upon music49research, are the findings of Colwell, Fetzold and Smiley regarding

the music textbook series, recommendations of music educator,Robert Smith, and the findings of Creltz, Shull, Sievers, Blyler and Waasum. Such writings are relevant to melody, rhythm, harmony,

ading, and difficulty as they pertain to c literature.

From the analysis of melody within the music text series, certain characteristics are revealed. Smiley44 found a predominance

mode, meter, music re children's vocal musl

4gIbid.43Both Colwell

prevalent items which (i.e., the Music Achi

and Petzold extracted from the music text series they later used as a basis for music teats evement Test by Colwell, and a test of auditory

perception used in Fetzold'a research of the same).44Edna Meads Smiley, "A Study of the Musical Configurations,

Symbols, Terms and Words Found in Basic Music Texts at the Fourth Grade Level" (unpublished Doctoral dissertation, Indiana University, 1955)> .ERIC .Abstract.

25

of scale and tonic, subdominant, and dominant chord arpegglated melody, with Uttle use of chromatics and minor tonality. She Colwell45 test items drawn from the basic series contain major, and harmonic and melodic minor melodies. Petaold48 outlines the sixty- four most frequently used major and minor tonal configurations found in the basic music text series, offering a concise tdble of melody contained therein (.Appendix i).

A rhythmic hierarchy of interest to this study is discussed in Robert Smith's music education text, Music in the Child's Education.47 The text advocates beginning rhythmic study with even subdivisions in duple meter, followed by triple meter, compound meter, fourisubdivisions to a pulse, and proceeding to more advanced stages of repeated uneven rhythms and syncopated patterns.

Smith stresses as an important objective of music in upper elementary grades, maintaining a vocal harmony part*, and the author suggests as beginning vocal harmonies: chord roots, chants,descants, rounds, canons, harmony in thirds and sixths, echoing

45Ri chard Colwell, Elementary Music Achievement Tests (Chicago: Follett Publishing Company, 1967). \

4®Robert G. Petsold, Development of Auditory Perception of M y leal Sounds by Children in the First Six Grades. Report to Dept, of Health, Education, and Welfare, Washington, D.C.. June 30, i960 (Madison, Wisconsin; University of Wisconsin, I960), p. 17.

47Robert B. Smith, Music in the Child's Education (New York:Ihe Ronald Press Company, 1970), pp. 105-110.

48Ibid., 1*3-50 •

26

phrases, and partner songs.An examination of harmonies present in the Colwell Music

49Achievement Test items reveals harmonic accompaniments, both major and minor mode harmonies, and modulation from major to minor, and vice versa.

Key and mode, as they relate to children and their vocal literature, have been studied by various researchers. Blyler80 found that children preferred major mode, and Wassum,sl that upper elementary students preferred C as a tonal center, consistently singing songs a fourth or fifth lover than the teaching key. Petsold52 found that 88.67 percent of songs in music textbook series were written in major keys, while 11.33 percent were minor in tonality. Smiley" found accidentals in all of the texts examined, and key signatures ranging from C to four sharps and four flats.

Meter, as related to the elementary music text series, isdiscussed by Fetsold, 54 who found 60.83 percent of such songs to bein 4, a, or 2 meter, and 37.02 percent in ®, 6 or 3 meter. Both

4 4 2 4 e e

Colwell, Music Achievement Test. Tests 1 and 2."Dorothea M. Blyler, "The Song Choices of Children in the

Elementary School" (unpublished Sd.D. dissertation, university of Illinois, 1957), p. 323-339.

slSylvesta M. Was sum, "A Study of Children* s Conceptualisation of Tonality as Evidenced by Singing: a Pilot Study" (unpublishedresearch report, Western Illinois university Research Council, 1973), p. 4.

5*Petsold, Auditory Perception, p. 16."Smiley, Music Texts. Eric Abstract.

27* «

duple and triple meter are found in the Colwell teat items,53 chosen from the same source.

In the area of music reading, Petsold83 found subjects to experience difficulty in reading tonal configurations which commonly appear in songs they sing, and further findings were that instrumental students in grades four, five and six read no better than vocal students.

Efforts to solve such problems are seen in the writings of Smith,57 who suggests a particular type of song as appropriate for beginning the development of music reading skills: "Hie song shouldhave repeated chord outline and stepwise phrases} rhythmic patterns should be extremely simple and match the basic meter as much as possible.........} the song should have musical appeal and value."

In addition, the research of Creit258 shows the use of the piano as a space-frame in the development of music reading skills

54Petzold, Auditory Perception, p. 19.55Colwell, Music Achievement Tests. Tests 1 and 2,53Petzold, Auditory Perception, p. 10J.57Smith, Music in the Child*s Education, p. 5U.saDale P. Creitz, "A Study of the Use of the Piano as a

Space-frame in Teaching Vocal Music to Children" (unpublished Master* a Thesis, University of Kansas, 19 3)* Eric Abstract.

jk

28* *

to be effective with children.Difficulty of music for children has been the concern of

Colwell, Shull, end Sievers. Sievers59 found that varying a rhythmic pattern increased its difficulty for children, and Shull90 discovered that among other factors, foreign language text rendered

OXa song more challenging. Colwell suggests that tonal music is easier for the child to sing than atonal, and that accompanied melody is easier than unaccompanied.

The Child Voice and Vocal CapabilitiesAny consideration of appropriate music literature for the

elementary singing program must recognize findings of research concerning children and singing.

Hartzell studied tonality apprehension and tonal memory in young children. Significant correlations were found between tonal apprehension and tonal memory and between tonality apprehension, age, and grade placement. It was found that children with superior ability in such areas tend to improve with chronological age, whereas

"c.H. Sievers, "The Measurement of Musical Development: AStudy of Rhythmic Performance with Special Consideration of the Factors Involved in the Formation of a Scale for Measuring Rhythmic Ability," university Iowa Stu. in Child Welfare. VII (1932), 111-172.

°°Carl N. Shull, "A Study of Children's Vocal Literature Written by Selected Distinguished Composers'* (unpublished Doctoral dissertation, The Florida State University, 1961), Eric Abstract.

0lColvell, Music Achievement Tests, pp. 13-lU.

29

those with inferior ability do not. Intonation errors were made nost frequently on ascending intervals. The most difficult intervals for primary pupils were found to be ascending 4ths, 5ths, minor 6tha, and minor 7thsj and descending 4ths, 5tha, minor 6ths,

anand major Jrds.Similar findings regarding Intervals are revealed in a study

of older students conducted by Spohn and Poland. The study reports a hierarchy of intervals ranked from easy to difficult as follows: Perfect 8, Major 2, minor 2, Major 3, Perfect 4,Perfect 5, Major 6, Major 7, minor 3, Tritone, minor 7, minor 6.

Heiliger studied the effect of training upon the musical performance of five year olds. Both control and experimental groups were tested for their ability to reproduce vocally single pitches, intervals and three to five note phrases, an indicator of their Interest in music activities. The "improved singing ability

®^talph E. Hartzell, "An Exploratory Study of Tonality Apprehension and Tonal Memory in Young Children" (unpublished doctoral dissertation, University of Cincinnati, 1949)> Eric abstract

®3Charles L. Spohn and William Poland, An Evaluation of Two Methods Using Magnetic Tape Recordings for Programmed lnstructlon in the Elemental Materials of Music. Final Report to U.S. Dept, of Health, Education, and Welfare, Office of Education, Washington, D.C. Jan., 1964 (Columbus, Ohio; Ohio State University Research Foundation, 1963), P* 13*

e4XiOuise A. Heiliger, "The Effect of Training Upon the Musical Performance of Five Year-old Children" (unpublished Master's thesis, University of Iowa, 1936), Eric abstract.

50

of the experimental group vas accompanied by an increase in interest.

Several studies have dealt with range of children*s voices.In an early study (1923) of Jersild and Bienstock it was found thatchildren are able to sing a wide range of tones at an early age.Vocal range was shown to expand from d* to a' at age two to f to

esg*' at age ten. Smith in his longitudinal study of three and fouryear olds concluded that ttfirst songs learned by Inexperiencedsingers should range from c* to f or from d* to g' ,H to be followed

eeby those ranging c* to a* and finally c' to e".Smith07 suggests for the older child (age 9-11) that the

extreme range, b-flat or a to f'1, be employed on occasion to further develop the vocal range, and that instructors of this age group utilize descending scalewise passages to assist In the develop­ment of the transition range, fT to d'.' or e".

Boardman in a follow-up study of kindergarten, first and second graders who had participated as three and’ four year olds in

05Arthur Jersild and Sylvia Belnstock, "A Study of the Development of Children's Ability to Sing," Journal of Educational Psychology. XXV (1923), pp. U8I-503, cited by Marilyn P. Zimmerman, Musical Characteristics of Children (Washington: MENC, 1971), p. 23.

ae ,Zimmerman, Musical Characteristics of Children, p. 23-24.^Robert B. Smith, Music in the Child's Education (Hew York:

ttie Ronald Press Company, 1970}, p. 42.

31Smith's research found "that both cumulative musical experiences * and maturation are Important factors in the development of vocal

AOaccuracy."Suggestions of Zimmerman based upon these and other studies

of vocal development are:1. Songs that lie within the range of a sixth from c'

to a' should be used in early singing experiences.These can be -followed by songs that emcompaas a tenth from c1 to e".

2. Songs that have sections in both the lower and upper ranges should be used to develop both parts of the range and to help the children feel comfortable in using their full vocal ranges.

3. In the early stages of vocal study, emphasis should be on maintaining the tonal center rather than on the exact reproduction of each specific Interval.

k. Children should be reminded to listen to their ownvoices in relation to other voices and accompaniments.63

Recent studies by Mcock70 and Wassum71 offer further findings regarding vocal development. In a study of middle school children, Adcock isolated a composite unison range of b to c#". She further

CBIbld.. 2k.°°Ibld.. 26.^B.J. Adcock, "A Comparative Analysis of Vocal Range in the

Middle School General Music Curriculum," Council for Research inMusic Education. (Spring, 1973). — — — — — — — ——

7XSylvesta M. Wasaum, "A Study of Children's Conceptualisationof Tonality as Evidenced by Singing: a Pilot Study" (unpublishedresearch report, Western Illinois University Research Council, 1973)P. 5.

found that most songs in music textbook series were inappropriate to the middle school child* s vocal range. Wassum reports a mean interval range of a thirteenth for fourth grade students, a fourteenth for fifth grade students, and a fifteenth for sixth grade students when singing scalewise passages} and ranges encompassing a fourteenth, a fifteenth or more, and a sixteenth or more for fourth, fifth, and sixth graders respectively when singing ascending or descending intervals. In addition, the study shows a mean scale vocal register break of g#» for this age group.

Blyler,7S in her study of children's song preferences, found that when asked to sing, children chose a vocal range of c' to dH or e-flatH.

Criteria for Evaluating MusicBoth research and philosophical writings exist concerning the

evaluation of music. Chambers in his analysis of unison vocal literature subjectively applied the following criteria:

72Dorothea M. Blyler, "The Song Choices of Children in the Elementary School" (unpublished Ed.D. dissertation, University of Illinois, 1957), P. 323r339.

33* •l) a four point scale (easy to difficult for melody, including range; 8) a four point scale for piano accompaniment difficulty;3) a six point scale (poor to excellent) for quality of the selection. Compositions in this study were further categorized by the out­standing problem presented by each. Included categories were reading, diction, technique, vocal problems and artistry. An account was also kept of the historical period of compositions per voice classification.73

Adams developed a questionnaire regarding contemporary music in the high school vocal program in which items were ranked from extremely important to unimportant. Items of the Adams

iquestionnaire which are pertinent to this study include; "employ­ment of choral speech and its variants [and]...humor utilized when

74appropriate in music and text."The song choices of children were studied by Blyler. Favorite

out of school music was found to be similar for all elementary grades, jazz ranking first. Fran this study, no sex differences were observed in song preferences. Favorite songs were characterized

73Lawrence B. Chambers, "A Critical Selection of Unison Octavo Music for Voice Students" (unpublished Ph.D. dissertation, The Ohio State university, 1938) Eric abstract.

74Leslie H. Adams, "Problems of Composing Choral Music for High School Use" (unpublished Ph.D. dissertation, The Ohio State University, 1973), p. 2hl.

. • 3U

by strong melodic movement, well defined cadences ending on tonic, major mode, primary chordal background, and dynamic variation. Characteristics of disliked songs were; words not in keeping with Interests of the various age groups, static melody, frequent use of do and the tonic triad, the imperfect authentic cadence, ending tones other than do, and accompaniments which repeated the melody. The study found that length of song was unrelated to such choices.

Text was found to be the most important determinant of song preference. Text preferences for this age group were: patrioticsongs, service songs, love songs, humorous songs, nonsense songs, songs eibout animals, songs about birds, novelty songs, songs utilizing animal sounds or yodeling, cowboy songs, and lullabies.75

Gray used the semantic differential to collect opinions from college students on the value of selected recorded folksongs. Conclusions were that performed folksongs can be effectively- evaluated in this manner. Hie semantic differential Included a list of bipolar scales with seven possible degrees of Judgment, a mid-degree marking indicating neutrality or indecision. Items of the bipolar scale were:

7sDorethea M. Blyler, **ttie Song Choices of Children in the Elementary School.** (unpublished Ed.D. dissertation, University of Illinois, 1957), P. 323.

GoodValuablePleasurableMeaningfulInterestingWorth Hearing AgainPerformance GoodMaterial GoodRelaxedSmoothDelicateSociableSentimentalFeminineDeepHonestFreshSensitive

BalWorthless Not Pleasurable Meaningless BoringNot Worth Hearing AgainPerformance BadMaterial BadTenseRoughRuggedUnsociableHard-boiledMasculineShallowDishonestStaleInsensitive

Philosophical writings regarding the evaluation of musicinclude Juva18 "Criteria for the Selection of Music Compositions to

*

be used in'Esthetics Courses," Reimer's discussion of "Leonard Meyer's Theory of Value and Greatness in Music," and Charles Seeger's Preface to the Critique of Music." —

Juva discusses esthetic psychological, and pedagogical criteria as a basis for music selection. Such psychological criteria are here determined by psychological aspects of both general and music education.77

Philip H* Gray, "The Semantic Differential as an Instrument to Examine the Recent Folksong Movement," The Journal of Social Psychology LXXII (1967), abstract. — — — — — — — —

77viadimir Juva, "Criteria for the Selection of Music Compositions to be used in Esthetics Courses."Sbornik Pracl Fllosoflcke Fakulty Brnenske University. XI, 175-190, "ab'stract.

36

Meyer's theory that "value has something to do with theactivation of a musical impulse having tendencies toward a more orless definite goal and with the temporary resistance or Inhibitionof these tendencies" is sustained by Reimer. The latter states

•that iii addition music must have consistency of style, clarity of basic intent, variety, and unity. Reimer propounds that variety of events in a theme, delays, deviation, uncertainty, complexity, and musical economy determine value in music. Musical information may be evaluated both quantitatively and qualitatively, and in three areas of musical response and enjoyment; the syntactical (objective) and subjective areas which the author, terms "sensuous and associatlve- characterizing. "7S

Seeger parallels the scientific, objective or rational . criticism and the impressionistic, subjective or affective criticismto philosophy's logical positivism and existentialism (respectively).

*

Both types of criticism have available to them the following sources or body of evidence*

1. Individual taste2. Collective taste (General)

Religion, Ethics, Mores, Folklore, etc.3. Collective taste (Musical)

Arbiters, Critics, Box Office, Sales, etc.

^Bennett Reimer, "Leonard Meyer's Theory of Value and Greatness in Music," Journal of Research in Music Education. X, 87-99, abstract.

37

h. History (General)5. History (Music)6. Sciences (non-music)

Physics, physiology, Psychology, Aesthetics, Anthropology, etc.

7. Sciences (Musical)HTheory" of Melody, Counterpoint, Form, Style, etc.

8. Law

The author contends:

The two types of speech usage [objective and subjective or rational and affective] must be admitted to be equally indispensable and each, without the other, equally futile. Whether or not this adjustment of the dilemma la acceptable outside of musicology, I hold that we must accept it within musicology... The details of the adjust­ment are the concern of the critique proper.70

SummaryWritings regarding woman and the arts are primarily opinion,

for little research exists in this area. Contrasting opinions are found regarding the value of woman's creative output, and concerning What the limiting factors to her creativity have been.

Social factors are cited predominantly as limiters to women compos era, outstanding are factors of patronage, attitudes of the church, and the lade of a model to emulate.

^Charles Seeger, Preface to the Critique of Music (Washington: Pan American Union, 1965), pp. 19, 22. ~

38

It was found that woman's lack of recognition Is not limited to composition, but is revealed in other areas of music.

Research of creativity shows as a prime limiting factor to woman's creativity, her self-image, other findings of such research reveal this portrait of the creative woman: intelligent, narrowinterests, inner-reflective personality, sex role deviation, and lack of acceptance by peers. Similar studies have shown creative adolescents to be similar despite sex and specialty differences. Conclusions of one study suggest that the person, the process, and the product must be investigated to determine creative achievement.

Die literature regarding pedagogical factors reveals the unfolding of intelligence to be a developmental process occurring during stages of the child's maturation. It was found that age is related to auditory perception with the most significant development occurring between ages six and seven; and that perception of loudness occurs first followed by pitch and rhythm perception at the approximate ages six to eight, and later by the perception of harmony. Certain recommendations have been made by authorities baaed upon such research. Significant to this study is the suggestion that music of all styles, periods, ethnic groups, and media should be presented in the elementary music program.

An investigation of literature regarding the child voice produced findings concerning range and intervals. It was found that

: . 39

the child's early singing voice has a range of four or five tones which expands in latter childhood to a range encompassing a ninth or tenth. The research regarding the child's singing of intervals was found to be contradictory.

Recommendations by authorities based upon such research are that songs using tones of the upper and lower singing range be employed to extend the facility of the range; and that emphasis in early childhood singing should be upon maintaining a tonal center rather than reproducing exact pitches.

It was found that a number of studies have evaluated music using many different methods and considering various criteria.Among evaluative instruments used in such studies are the semantic differential, a consideration of characteristics of favorite songs, and rating scales of melody, accompaniment, quality and historical period. —

In general, it was found that music may be evaluated both quantitatively (objectively, scientifically) and qualitatively (subjectively, affectively), and that both types of verb age are essential to the critique of music. It was further shown that for purposes of education, esthetic, psychological, and pedagogical criteria must be considered in selecting appropriate music.

CHAPTER III METHODOLOGY

Essential to this research were three major objectives;1) the securing of unison and two-part SA vocal and choral music written by American women composers, 2) the designing of an evaluative instrument, and 3) evaluating the music in question.The particulars of each of these areas qf research are here related under the separate headings: Securing of Music. Development ofEvaluative instrument, and Evaluation of Music.

.Securing of Music Referring to the Directory of American Women Composers.80

a file catalog was formed of names of composers who have written vocal or choral compositions for the Voices under consideration. Information regarding publishers and addresses was also obtained.

The directory lists approximately three hundred composers who have written music of this type, most of whom have had workspublished. Due to such quantity, it was determined that this study

»

must be further limited to secular music.*

80Julia Smith, Directory of American Women Composers (Chicago: National Federation of Music Clubs, 1970), pp. l-W.

1*0 *

k l

The file catalog was reorganised according to publisher, and a form letter was designed and sent to two hundred twenty-five publishers requesting complimentary or examination copies of compositions they publish by specific Anerlcan women composers (see Appendix A). Forty-five publishers cottpUed with this request, including additional names and compositions pertinent to this study.

Approximately fifty letters addressed to publishers were returned due to incorrect addresses. Many were remailed using as sources of accurate addresses the 1972 Directory of Performing Arts.61 The Directory of the World of Music82 (1972), The Music Educator's Business Handbook83 (1970). 1973 Writer1s Market.84 current telephone books of major cities, and information received from the proprietor of the University Music House in Columbus, Ohio, and from music librarians at The Ohio State university. Information regarding current addresses of music publishers was further pursued in'a letter to Belwin-Mills, requesting such data for publishers whose addresses

fli,'v’" ^— of the Performing Artai Musical America.1972 Directory 1972, pp. i>6tt-272.

^Gladys S. Field, ed., The Directory of the World of Music; The Musician's Guide (Hew York: Music Information Service. Inc..T375JT

0 3The Music Educator's Business Handbook (Washington: MusicIndustry Council, 1970), pp. 22-1+0.

B4Writer's Market 1973 (New York: Writer's Digest 1973)

vere unavailable through other means (see Appendix B). Appendix C Includes currently accurate addresses of publishers obtained through the above methods.

A letter to Dr. Julia Smith, author of the Directory of American Women Composers.85 resulted in a telephone conference in vhlch the author recommended contacting the American women composers for the remaining music desired (see Appendix d). A former plan to purchase music unobtainable from publishers as complimentary or examination copies was determined to be economically infeasible, and was rejected in favor of Dr. Smith's suggestion.

One month after mailings were sent to publishers, a letter was designed and mailed to one hundred seventy-five composers Whose works had not been secured (Appendix S). The response to this request was most gracious, including in many instances a letter from the composer offering additional information. Appendix F contains some of the more interesting letters received. Again, many letters were returned due to incorrect addresses. Of the composers contacted in this study, sixty-eight responded to the request for music.

An additional form letter was sent to the American Music Center, American Composer's Alliance, American Society of Composers, Authors, and Publishers, and to Broadcast Music incorporated, requesting on free loan from their libraries music pertinent to this study which had not been obtained by previous means. Included were

“ Smith, American Women Composers, pp. 1-51.

*3

many names of deceased composers. A letter vas enclosed from Dr. A. F. Costanza, graduate advisor in music education, The Ohio State University, verifying this author's intended research purposes (Appendices G and H).

Development of Evaluative Instrument Prior to the development of a choral music evaluative

instrument, the following areas of reference were surveyed: researchand statements of authority regarding the child voice and vocal capabilities, and music pedagogy; elementary music achievement tests; music criticism philosophy; and dissertations and theses which have evaluated the appropriateness of music to specific educational settings (see Chapter II).

A questionnaire was developed based upon such information, and was given to ten outstanding music educators, enclosing a letter of explanation (Appendix i). Seven of the respondents were faculty members of The Ohio State university School of Music, one, a composer, the remaining six, professors of elementary music education, Including an authority in music education research and a co-author of one of the major elementary music text series. One respondent was an elementary music teacher in a parochial school; one, a retired elementary music supervisor, now a professor at the University of Tennessee; and the tenth, a retired classroom teacher formerly active in children's choral music.

The following ere items of the questionnaire, included are the source or sources for each item.

44

h r i i . viamvMVOOLKmiO OiBCUBT

to aaleo tlng tw ale fo r gradoa fo u r, f ir * and t lx , a te t la p o rU K t do you (lvo to t te follow ing e r lU rU I

X* b ln w l j r la p o rta a t to to p o rtaa t X* L uo lap e rtan t 4* O nlapertaat

U k tm e t to raeosaadod r o e t l rangca fo r t t e approxlaato •{ I I V-U» aaa bo low. —

a . to t la ranga. (C lrcla year o to loo, o r odd I f n o t Xlotod*) t tfo w tU r (I te o iM a , (ddoaek. ( te lU ,Uiy.)) Mgfo 34711 M

E E ±$ &4.

(Uyfcr»i997) *ScawU . (*T2»,1m

mw?n\ ItoZL

z ±

n

-A.f 3to to troatf rone* to to u m © cctxlonally.

(CiroXo jo i r cbo le a , o r odd I f n o t l i t to d .) 'Ja ra lld I k . , (Saltta, (O olw all,.

MM) Q 1970) Q ^M H ) -Q -

/ 1 / 1 - yi ►=rC50 *

Jdbtrooo* to to x t eorroapoadlnf to kaowa la ta ra a ta o f ch ild ron w ithin tho approx lea to ago p u p 9 -ll«

a . p a tr io tic acnga (M ylar, 1997) ' 'to aarrio a lo o p (M ylar, 1997)

a* lava aoaga (K lg liri 1997)

d. aoago u tU la lag t e w (M ylar, 1997)

a* antoanoa aoago (M y lar, 1997)

f a M « a about aa laa la ( U |lw , 19S7)

pa aaaga about b lrd t (U p la r , 1997)

k* amity song* (Mylar, 1957)&• m | i i tU l i t iy ta la s l m a d i (M ylar, 1997)

J . h b | I u tilis in g yodallag (M ylar, 1997)

k* oowtoy M agi (M ylar, 1997)

1 . l d l i U u . (M ylar, 1997)

a* « i a « — ----------------- —

) • D tlllu tlo a o f n u l n l a t w i i l o f n y v k r q u a lity ,

a . w i s ty o r m a t s la ttasas o r tbaaas (to laar,19tZ )

k , to la y s , i t r b t l e a , unearU lnty ( I s l a r , 1 9 tt)

« . eoaplsxlty ( to la * , W tt)

1 , aasftaal i te a n y (to la a r, 1962)

•• attori

Oom Rtt r« card lag Vert X, B nluatlcsi

*f? B-trCL W5 .6I -

p p

Is <4 1

p p M MIfHlHI*H U <?& i * 1 s9 g

BS

I I I I

I I I I I I I I I I I I I I I I I I

I I I I I I

I I I I I

I I I

I I I I I

I I I I

I I

I I I I I I I I I I I I I I I

I I I I I I I I I I

IISe

1 1 1

1 1 1 1 1

r8iC

l i l t

I

» » *i n ?

g;i I**1 Im s}ttIIII 95 t

** r p t » r

O'

• v‘ •‘1"*/'rrV• .w .

*. ■» '•Eu'U:.

47

I

X* btrenely VilwUt S. Valuable 9* Of lan a nln 4« (brthliH1 2 J *

19. Study veins (C«• anale reeding (0

(1) bagtanlag reading akUla (Utt, 1970)(a) aneomnttonal or an types of»UU» (BtanenM, 1971)

b. so eel imUwi , 1W>(1) transition ranee (ntlitir break) _(Urals year cbole*, or add If set llated.)(*altb,191D) (Uaesm, 1972) (Hasan, 1972)

«-mi25: 21

Z Ee. Other atuly valwi.

Omenta nprllai fart II, Infernatlost

48

M r t n i . DnuMUttrroNcr B srzcinfz f■; I ' , 'Hm n Indicate y w UTMMtt er dloagreeaant Mi ftronfljr igree•oneornlift the following statenents. , ; At l r «

' Di DisagreeM i ftroagly M—*ra#

A. A son* should bo designstod o« i t nfar children la p td u four, flvo, and six M A 0 Mtf i t p iN iM i tbs following eharectsrlatlosi

a

A* Booio range k m dsteralnsd. M . . . — . . .2 . Melody of d a r t enUl—o end/or stepwise

f i n m . (Oelmll, 1967* fn lle ftttttiS a ith , 1970)_____ ___ ___ ___3 . Major and/or bIm t to ta l eonfigurstlons

Moat frequently uaad la aradsd text oarloa, _ _ . . . ■(ooo Appoodlx) (Mtsold, 19U)Zntarrals.oo larger than tho aajor sixth (sxcIuHjk tho nlnor sixth)} — a—lia rthan a half-step. (Oelmll,1967|llartaaU,19i9| ----M , ■■ - -

—oho 4 h iaaiA K I )5. OhvlMM tonal e - te r (Oelmll, 1$67)_____________ _ ___ ____

A*

At Major e r alhpr (hanoolo o r eolodlo) aodo - - _ , — -(Colwell, 1967} Petsold, I960)

7 . Kay fIgnetw e C to i sharp# and 1 f la t# , <o*w. a .iM .iir 1967)

• . Mater £ , } , J , o r } . <C ol«ll,1967, N te o ld a a ttflt M itt, 1 9 7 6 ) .

9* MvU bI o pattaros notching basic —ta r ( fa ith , 1710) - _ _

10. ihy thale pattarns lla lto d to two ow ne tttitle io n s par pu lsa, and tho occasional urn of . . _ _ _ _ -

r m , j . j> (faith, 1970)11* Unison e r includlnx banaongr p a rt o f chord rco ta ,

ohant, daseant, round, canon, th ird s and a lx th s, o r partner sonf. ( fa ith ,1973} H — r—n, 1971) ■ , ■ . . .

a

12* Mo nodulatlon (secondary dontaant or a lte red•hard p a m ltta d ). (Oolwsll, 1967) . - - . .

13 . Including baropnlo aecoapenlaont o f p riaerychorda. (QoImsU , 1967)11—arm s, 1971) _ _ , _ _ _

U . ta g lish te x t. ( M l , 1961) w i ___ ____

49

a h itreag ljr U r» •l i i p n a i ‘ Dlaagre*

a . A m m itM U to I n l p i M m c te ila n * l« a * Atroogljr Diaagreofo r children In p itiM fo ir , f i n . and Mx I f U pM H M i i b bT tto f d l s v u i (k m o ta r iiU d i ai a o ,»

1 . Dm o f i« t n w range* - _ .______

2* N iW r o tte r than chord ou tline* , atepvlM pfcraaea, and no*t frequent tonal conflgurationa o f gradedw i l l , (mo Appendix) (O elm ll,1967|laU ar, ioM .o-t*h. toM fM ^M ^odnl

3* O r — tle lM . (aU ta j(l M | U m i— a , 1971) _ _ ________

A* U tam X a la rg e r than tto a lx th o r — l ia r than ___ _ _ ___ _ _ _. to lf atop* (II— rnaa, 1971| O elm ll, 1967)

)■ Q*a o f tto Minor alx th o r Minor aeeonth Internal* ____ _ _O artaoU , 1919J Spate A re la te ,1962 )

6 , A tonellan. (O elm ll, 1967) ___ __________ — _

7 . Nodo other than Major o r Minor* (O elm ll,1967| Petaald .I960) _ _ _ _ _ _

* f* Ear algo* to re Including aero than four aterpeor f la ta . (Sailer,1955| Uaa— , 1972) O alm U , 1967)___ _ _ _ ______ .

9 . Mator o tte r than * , J , jj, J , J , or } . (O elm ll, lTttjtgtCdlA * lV fll. * 1 * 4 9 7 0 )

10* T rip le t rlg rtb u o r othor odd niche red M ultiplea o tn l^ i and th e ir w la tlo n a . ___ _ ___ _ _ _

(Petaeld, 1960| Slm era, 1 9 » )11* A prodoolaaoce o f four or aora oven eiM lvftaioaa

to • pulae and varla tloaa thereof. _ _(1010,19701 S lerara, 1991)

12. A p rodonlaaaoo o f w a rn rhjrthna

(•*a*i )* J* •** J D ) (Mai0 ,1970)_________ ____ ___ ____

13. A aredenlnaaeo o f a yampa ted p a tte r na. _ _ _ _ _(N tao ld . I960* Anlth. 1970)

1A* Khgrttelo pattern* a o o tru / to tea lo Meter* ( te lth , 1970) _ _

19* Tooal teraonp o tte r tte a chord roo ta, chant,do— a t, route* canon, th lrda a te alxtha, e rpartner aoi*. (Anlth, 1970) ' _ _ ___ ____

16. Modulation. (Oalm U, 1967)_________________ _____________________

17. A ooppaUa* (O elm ll, 1967) ..

12* Aaooapanlaent o tte r tte a t te tentonloaaaoMponlaant o f p riaarp chorda,. (O otell^ M W .. — _ _ _ _

19* T e re lp languag* tote* ( te n ll, 1961)

50

Of the ten questionnaires, seven were returned, most of these unsigned. Questionnaire items were added, altered, or deleted based upon responses of the participating music educators. A discussion of that process follows.

On the four degree rating scales contained in the checklist, it was determined that an accumulation of four points in any of the two categories indicating less important and unimportant, or of less value and worthless, or disagree and strongly disagree, would warrant deleting the item. The following items were deleted upon this basis:

service songs (EVALUATION, page 1, text)songs utilizing yodeling (EVALUATION, page 2, text)

t

complexity (EVALUATION' page 2, musical material)author of text (INFORMATION, page 3)vocal solo contained (INFORMATION, page 3) -publication number (INFORMATION, page 3)price (INFORMATION, page 3)vocal sounds other than singing (INFORMATION, Special

Effects, page 3) environmental sounds (INFORMATION, Special Effects, page 3) unconventional or new types of notation (INFORMATION, Study

Value, page U) a cappella (DETERMINATION OF DIFFICULTY, Challenging,

page 6)

- . 51

foreign language text (DETERMINATION OF DIFFICULTY, Challenging, page 6).

These items were deleted due to comments of respondents:Item: love songs (EVALUATION, Text, page l)comment: "highly questionable"

item: difficulty of accompaniment (INFORMATION, page 3)comment: "If the teacher has available a skillful

accompanist, it makes little difference shout the degree of difficulty."

ttiese items were altered due to comments of respondents: item: A song should he designated as challenging for

children in grades four, five and six If it possesses any of the following characteristics:

comment: "It is the combination of these items thatwould cause me to 'Judge a song easy or difficult."

alteration: A Bong should be designated as challengingfor children in grades four, five and six if it possesses a predominance of any one of the following characteristics, or a combination of two or more of these characteristics.

items* 13. A predominance of syncopated patterns (DETER­MINATION OF DIFFICULTY, Challenging, page 6).

* 52

lU. Rhythmic patterns contrary to basic meter, comment: "Wouldn't 1J be a specific example of lU?" alteration: Rhythmic patterns contrary to basic meter,

Including syncopated patterns.This item was deleted due to insufficient conclusions derived

from responses as to the importance of the item, or appropriate range.

item: transition range (INFORMATION, Study value, page U)On the basis of respondents' comments the following additions

were made to the checklist and its subsequent evaluative form, additions; harmonic interest, rhythmic vitality

(EVAL., Musical Material) additions: outstanding example of form (INFORMAIR)N,

Study Value)outstanding example of style period.(INFORMATION, Study Value)

addition; Many different rhythmic patterns included (DETERMINATION OF difficulty)

comment; "Frequency of change would be a factor."

Item nine, page three of the questionnaire, "publisher", was retained lrregardless of the markings of respondents because of a previous commitment to publishers when requesting complimentary copies.

53

Appropriate range and extreme range were determined by a majority tally from the respondents.

Based upon the revised questionnaire, an instrument for evaluating choral music suitable to the elementary school was designed, retaining those items and considerations which respondents deemed important (with the above exception). Die following is the final evaluative form used: (The revised section, DETERMINATIONOF DIFFICULTY, was retained as a reference sheet in the process of evaluation.)

54

z. UraMHOiJ 39

tltla. e rr . U

II .

•BO. d iffic u lty t Chranfa(s)iigglll affectsi

foo t and/or bond >ouiid» m a lo ti hm ar _ _

■coanint child acacapanlasat,

•tad* tbIubi

•xcallant fo r bocltinlnc m ale rtad lng ■ » » «

•vtaUndpK axm pla of f«m

outstaadlJ* a r t iy l t o f at» lo parlod

BTAUtaiOji 1.

a* e* to p a w lttla s tho ocatilonal um o f am ^l to f* rant*

0* othar than a bora

2 . T ttt

a. patriotic, buwous, consansa, anlaal, bird, nor lit/, oowbcjr, or lulls tqr .

b . othar than abcra

Musical N otarial

a . lnelud li* variety o f cvnnta in th m t o r thaw s, dalays, d arla tlcn , uncertainty, harnonia ln tc ro a t, rhytlmlc v ita lity ) u tilta a tlo n of m a tca l aooacagr .

b* absence of tba abora characteristics

Ompoaltloii aa a wbols m

55

Evaluation of Music

This final evaluative Instrument was utilized in gathering data regarding the individual compositions in this study, and in evaluating these compositions, and determining their appropriateness or inappropriateness to grades four, five and six of elementary school. Those compositions determined hy this process to he suitable for grades four, five, and six of elementary school may he found in Chapter Four, with pertinent information concerning each composition.

CHAPTER IV

A total of two hundred seven scores were examined in this study, including the following categories of secular music written by American women composers: unison and two-part (SA) choralmusic and operettas, and vofcal solos and popular music written in treble clef. Each score was evaluated using the instrument designedin this study. Operettas were evaluated as a unit, whereas

«

separately published songs and the individual songs of a collection were evaluated individually. Data concerning those compositions judged appropriate to the upper elementary singing program, and those deemed inappropriate -for such purposes is presented in this chapter* with scores of the selected compositions. In addition, compositions created for children by the writer of this dissertation are included in this chapter.

Compositions Appropriate to the Upper Elementary Singing Program Seventy-two of the scores examined were determined to be

appropriate to the singing program of grades four, five, and six of elementary school, when utilizing the criteria and evaluative instrument of this study. Information regarding the compositions selected will be reported in the following order:

56

! V •- . -''V• .* : • -; . • • ^r*\»\T• •■iC' ••,•-:•'

57

•ititle Icomposer, collection title or operetta (if applicable) jarrangement jpublisherdistributor, if other than publisheraccompaniment information jdifficulty jrange ispecial effects, if any jstudy value (if applicable)

Such data will precede each selected composition. Ifce asterisk (*)j

preceding a title indicates a composition also recommended for primary !' i

grade use, due to its range and text, !Because the compositions of this study are copyrighted material, ]

‘ ithese scores appear in a separate volume, Volume II, of thisdissertation, vhich ia available on loan from Ihe Ohio State University j

ilibrary.

Compositions judged Inappropriate to the Upper Elementary Singing Program

One hundred thirty-five of the compositions surveyed were determined by the criteria established and the evaluative instrument used in this study to be inappropriate for use in the upper elementary grades singing program. Eight of the scores were deemed inappropriate because of range) forty-nine, because of ‘text; and thirty-one because of the musical material contained. In addition, thirty-eigit scores were rejected upon two categories of criteria; six due to range and text, three due to range and musical material, and twenty-nine, based upon their texts and musical material. Nine scores were judged Inappropriate in all of the categories of criteria used in the evaluation (range, text, and musical material).

Text was checked most frequently as inappropriate (ninety-three scores), followed by musical material‘(seventy-two scores). Range was the category least often found to be inappropriate in the scores examined (twenty-six scores).

Many of these compositions were not intended for upperelementary singing purposes, but rather were designed for otherfields of musical endeavor. Many would be valuable to other programs

60of elementary school music, and therefore are here listed.Following the composer's name, title of composition, arrangement

8eA list of recordings of compositions by American women composers is found in Appendix J.

59iand publisher, the letters R, T, and/or H indicate the area or areas of inappropriateness determined by this study (R ■ range,T “ text, M *= musical material). The asterisk (*) preceding certain listings specifies a composition suggested, because of its range, text and musical material, for the primary child's singing. The following code will be used to report information regarding these compositions.

arr. *= arrangercomp. = composerop. = operettaU a unison arrangementSA « soprano and alto arrangement

60" ♦

Alderman, Beatrice— A Fairy Conspiracy (op)— U— Willis Music Company— R T M

Altman, Adella Carlson— A Souvenir (op)— sA— Willis Music Company— R T N

Bampton,Ruth— Black is the Color of M y True Love's Hair— SA—Raymond A. Hoffman Company, Calavan Music Company— T

Barthelson, Joyce (arr.)— I Love Little Willie, Two-Voice Chorus Album— SA— Belwin— T

Barthelson, Joyce (arr.), Stephen Foster (comp.)— Nelly Bly,TWo-Voice Chorus Album— SA— Belwin— T

Barthelson, Joyce (arr.), John Phillip Sousa (comp.)— stars and Stripes Forever— SA— Belwin— M

Beaumont, Vivian— Keep the Star-Spangled Banner Waving— U— Pro Art Publications— R M

Bennett, Joyce (and Phil)— The International Waltz— U— United Nations Ball Committee— M

Blake, Myrtle— Blue October— U— Jack Curry, Active Music; ISC and A and A— T M

Blake, Myrtle Ann— Engraved on My Heart— U— Jack Curry, Active Music; ISC and A and A— T M

Blake, Myrtle Ann— So Blue— U— Jack Curry, Active Music; I8C and A and A— T M

Blake, Myrtle Ann— Sweet Mary Lee— U— Jack Curry, Active Music; ISC and A and A— T

Bond, Carrie Jacobs— Just a -Wearyin' for You— SA— Carrie Jacobs*

Bond and Son, Inc.) Boston Music Company,— T M Bond, Carrie Jacobs— Out In the Fields— SA -Carrie Jacobs Bond and

Son, Inc.) Boston Music Company— T M Bond, Carrie Jacobs— A Perfect Bay— SA— Carrie Jacobs Bond and Son,

Inc.) Boston Music Company— R T Butler, Lois— Sonnet XIII— U— with composer— T Colzow, Dorothy— Golden Dawn— U— BMT Canada, Ltd) Associated Music

Publishers, G. Schirmer— T Carre 11, Ruth (and Jimmie Dodd)— Amarillo— U— Pic Music Corp.— T Cromie, Marguerite Biggs— Sugar and Cinnamon— SA— Theodore Presser

Company— RCrowe, Bonita— Eph'm's Prah'r— U— Pro Art— TCrowe, Bonita— Greeting in Spring— U— Michael Keane, Inc. j Pro Art—

T MCrowe, Bonita— Just for You, Dear— U— Michael Keane, Inc.) Pro Art—

T MCrowe, Bonita— Legacy— U— Michael Keane, Inc.) Pro Art — T Crowe, Bonita— The Legend of Yonah— U— Michael Keane, Inc.) Pro Art— R Crowe, Bonita— MY Mother Was a Lady— u— Pro Art— R T Crowe, Bonita— The singing Lesson— U— Pro Art— R Crowe, Bonltap-Where Love Walks— U--Pro Art— R •Davis, Eleanor— The Clock's Song— U— Davis Studio— T Davis, Hazel— The Great Heroes of This Country— U— Faith and Freedom

Songs— M

62

Davis, K. K. ( arr.)— Pretty Jeannette, Galaxy Junior Chorus Book— SA— Galaxy— T

Davla, K. K. (arr.)— Pretty Maid, Galaxy Junior Chorus Book— SA— Galaxy— T

Davison, Martha Taylor— Hills of Dan— U— Paragon Music Publishers—R T M

Davison, Martha Taylor— ’Tis Spring— U— Paragon Music Publishers— T M Day, Ruth E.— Fairies Are Really Truly (op)— U— Willis Music Co.—

T MDierner, Emma Lou— The Shepherd to His Love— S A— Piedmont Music Co.,

Inc; Marks, Belwin— T Dolan, Hazel— Nebraska in the Fall— U— Lavell Publ. Company, Inc.— M Dolan, Hazel— our Nebraska— U— Lavell Publishing Company, Inc.— M Dungan, Olive— Little Brown Papoose— SA— J. Fischer and Bro.;

Belwin-Mills— R T M ♦Dungan, Olive— Hie Mysterious Forest (op)— U— J. Fischer and Bro. j

Belwith— TDungan, Olive— Out Fishing— SAr-J. Fischer and Bro.; Belwin-Mills— M Elaine, Sister Mary C.D.P.— Flag of Our Country— U— Our Lady of

the Lake College; Southern Music Company— R M Elaine, Sister M.— Maytime— Our Lady of the Lake College— T M Elaine, sister M.— Merrily We Sing— S A — J. Fischer and Bro.;

Belwin Mills— R T M Elaine, Sister M.— The Red, White and Blue— U— Our Lady of the Lake

College— M

I 63

Elaine, Sister M.--Star of the 8outhwest— U— Our Lady of the Lake4 «

College Music Press— R T M Elaine, Sister M., C.D.P.— united America— U— Our Lady of the

Lake College— R M Elliott, Marjorie— Hie Happy Scarecrow (op)— U— Willis Music

Company— R T MFrank, Marcel (arr.), Robt. Wright and George Forrest (composers)—

Little Hands— SA— Frank Music Corp.— T Franklyn, Blanche and Nat Vincent— Whistle A Tune— U— Harry Von

Tilzer Music Pub. Co.) T.B. Harms Co.— M Qeist, Susan Rowe (arr.), Robt. Ashton (comp.)— I Long to Hear a

Song about Nebraska — U— Lavell Pub. Co., Inc.— Me

♦Haines, Joan— By and By, Songs to Share— U— Gordon V. Thompson— T Haines, Joan— Elmer, The Elephant, Songs to Share— U— Gordon V.

Thompson— T M -♦Haines, Joan— Nix, nox, nax, Songs to Share— U— Gordon V. Thompson— T HaineB, Joan— Pussy Willow, Songs to Share— U— Gordon V. Thompson— T M ♦Haines, Joan— Rain, Songs to Share— U— Gordon V. Thompson— T Haines, Joan— Santa Claus, Songs to Share— U— Gordon V. Thompson— T M Haines, Joan— Up in the North, Songs to Share— U— Gordon V. Thompson

T M♦Hoagey, Catherine Y.— The Ranger Rick Brigade— U— Ranger Rick Nature

Magazine— THoagey, Catherine Y.— Where does the Wind Live?— U— Ranger Rick

Nature Magazine— T M

64.

Davis, Hazel (and Ferry Wilbur)— Lady with a Torch— U— Faith and . Freedom Songs—-M

Davis, Hazel (and Ferry Wilbur)— Our Lives, Our Fortunes, and our Sacred Honor— U— Faith and Freedom Songs— M

Davis, Hazel (and Ferry Wilbur)— An Unknown Soldier— U— Faith and Freedom Songs— T

Davis, Jean Reynolds— Wayfaring Stranger— SA—Harold Flaaxner, Inc.)Shawnee Press— T

Davis, K, K. (arr.)— Bold Wolfe, Galaxy junior Chorus Book— SA— Galaxy— T

Davis, K. K. (arr.)— Brazilian Rose, Galaxy Junior Chorus Book— SA— Galaxy— T

Davis, K.K. (arr.)— Ezekiel Saw the Wheel*, Galaxy junior Chorus Book— SA— Galaxy— T

Davis, K. K. (arr.)— Hard by the Crystal Fountain— SA— Galaxy— T Davis, K. K. (arr.), J. S. Bach (comp.)— How Sleep the Brave— SA—

Galaxy--TDavis, K. K. (arr.), Stephen Foster— Jeanie with the Light Brown

Hair— SA— Glaaxy— R T M Davis, K. K. (arr.)— Legend— SA— Galaxy— T Davis, K. K. (arr.)— Old Folks at Home— SA— Galaxy— T Davis, K. K. (arr.)— On a May Morning, Galaxy Junior Chorus Book—

SA— Galaxy— TDavis, K. K. (arr.)— The Pitcher, Galaxy Junior Chorus Book— SA—

Galaxy— T M

House, L.M.— My Wishing Star— SA— Belwin— M House, L.M.--We Three— SA—Warner Bros. Music— R Jenkins, Ella (arr.)— Cadima, You111 Sing A Song and I111 Sing a

Song— U— Folkways— R Jenkins, Ella— Did You Peed My Cow?, You'll Sing a Song and I'll

Sing a Song— U— Folkways— R Jenkins, Ella (arr.)— Shabot Shalom, You'll Sing a Song and I'll

Sing a Song— U— Folkways— R Joy, Margaret— Pink Bread (op)— SA— Raymond A. Hoffman Company— M Kendrick, Virginia— Green is the Willow— U— J. Fischer and Bro.}

Belwin-Mills— R T McCarthy, Charlotte— Can't You See I'm Sorry— U— Bregman, Vocco

and Conn., Inc.— T McCarthy, Charlotte— I Don't Want to he Hurt Any More— U— Bregman,

Vocco and Conn, Inc.— T Popplewell, Mary—-How Softly a Heart Breaks— U— Conley Music,

Inc.} Claridge— T M Popplewell, Mary— It's a Cryin Shame— U— Conley Music Inc.}

Claridge— R TPopplewell, Mary— Shoulder to Cry On— U— Claridge Music, Inc.— R T Poaegate, Maxcine Woodbridge— Spanish Lullaby— SA— Somerset Press— ] Rawls, Kathryn Hill— Bells of Spring— SA— J. Fischer and Bro.}

Belwin-Mills— T M Rawls, Kathryn Hill— Touch Hands Around the Rolling World— SA—

J. Fischer and Bro.— T M

Reynolds, Malvina— Black Horse, Cheerful Tunes ftor Lutes and Spoons— U— Schroder— M

Reynolds, Malvina— Don't Drop the Box, . Tunes for Lutes and8poons— U— Schroder— M

Reynolds, Malvina— The Girls from the Oyster House, Cheerful Tunes ‘ for Lutes and Spoons— U— Schroder— M

Reynolds, Malvina— I Went a Gathering, Tweedles and Foodies for Young Woodies— U— Schroder Music Company— M

♦Reynolds, Malvina— Jennie Fell Down, Tweedles and Foodies for Young Noodles— U— Schroder Music Co.— T

♦Reynolds, Malvina— Little Boat, Tweedles and Foodies for Young Hoodies — U— Schroder Music Company— T

Reynolds, Malvina— Magic Penny, Cheerful Tunes for Lutes and Spoons U— Schroder Music Company— M

Reynolds, Malvina— Many Colors, Cheerful Tunes for Lutes and Spoons— U— Schroder— T M

Reynolds, Malvina— Mommy's Girl, Tweedles and Foodies for Young Noodles— U— Schroder Music Co.— T M

Reynolds, Malvina— Place to Be, Tweedles and Foodlea for Young Hoodies— U— Schroder— M

Reynolds, Malvina— Star Flower, Tweedles and Foodlea for Young Noodles— U— Schroder Music Co.— T M

Reynolds, Malvina— To-Ro- March, Tweedles and Foodies for Young Noodles— U— Schroder Music Co.— T M

Reynolds, Malvina--What Time is It?, Cheerful Tunes for Lutes and Spoons— U— Shcroder— M

Reynolds, Malvina— You Can't Make a Turtle, Cheerful Tunes for Lutes and Spoons— U— Schroder— M

Richter, M a (arr.)— Ay, ay, ay!, sing In Spanish— U— Theodore Presser T

Richter, Ada (arr.)— La cachuca, Sing in Spanish— U— Theodore Presser— T

Richter, Ada (arr.)— Cielito lindo, Sing In Spanish— U— Theodore Presser— T

Richter, Ada (arr.), J. Valverde (comp.)— Clavelltos, Sing in Spanish— U— Theodore Presser— T

Richter, Ada (arr.)— Preguntale a las estrellas, Slog in Spanish—U— Theodore Presser— T

Richter, Ada— Reverte, Sing in Spanish— U— Theodore Presser— T Richter, Ada (arr.)— Rio, Rio, Sing in Spanish— U— Theodore Presser— T Richter, Ada (arr.)— Vidalita, Sing in Spanish— U— Theodore Presser— T Richter, Ada— La viudita del Cohde Laurel, Sing in Spanish— U—

Theodore Presser— T Richter, M a — Yo soy farolero, Sing in Spanish— U— Theodore Presser— T Rio, Rosa and Abel Baer— In My Caravan of Dreams— U— Abel Baer

Music Corp.— TRio, Rosa and Abel Baer— Just to be Alone with You— U— Abel Baer

Music Corp.— T

68

. Sprott, Nelle McMaster— Sunny Yellow Jessamine, Trl-Centennlal Songs— U— R. L. Bryan Company— M

Turner, Mildred— I Wish Ihey Didn't Mean Goodbye— U— Morley Music Company} Edwin H. Morris and Company, Inc. — M

Van de Vate, Nancy— Two Songs: Death is the Chilly Night andLoneliness— U— Waterloo— R T

Whitecotton, Shirley-Miehael— SA— Somerset Press— T Wilson, Faith C.— The Obliging Clock (op)— U— Willis Music Company—

. T M

Applications of Criteria; Compositions

MA Dozen Songs for Children11 was designed for the elementary and middle school child. Its songs employ various vocal sounds) humor in both music and text) conventional and unconventional notation) a variety of accompaniments, many of which are well within the child*s grasp; and contemporary sounds, including the aleatoric sounds. Texts are by John Clardi, Mary O'Neill, Ruth Blalock Loftin, and the composer.

It is believed that many of these songs fulfill the criteria of evaluation established in this study, and therefore they have been included.

CHAPTER VSUMMARY, CONCLUSIONS, IMPLICATIONS AND RECOMMENDATIONS

SummaryPurpose

Bie prime objective of this research was to evaluate vocal music of American women composers, in order to select compositions of such nature which would be appropriate to grades four, five and six of elementary school. It was hoped that these efforts would encourage the presentation of music written by American women composers within the total music education program, and would increase knowledge of the music of women composers, and woman as composer. To achieve this purpose, it was necessary to determine requirements of appropriate elementary vocal literature, and to design an instrument capable of evaluating children's vocal literature.Procedure

Otoe methodology of this research was three-fold, consisting of securing music, designing an evaluative instrument, and evaluating music. Music was secured primarily by direct correspon­dence with two sources; music publishers and the individual American women composers, using as a source of reference, the

Tl

ATDirectory of American Women Composers, compiled by the National Federation of Music Clues. A major problem encountered, in this procedure was that of inaccurate addresses, a dilenma alleviated to some degree through local library resources and music industry personnel*

As a preliminary step to the establishing of an evaluative instrument, a checklist was designed based upon the following areas of reference: statements of authority and research regardingthe child voice and vocal capabilities, and music pedagogy elementary music achievement test itemst music criticism philosophy) and dissertations and theses which have evaluated the educational possibilities and appropriateness of specific compositions. Seven of ten questionnaires given to outstanding music educators were returned. As a result of comments and ratings of these personnel, items in the questionnaire were altered or deleted to form the final evaluative instrument. In addition to their evaluative sections, both the questionnaire and final evaluation formcontained an information section aimed at providing some resource

*

data for those interested in using the music.The instrument thus designed was utilized in collecting

information regarding the compositions of this study, and la evaluating their appropriateness to grades four, five and six of

87Smitb, Women Composers, pp. l-i»0.

72elementary school.Findings

Two hundred seven scores within the c&tegories of this research(I.e., secular unison and two-part (SA) vocal music) were receivedand evaluated with the instrument designed in this study. Seventy-two of the compositions were found by the criteria established tobe appropriate to the upper elementary singing program, whereas onehundred thirty-five of the scores were judged inappropriate whenutilizing the evaluative Instrument. Eighty-eight scores werejudged inappropriate in only one category of criteria; eight inthe category of range, thirty-one in the musical material category,and forty-nine in the category of text. Thirty-eight scores were

*

found to be inappropriate in two areas of criteria; rhythm and text (six scores), rhythm and musical material (three scores), and text and musical material (twenty-nine scores). All of the" categories of criteria used In the evaluation were checked as inappropriate for nine of the scores examined.

Text was checked most frequently as inappropriate (ninety-three scores), and range least frequently (twenty-six scores). Musical material was found in seventy-two of the compositions to be inappropriate by the criteria established and the evaluative instrument used.

Conclusions and Implications

Biis study evidences that there is a body of vocal music literature written by American women composers which Is appropriate for the child's singing at the approximate age level nine to eleven, (obis music is found in Volume II with related information.)

It may be concluded that range was appropriate for this age group in most (87$$) of the compositions examined, even those

Oftrejected upon other bases. When compared with Adcock's findings that most songs in music text series for the middle school child are inappropriate to his normal range, implications are that the compositions found in this document are more appropriate to the child's range than what he sings from the music textbook series. Since much of the music examined was popular music, and did in most cases lie within the suggested range for the upper elementary grade child, it can be further implied that the vocal range of popular music is in many instances appropriate to the child age nine to eleven, that it is probably more appropriate than that offered in the music text series, and that this factor Is a. contributor to the musical preferences of the upper grade child.

^Adcock, "Vocal Range in Middle School Curriculum." (Research employed in this dissertation's consideration of appropriate vocal range.)

74

Of the three categories of criteria within the evaluative instrument, text was most often found inappropriate to the upper grade child in the compositions examined, a finding similar to the Blyler88 study which revealed greater discrimination regarding text than other aspects of songs. Thus text is shown to be a prime determinant of the appropriateness of children's songs.

Bixty-five percent of the compositions surveyed in this study were found to meet the criteria established for musical material, evidence of woman's Ability as a composer. Thirty-five percent of the evaluated compositions met all criteria of the evaluative instrument: range, text, and musical material. (Thelatter are found in Chapter IV.)

In addition to conclusions and implications which may be dra»n from the basic research project, certain factors were apparent from the volume of correspondence which transpired in this study, and from participation in the evaluation of music.Such information is relevant to composition in general, to womanas composer, to the evaluative instrument used, and to problems of

*

accompaniment and text.Few serious composers are interested in writing for children,

but among those most effective in doing so are coinposers who have

^Blyler, "Song Choices," p. J23.

75*

worked with children in music, such as Ella Jenkins and Malvina Reynolds.

The compositions surveyed were all published after 1900, many during the years of World War X and World War XX, thus pointing to the increasing acceptance of woman as composer in the absence of man.

Through examining such a quantity of music it is apparent that woman has been successful (i.e., accepted) in certain areas of composition. She has been highly successful as a composer for Vaudeville, and a writer of pop music and country music, including compositions performed by A1 Jolson and those recorded by Nat King Cole, Eddie Arnold, and Doris Day. Rosa Rio composed and

mimprovised background music for silent movies and radio soap operas, a skill which she was taught at the Eastman School of Music in the early 1900*s. It is woman who has written the state centennial and sesqui-centennial songs, etc., the girl scout commemoration opera (composer Julia Smith), and many of our national patriotic songs. Her talent as an arranger of music is widely acknowledged: notable are Katherine K. Davis, Joyce Barthelson, Ruth Bampton, and Marcel Frank who has arranged for Frank Loesser and Meredith Wilson. These arrangements include many fine folksong arrangements, such as the arrangements of Irish folksongs by Marguerite Biggs Cromie. Woman has been equally effective as a writer of vocal solos. Outstanding are Bonita Crowe who has.had works performed at the

White House, Lois Butler, Emm Lou Diemer, and Nancy Van de Vate who publishes under the noms de plumes, William Huntley.

Thus it appears that woman as composer Is In an embryonic stage—'accepted, successful in some few areas, preparing the way for her acceptance and success in other areas of composition.

Among the most prolific of American women composers are Mana>Zucca with 1100 published works, Carrie Jacobs Bond whose more than three hundred songs were published, and Radle Britain vho has published compositions of a serious nature for various Instrumental and vocal media,

80As was concluded in the Blyler study, this research revealsthe difficulty of evaluating music with a checklist. Basic

*

imperfections of the evaluative instrument were apparent during the period of evaluation, particularly in the areas of text, where other topics, especially those related to nature seemed appropriate; and in the determination of difficulty section, where frequent meter changes, independent accompaniment or vocal parts, dissonance, tempo, or a prepared or non-prepared modulation influenced the difficulty of a composition.

Other problems were encountered regarding text and accompaniment. Some textB were found to be anti-Negro, and others, anti-female.

^Blyler, "Song Choices," p. 323*

77

Host accompaniments were written for piano and were too difficult for the child's use. Few of the compositions examined utilized other classroom instruments to provide melody, harmony or percussion accompaniment. Very few of the considered compositions were designed for a cappella singing.

Recommendations Participation in this study emphasized the urgent need for

research in related areas. Of prime importance are the observation of children in controlled situations in an effort to discover their musical behaviors, including vocal range) and the continued efforts to establish a structure of music. The absence of such information . was a limiter to this study. Studies of .the vocal range of the child's out-of-school song preferences would offer needed data relevant to child vocal range and music literature.

Studies of the publishing industry are recommended in order to arrive at accurate directories and other information which would increase availability of all published music.

It is further suggested that studies regarding the woman conposer) her role in society) her music, both secular and sacred, Instrumental and vocal, published and non-pub 11 shed) and its application to specific educational settings be studied. It is recommended that a library or libraries of such compositions be established in an effort to increase the availability, performance and research of such music.

. * . . 78*

Ibis author recommends that the evaluative Instrument of this study he refined for future use in the selection of appropriate vocal literature for grades four, five and six.

Because of the prevalence of difficult piano accompaniments,. *

the performer or instructor of the compositions here contained is encouraged to be inventive in providing variety and feasibility of accompaniment.

In addition to the recommended singing possibilities of songs here included,it is suggested that music educators explore the further educational possibilities of the two hundred seven compositions of this study. 1

APPENDIX A

Letter to Publishers

79

April 27, 1973

80

Dear Sirsi /. As a part of my doctoral program in tfie School of liusic at Ohio State

University, I am currently working on a/aissertation entitled "An Evaluation of Choral Music by American Women Composers as to its Appropriateness in the Elementary School*11 This dissertation will result in a source book for elementary school in which credit will be given to both composers and publishers*

In referring to the Directory of American '/omen Composers compiled by the National Federation of Music Clubs, I find that your company publishes vocal compositions of the following American women composers:

For purposes of this research, I would sincerely appreciate your sending compli­mentary or "on approval" copies of unison and two-part (SA) compositions by the above named composers* fflea3e mall musio to thg address below. Should you desire that copies be returned, please specify a return date*

I will be grateful for your cooperation In this project*Respectfully,

Helen Loftin Cornell 1240 Ashland Avenue Columbus, Ohio 43212

APPENDIX B

Letter to Balwin-Mills Publishing Corp. Regarding Publisher Addresses

81

121+0 Ashland Avenue Columbus, Ohio 1+3212 June 15, 19T3

82

Belwin-Mills Publishing Corp.16 W. 6lst Street New York, New York 10023Dear Sirs:

3hank you for your cooperation in sending music for my research regarding American women composers. Such courtesy is a tremendous aid to this project. (

I have encountered a problem of letters addressed to publishers being returned due to incorrect addresses. Having exhausted available references here, our music librarian suggested that I write your company for assistance in securing accurate addresses. If the address of any of the publishers here listed is known, I would appreciate your sending me such information.

Again, I am grateful for your help in this study.Respectfully,

EnclosureHelen Loftln Cornell

appendix c

Addresses of Publishers and Distributors of Vocal Music by American Women Composers

83

84

Abigail Music Company dist. by:

Schroder Music Company 2027 Parker Street Berkeley, California 94704

Abingdon Press201 Eighth Avenue, NorthNashville, Tennessee 37202

Active Music Publishers Jack Curry 3170 S.W. 8th Street Miami, Florida

American Composers Alliance 170 West 74th Street New York, New York 10023American Music Center, Inc. 2109 Broadway, Suite 1579 New York, New York 10023

American Society of Composers, Authors and Publishers

ASCAP Building One Lincoln Flasa New York, New York 10023

The Assemblies of God Music Department 1443 Boonvilie Avenue Springfield, Missouri 65802

Associated Music Publishers, Inc. Publishers and Importers of Music 866 Third Avenue New York, New York 10022

Abel Baer Music Corp. c/o Roggins Feist Miller 1350 Avenue of Americas New York, New York 10019

Belwin Mills Publishing Corp. Melville, New York 11746 distributors for J. Fischer and Bro.Piedmont Music Company, Inc.The Big 3 Music Corporation 1350 Avenue of the Americas New York, New York 10019

BMI Canada Limited distributed byG. ■Schirmer 866 Third Avenue New York, New York 10022Joseph Boonin, Inc.P.O. Box 2124South Hackensack, New Jersey distributor for

Canyon Press, Inc.

Boosey and Hawkes, Inc. Oceanside, New York 11372

Boston Music Company 116 BoyIston street Boston, Mass. 02116

Boston Music Company distributed by

Frank Distributing Corp. 116 BoyIston Street Boston, Mass. 02116

85

Bourne Company Music Publishers 136 West 52nd Street New York, Hew York 10019

Broadcast Music, Inc,1*0 West 57th Street New York, Hew York 10019

Brodt Music Company P.O. Box 1207 Charlotte, H. C. 28201

The R. L. Bryan Company Greystone Executive Park P.O. Box $68 Columbia, S. C. 29202

Campus Publishers711 North University AvenueAnn Arbor, Michigan 1*8108

Canyon Press, Inc.Box 1255Cincinnati, Ohio 1*5201

Canyon Press, Inc.Choral and Band Music dist. by:

E. C. Kerby LTD.198 Davenport Road Toronto 5, Ontario, CanadaU.S. Agent;Joseph Boonln, Inc.P.O. Box 212USouth Hackensack, H. J. 07606

Chappell and Company, Inc. 609 Fifth Avenue .New York, New York 10017

Cherlo Warock59 West 5k StreetNew York, New York 10019

Choral Art Publications Distributed by:

Sam Fox Publishing Company, Inc.15lt0 BroadwayNew York, New York IOO36

Choristers Guild P.O. Box 38188 Dallas, Texas 75238

John Church Company distributed by

Theodore Presser Company

Cimino Publications Incorporated 1*36 Maple Avenue Westbury, New York 11590

Claridge Music Group 6362 Hollywood Blvd.Suite 306Hollywood, California 9°028

Composers Facsimile Edition 170 West 7lfth Street New York, New York 10023

86Composers Press distributed by

Hsoui Ronson 177 E. 67th Street Hew York, New York 10028

Concordia Publishing House 3558 s. Jefferson Avenue St. Louis, Missouri 63118

Congress Music Publications 501 Flagler Federal Bldg. Ill N.E. First Street Miami 32, Florida

Conley Music, Inc.distributed by

Claridge Music Group 636s Hollywood Blvd. Suite 306 Hollywood, California 90028

Jack Curry A and A Music Box 5538Columbus, Georgia 31906

Halt Disney Music Company 800 Sonora Avenue Glendale, California 91201Selling Agent;Hansen Publications 181*2 West Avenue Miami, Florida 33139

Eldridge Publishing Company P.O. Box 209 Franklin, Ohio *15005

Elkan-Vogel, Inc.A Subsidiary of the Theodore

Presser Company Presaer PlaceBryn Mawr, Pennsylvania 19010

. Faith and Freedom Songs 5901 Rose Avenue Long Beach 5, California

Fema Music Publications Interlochen Series distributed by

Crescendo Music Sales Company P.O. Box 395Naperville, Illinois 605*10

Fiesta Music, Inc.Box 21*50Hollywood, California 90028 Subsidiary:

Herman Music inc.Carl Fischer, Inc.56-62 Cooper Square New York, New York 10003--

J. Fischer and Brother.division of

Belwin-Mllls Publishing Corp. Melville, Long Island, N.Y. 117*16

Fred Fisher Music Company, Inc. Sixteen-Nineteen Broadway New York, New York 10019

H. T. Fitrsimona Company 615 No. LaSalle Btreet Chicago, Illinois 60610

87

Harold Flammer, Inc.Sole selling agent;Shawnee Press, Inc.Delaware Water Gap, Penna. 18327

.Folkways Records and Service Corp.701 Seventh AvenueNew York, New York IOO36Sam Fox Publishing Company, Inc.15 0 BroadwayNew York, New York IOO36

Frank Distributing Corp. 116 BoyIston Street Boston, Mass. 02116

Frank Music Affiliates Sole selling agents; Frank Distributing Corp. 122 Boylston Street Boston, Mass. 02116

Galaxy Music Corporation2121 BroadwayNew York, New York 10023

Gospel Advocate Company P.O. Box 150 Nashville, Tenn. 37202

Gospel Publishing House IUU5 Boonville Avenue Springfield, Mo. 65802

H. W. Gray distributed by

Belvin-Mills

GIA Publications, Inc. Gregorian Institute of America 2113 W. 63 Street Chicago, Illinois 60636

Charles Hansen Educational Musici860 BroadwayNew York, New York 10023lhe Harmony Music Publishers 7^3 W. Irving Park Blvd.Chicago, Illinois 60613

T.B. Harms Company distributors for

Bibo Music Publishers, Inc.Harry Von Tilzer Music Publishing Champagne Music Corp.100 Wilshlre Blvd.Suite 700Santa Monica, California 901*01

Harper and Row, Publishers, Inc.10 East 33d StreetNew York, New York 10022

May Hill3272 Hollywood Boulevard Suite A ,,9"Hollywood, California 90027 subsidiaries:Roger Graham Music Publishers Ellis and Company Craig-Ellis and Company Craig and CompanyHit Records International Hyperbolic RecordsI.S.C.P.O. Box 81*66Coral Springs, Florida 33063

86

R. A. Hoffman, inc. Box 1(037Wichita, Kansas 6720k

Raymond Hoffman Company distributed by

Calavan Music Company 1300 E. Douglas Street Wichita, Kansas 6720k

Houghton Mifflin Company 1900 South Batavia Avenue Geneva, Illinois 6013k

House of Music, Ltd. 1116 Ala Mo ana Center Honolulu, Havail 9681k

International Songwriters ClubP.O. Box Bk66Coral Springs, Florida(Tee Mee Mar Bee Music Company)

Carrie Jacobs-Bond and Son, Inc.distributed by

Boston Music Company 116 Boylston Street Boston, Mass. 02116

Neil A. Kjos Music Company323 Busse HighwayPark-Ridge, Illinois 60068

Lavell Publishing Company, Inc. k863 Wirt Street Omaha, Nebraska 68l0k

Lillenas Publishing Company Nazarene Publishing House Beacon Hill Press of Kansas City P.O. Box 527Kansas City, Missouri 6klkl

'Hie Liturgical Press Saint John* s Abbey Collegeville, Minnesota 36321

Lorens Industries 301 East Third Street Dayton, Ohio k5k01Lorense Publishing Co.The Sacred Music Rress The Heritage Music Press The Lorens Printing Company

Up With People Music P.O. Box 1397 Dayton, Ohio

Edward B. Marks Music Corporation 136 West 32nd Street New York, New York 10019

Richard Maxwell Publications, Inc. 701 Seventh Avenue New York 19, New York

MCA Musickk5 Park AvenueNew York, New York 10022

Menchey Music Service, Inc. 1100 Carlisle Street (Clearview Shopping Center) Hanover, Penna. 17331

89

Montgomery Music, Inc. 180J Liberty Bank Bldg. Buffalo, New York 14202

Morley Music Company distributed by

Edwin H. Morris and Company, Inc. 1370 Avenue of the Americas New York, New York 10019

Edwin H. Morris and Company, Inc. 1370 Avenue of the Americas New York, New York 10019

Nasarene Publishing House P. 0. Box 527Kansas City, Missouri 64l4l

Mae Nightingale Publications P.O. Box 15161Los Angeles, California 90015Selling agent;John Arrijuria

Oxford University Press 200 Madison Avenue New York, New York 10016

Paragon Music Publishers71 Fourth AvenueNew York, New York 10003

C.F. Peters Corp.Music Publishers 373 Park Avenue South New York, New York 10016

Pic Music Corporation 39 W. 54th Street New York, New York 10019

Pioneer Music Press975 South West Temple StreetSalt Lake City, Utah 84101

Plymouth Music Company, Inc.17 W. 60th StreetNew York, New York 10023

Theodore Presser CompanyPresser PlaceBryn Mawr, Penna. 19010

Pro Art Publications, Inc.469 Union Avenue Wesbury, New York 11590Music publishers and distributors for* Michael Keane

Publishers Services Incorporated 1518 Walnut Street Philadelphia Penna. 19102

Ranger Rick's Nature Magazine 1518 Walnut Street Philadelphia, Penna. 19102

The Rodeheaver Company Winona Lake, Indiana 46590

Saunders Publications, Inc. 119 West 57th Street New York, New York 10019

0. Schrimer, Inc.Publishers and Importers of Music866 Third AvenueNew York, New York 10022distributor for:Lawson-Gould Music Publishers, Inc.

Schroder Music Company (ASCAP) 2027 Parker Street Berkeley, California 9VT0b

Scott, Foresman and Company 1900 E. Lake Avenue Glenview, Illinois 60025

Charles Scribner's Sons, Publishers597 Fifth AvenueNew York, New York 10017

Seesaw Music Corporation 177 East 87th Street New York, New York 10028

Shawnee Press, Inc.Delaware Water Gap, Penna. 18327

Simon and Schuster, Inc. Mail Order Services 1 West 59th Street New York, New York 10018

Somerset PressExecutive DriveCarol Steam, Illinois 60187

90

Southern Music Company 1100 Broad Way, P.O. Box 329 San Antonio, Texas 76292

Jack Spratt Music Publishers 8th Floor, 17 W. 60th Street New York, New York 10023

Summy-Birchard Company Evanston, Illinois 60201+

Summy-Birchard distributed byEMB Music Service Evanston, Illinois 6020UEducational Music Bureau, Inc.I83U Ridge AvenueEvanston, Illinois 602OU

*

Gordon V. Thompson, Ltd.29 Birch Avenue Toronto 7, Canada

Transcontinental Music Publicationsl6jh BroadwayNew York, New York 10019

University of Miami Music Publications P.O. Box 8163Coral Gables, Florida 3312Volkvein Bros., Inc.117 Sandusky Street Pittsburg, Penna. 15212

Walton Music Corp.17 W. 60th Street New York, New York 10023

Waterloo Music Company, Limited 3 Regina Street North Box 25OWaterloo, Ontario, Canada

Westminster Press Witherspoon BLdg. Philadelphia, Penna.

The Willis Music Company Publishers and Dealers 7380 Industrial Road Florence, Kentucky 41042

Word Music distributed by:Rodeheaver Company Winona Lake, Indiana 46590

World Library Publications, Inc. 2145 Central Parkway Cincinnati, Ohio 45214

APPENDIX D Letter to Julia Smith,

Author of Directory of American Women Composers

93■

12U0 Ashland Avenue Columbus, Ohio 1*3212 Hay 10, 1973

Dr, Julia SmithNational Federation of Music Clubs Dear Dr. Smith:

I have been unsuccessful in my attempts to reach you by telephone, and have been advised by the National Federation of Music Clubs Headquarters to write you at your three addresses.

I am a Ph.D. candidate at The Ohio state university and am currently working on a dissertation entitled "An Evaluation of Choral Music by American Women Compqsers as to its Appropriateness in the Elementary School." I have been delighted to find your very beautiful piece of work, the Directory of American Women Composers. You are indeed to be congratulated.

I have some questions regarding this document which I feel you may be able to answer. First, do you have a list of titles for these compositions? (For which X would happily pay xeroxing and postage.) Is there a library collection of this music or a card file -of titles that I might use?

In ordering this music I am beginning to encounter some minor problems. I assume that some of these publishers are no longer in business for several letters have been returned. Further, I hope that I am interpreting accurately such items as "Oliver Ditson Co. (see Fresser)" to mean published by Oliver Ditson, distributed by Presser.

Again, I am grateful that such a fine, such a needed document exists. I will appreciate very much your calling me collect if you have time to answer any of these questions.

Best wishes for the continued success of your work.Respectfully,

Helen Loftin Cornell 6lU UB6-905U

APPENDIX E Letter to American Women Composers

Kay 31, 1973

95

Doar Ms*As a part of my doctoral program in the School of Music at Ohio

State University, I am currently working on a dissertation entitled "An Evaluation of Choral Music by American Women Composers as to its Appropriateness in the Elementary School." This dissertation will result in a source book for elementary school in which credit uill be given to b>th composers and publishers.

In referring to the Directory of American Women Composers compiled by the National Federation of Music Clubs, I find that you have composed music which should be considered in this study. I have been unsuccessful in my attempts to secure complimentary or examination copies of your music from the publisher, and it has been suggested by composer,Julia Smith, that 1 write directly to you.

For purposes of this research, I would sincerely appreciate your sending complimentary or examination copies of the secular unison and two-part (SA) vocal or choral compositions which you have composed. It is not essential that I have original copies for this study. A Xerox duplicate will be sufficient. ?lease mail music to the address below. Should you desire that copies be returned, please specify a return dato.

Your cooperation in this project, and your promptness in complying witn this roqueat will be sincerely appreciated.

Respectfully,

Helen Loftin Cornell 12^0 Ashland Avonue Columbus, Ohio 43212

APPENDIX F Letters and Dossiers Recieved from

Anerican Women Composers

96

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CMORlb (Mixed Volees)SsszsLCeltic Prayer, R.V.O.Choral tMfeuu X, 8tk. NcC.Own! Riiimmi XI, Seh. HoO. C k f i U m L ord, T.f>Bleiy to Ood, B.N. Ob*Id *e bonl Tb» Vorld (Arr«) B.A.H. Imwtioii to Dim, J.r.Jacob's bidder, B.A.H.tot Oi Ruwbly Vilh Vith Thto, B.H.tot Vi hilu h m Koa, M.A.M.Uft Up Iwr Reirt, J.r.Uft Up Tour H*ida, H.P.Mm Vith Viiim, B.V.Q.Hr Soul's tom Antlwrd, J*V.0 Shenandoah, tol*0 Varahip (Miruu ft) An. B.A.H. htlii Mia Bnntrt, tol.Tsosrrtv's VorlA (Arr.) R.A.H.

Chriitam inti phony, R.V.O. Bing Out, VilA Balia, Seh.MaO* (Reviser's)Oirol of tha Craituraa, Uoiim mi Descent (R.r.)fltlftrBlow, Oolim fnaptto, J.r. Christ Is Kim, B.M.0 toll* ii tha Stoapla, tfelsoo, B.r.V.

VXfl RAHUffOR AMD HUUXPbB CHOIBSM U of Bathlchao, Seh. M.C. (Christos*) Trimph of tho Croao, H.f. (Easier)

’ CBOEil. (Voaten'a Voices)SttSUllogo 1 Band, S.A. (T.P.)Blieh is the Color, S.A., R.A.R.X till Life Up Kina Eyas S.S.A. (R.E.)Ufa Ros Loveliness to Soil, 8.S.A., R.A.H.Hr Reort Erer Faithful, 3.A. (T.P.)• Com tot Us Bint To The bard (Unison) B.R.D* Raises to Ood 8.A., (J.r.) to; of Elder ode, S. A., (tol.)

Otristo**Christoas Bella, 8.3.A.A, (R.V.) Christos* Nightingale, 8.A. (T.P.) Christos* Surprises, H.F.Osthor 'Bound Christas* Troo, S.A. (T.P.)bom Cm* tom it Christas*, S.A. (B.N.)Merrily Vs Sing, S.A. (T.P.) Tidings of Joy, S.A. (J.P.)Vind Through Oliwo trees, (B.P.V.)Unison sad S.8.A. aA Cm* ill Te Friends 8.A.B., fits

100i Mjin - wt* a

CRUMB'S NDSIC BOOKS (Vilh Lottio B. Colt)

It's ta to llitn, R.S. (Vint listoning Wok)Lot's Uotoa te tho Birds, R.P,Ik* Little Bod Bos, 0.8. (Story sad piaao auio)Toas Hot r Mag Im m , R.P. (Vint seogbook)(ty Both Boaptoa)

Osas oat Play (Khylhas), MillsHula Bniy 0*7 (sos«s( goats, ifcytiso ood soog-stary), H.P. liii|iSB (or Fun, Hills'Wjoiaiai Vith Huiit (Songs, ssersd sad oonltf), Osas a, ■qrthaa, Soog-stoiy, lor.

mw> MAtnxAUiBlow tho Mas Dow, l.f.Childhood Days of Kami Coaposors (Storioo by Lottio I. Ooit)(Plctares sad pdaao orr. B.B.), Mo sort, Bseh, Kaadol, Boothoroa, Tchaikovsky, Sehahort, Brshos, Chopin, T.P*Dmrt light, P. A.Boll's Lullaby (Stssy by Lottio S. Colt), for fdoao, <I.P.Jshaoy Applssaod Piaao Suits, 0.8.Oar Satire Aasricaa Airs, eoapilsd by B.B., O.D.Seagulls, M.M.Ms'll Bo Coafn* 'Bsaad tho Hoastoia (Polk ooog pisao sorios), l.f.Tha Spinasr, P.A.Otrolliog tip, Fiona, H.P.Vorld Nastorpioes Borios (Dlstiaetlro Ooapoaitloas Air* for Mono by S.B.), Troika, Tchaikovsky, Pastorals, Booh, Festival of Bolls, Bisst, Bollod of tho Bolls (Htlody Loaatoviteh), B.N..Of A Tailor And A Boor, orr. froa KooOovsll, B.N.Shoghord's Banco, J.P.

Loro Osas Down At Christaos, Mod. Toioo, IJ(. la Boaor of Mother, Hod. Voioo, H.V.O.

OBSAM OOLUECriORS Voiding Classics, J.P.

•LA Bsoord Available

Bangtou - M lrum BsawtM ttaaoiu

Mot *A1 Ik* lilli* orr. ( m hhuuai) Q*S*Nlkrt* Valia for Two H omii Chopin, aid Oarotto, Ptokokioff,Too Vi woo, V. Kao* Sorias, B.M. Co*.Tallow Row of Tanas, orr* for four hands, H.P*•Ur BpongloA Banner (Duoi or Two flano orr.), H.P.

tmicaiun(in sollaboration with V.M. Young)Miroelo of Joan, Pits* flno Chriotaaa, Hun-Birchard ■ion Oror Chriiiau, H.P.Tho Magic HanAnill, Villio Tho Solfioh Oioni, Villio

SOW *ow-»n»*lflWPting Vith Ho, T*P* (Pong* with Dossants)Christnaa la Kora, H.N.Co. (Christnaa Carols)

Mucauianoi nbucaixohsAnthooa in Voatninstor Publications, Hoags in Hinging lohool Horioa, 8u»-Birehard, Oinn Co*, Pollott, Prsntiso- Hall Strias, Braadnon fross.Haoaaino A r t ic le sHnoio of tho Voot, Etude, Hiuoational Husio Magas iso, Musi* Mnootor's Journal, Tho Haaie Journal, Tho Piano Toaahtr,Clarior.Articles or PlavsIn 'Vriii Teacher," Music Ministry (Hsthodist Rib* Rouso),Tho Instructor— Tho Junior Musician.tewtteCalifornia Btato Musie Conwsntiona, 1941# 1945, 1950, 1950, I960* ptoto flhaimsnifor Coapoaora and Authors far C*N*T*A*, 1959-40.

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kik lupttn haa a Hu. Baa. Dag.— Vow Hngload CoMtmitiy, Maatar'a Sag* in Cbnrah Huainf Onion Theological Intau7f ' Msnbar of Pi Kappa Loabda, Signs iljha Iota* Listed in Vho's* ”lha ha* acrrod on**tha*niisle*staffa of alonentaryand secondary schools| eolloga and university. She taagfet (kaial awie and piano at Polytechnic School in Pasadena, Cali* fomia for twenty-one years, 194B-1964.

MD.>*£roadaan Proea W f dalwia, Inc. HJI<i Hontgoawry Muio Go* Hilla-HiUa Huain Co.B.P.V.-B. P. Vood Co. Pits.—*.T. Pitasinona Q.S*—4. Sehinmr

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P.JU— Fro art Publications B.A.B.—*.«. Hoffnan, Ino. 1.1. Hiaay Birchardt*P*— Theodore Praaaar Co. Villls—Villis Huaio Co*

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A collection of 43 ton£t for young children of t»on>o or In Iho nursery or primary grodes with easy piano ae* companlmcnt. Tho tongs hare bom (hoson from the treasure-house of children's literature; Mother Goose, nursery rhymes, familiar poems plus original text, os wolf, sol'to original music and with many illustrations. Thom oro tongs about . tho Statons of tho Yeor, Nature, Animals, Holidays . . . for dramatization, petrt* otic occasions, gomts and octhUStt.

$1.00

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COME and PLAYDescriptive Music to Ploy and Act By RUTH BAMPTON

Original rhythmic musk for kindergartens and prU maty ftadts to bo uttd creatively with the chifdrtn responding as the musk suggests. Tha IS compo- sltions oro all descriptive of animals or insects, such at tho lumbering elephant or the bussing bee. Children will delight guesting at the animal the music describes and Imitating them rhythmically. Tho booh Is coyly illustrated.

Price SOe

MILLS MUSIC Inc.1619 Broadway# Now York 19Him imSi smeme roe rumcW O SAT, CAN TOO MAS .

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B «ri til Yakima, Waehlagtoat i4 « e iu t to the public idMcto of O U h it , Callfarala, a a i the U i lm i t t r *f Callfarala, Berkeley

Mualc etucattea to place, f le et tog, campealtlaaB e rk Frefoaalcaal to e r te e c e

Maltoaal Braaicaettog Cam pa ay, Peclflc Caaet Dlvtolaa Piaalet, vacal u l uaecik le ceeck

C**cerl u l lectere tour* - Ualvarattlea et CelembU, Weal Vtogtoto, lailaaa, IlUaato, lU ilo r l, Peaa., etc.

Cktil CotictMWhite Pletac, H. Y. W e m e 'i Ctob Charak K u k r i Vacuum Oil Campaay C h en i Oeaeral P ie ia Ccmpaay Chorea S cara iak M i i i i | i l StogaraBrya Me err Prcabytertoa Church Chair, Yeakera, M. Y.B alia City Mea'a Glee Club .

Campeaer»to»reatoeace, Waatera Maryleal Callage Co’Dlrectar, HoXi-Berthetoaa Meelc School, Scaraiak , N.Y.

Biucatar

CCiOaare Camaaaar

TlaaaT eathertap" • Overture a a i Opara BuBa I haura

Basel aa tha laataay by Hawtharae Far Salaieta, Chorea, Orchaatra Carl Ftochar Kaatal Bureau

•*tha Fir at Palm Suaiay" - A Sacral Dramatic Caatata M*Far Havratara, Scalar a a i Junior Chair*, Salalata,Flute, Obaa, Orgaa (Cammtoalaaal)

"Chaotic k a r ” • A Ceatemporary Camle Faatoay 41'Far Narrator, Salalata, Chorea, Plaaa, 4 haaga, a a i Orchaatra Carl Flachar Baatal Buraau ASaptaS (ram Chauccr'a "Tha Nua'a Priest'* Tale" ptFMC'ASCAP 11,000 Aurar4 Car a Caatemparary Opara)

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106

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Dooenhor 16, 1972tha Elna*a Braakfsst - a delightful half hour offering a toueh of spiea for collars or club pragmas* The niaabethaa apirit szpraaaad in ausls of today* ttadyo Hathav, Pres id ant Oaoaunlta Opera Coapaay, Inc.

Of BOw YorkOw of our aoot ouocaoaful program* Chaatlolaar la full of life*•iatar Nary Francises loadany of Our lady af •ood Oounsel ’Chaatieleer is partieularly affaotivo for soilage atudonts - appealing, oolorful and oooaialcaUva. Dr* Arlan R* CoolldyeProfasaor of Kuala Broun UniversityChsBtioloor wall dasarvad first prise. It was superbly b u m at tha Biennial by Bashers of tho Metropolitan Studio and enthusiastically received.WsrtNt K. Sykes, Chalraaa IFMOA9CAP opera ContestiBathartop - tha aoat beautifully axpraaalva nualo wo have board by a oonteasorary caaaoaar in years and by a woaan to boot - Joyce Bartnelson*Denver Peat Boavar, Coloradoroothortop - w oad laagl native with a host of lovely tuneful thaaaa .. witOUta and KSyaaoy * * rhapaodio lyrlolm. ^ „ Krt(r Biapatch

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MRS. PHILIP 0 . BENNETT I I I Lorraine Avenue, Upper Montclair, New Jertey 07041

July 2, 1973Dear Ms, Cornell,In reply to your letter of May 31 concerning youi/doctoral dissertation, I would gladly help you if it were possible* I am not a very active composer, and the only numbers actually published were not in sheet music form, bdt on recordings; also they would not be suitable for use in elementary school, being strictly of a popplar nature* I realise school music has changed a lot since X received my degree in it, but even so I assure youjthese two numbers would not do*The publisher was Knollwood Music Co* in New York City, but have had no contact with them in some years* There is other material that would be suitable, written alone & with my husband, such as a more appropriate state song for New York than "Tho Sirionlks of New York", several of same nature for New Jersey, etc* - however since you state you only wish published material, these will not apply. However, just as an example, am enclosing a copy of "The International Walts", also not published (but copyrighted) - there is also a dance band orchestration of this, and it was used several years os the presentation dance for the International DebutaKnte Boll in New York on TV, played by my husband's orchestra* Tricia and Julie Nixon made their debuts on two of these occa­sions* If you are wondering about the appearance of this sheet, I typed the original on our Music- writer, and then it was photo offset* vWith best wishes for your project, gincepeiy

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BIOGRAPHYRadie Britain was horn on i ranch near Amarillo, Tens. After having

graduated with honors from the American Conservatory jo Chicago she Made her detail a a composer in Munich, Germany, while studying with Alert Noetic. Leopold Godowsky, Heniot Levy, It Deane Shure, Joseph Ftmbaur, and Alice Ripper contributed to her piano training. A gold medal in organ led her to further study with Pietro Yon, and Marcri Dupre In Firis.

After returning to the United Stales, two seasons were spent by invka- (Ion at the Mac Dowell Colony in Pet whom. N. H., where ’'Southern Sym­phony" and "Light** were created. Since then her compositions have Keen programmed by America’s leading symphonic organitations as well aa Europe, Egypt, and Moscow.

"Lament" was performed in the White House. In 1949 die became the first woman composer to receive the Julliaid Publication Award for "Heroic Roam.

Over fifty compositions have received International and National Awards.

She is a member of AS.GA.P., National League of American Ren Women, life member of the Musicians Union, Local 47, Los Angeles Music Teachers Assn., National Association for American Composett and Conduc­tors of Washington, D.G and Los Angeles Chapters, and life member of Texas Composers, director of National Society of Arts and Letters of Santa Barbara, California.

She is an honorary member of Sigma Alpha Iota, Schubert Club of Los Angeles, Texas Federation of Music CJubs. Tcxss Teachers Association, PhdharraonicGubof Amrrilto, Texas, and The Etude Gub of Lot Angeles.

The Honorary Doctor of Musk was given to Mbs Britain by the Mu* skat Aits Conservatory of Amarillo, Texas, and the Award of Merit by the Nstiooal League of American Fen Women, Washington, D.G

Her Pupils have been the recipients of many awards from her Chicago and Hollywood Studios. Her husband Ted Morton is one of the pioneers of aviation. Lrrac, her daughter, received her masters degree from the Uni* vanity of Southern California.

Cwnmi talons have been received from the Matygrovc College of De­troit, Michigan, and Saint Mary's Gollege of Omaha, Nebraska.

120

ORCHESTRALAw H Ctmftklm TMr PM sttt1928 (7 mis.)...SYMPHONIC INTERMEZZO..........................US

M'7‘1. e-JM.Timp. pm., srrins*. first performance, Chicago Woman** Symphony

Orchestra, 1928 E t h s l L cg in sk a , Coadortor.

1928 (« min.). . .PRELUDE TO A DRAMA* Robert B. Brown Mink Co. H-M , 4 J-J-1, Tlwp- pew*. ncinfs. first performance, Chicago Symphony Owhaw, 1938. Do. F i i m i i c x S to c k , CoadmtorLos Afljtki Philharmonic Orchestra, 1930.A im o W a l l e n s t e i n , CoadottotAtlantic Symphony Orchestra, 1932.H our S o tk in , Condnaor.Cain Egypt Broadcast.U S Air rate Symphony of Washington, D.C, 1933. C o l o n i l G e o sc g H o w a rd , ConductorMoscow Symphony Orchestra, Moscow, 1961. K o n s ta n i s n Iv a n o v , Conductor,

1929(8min.)...HEROIC POEM*.................American Murie Center3-2-2-T, 4*3>M, Timp. pm., atriafi.Awarded Jullisrd National Publication Prise.first performance, Rochester Symphony Orchestra, 1932.Do. H o w a rd If a n s o n , Conductor.

1933 (tSmin.). .RHAPSODY FOR PIANO AND ORCHESTRA . M i.2-2-2.J, S-WI.Timp. pcrt-,KriAp.First performance, Illinois Symphony Orchestra, 1938. Rost Gouwtac, Soloist, l u n S o lo m o n . Conductor.

1934(8mio.)...NOCrURN FOR SMALL ORCHESTRA...........US.!-7'7-l, 2*2.20, Timp. pm, aiiap.First performance, Chicago Woman’s Symphony, 1940. F a n n y A a n s tc n , Conductor.

1933 (7<nin.). . .INFANT SUITE FOR SMALL ORCHESTRA*M*l-I, M+C, Timp. pm, Niin|LFirst performance, Los Angeles W.P.A. Symphony, 1936.D*. n o o u t A l t s c h u l e r . Conductor.

1933 (Rmin.).. .LIGHT* (dedicated to Thomas Edison) M i3*3*9*3> 4*>.>*t, Timp, pcrc., airings.Won first National Prise sponsored by Boston Woman’s Symphony Orchestra.First performance; Chicago Woman’s Symphony, 1938. C t a a n W c lg e , Conductor.

1933 (23 min.). .SOUTHERN SYMPHONY* Robert B. Brown Music Go. 3*3-3*3.4*3*3*1, Tinp. pert, stringa.

Morttoio-AllipoAdogioUtnmondoAUrtro

First performance, Illinois Symphony Orchestra, 1940. h u t S o lo m o n , CrWwftr.

YM$ ArfMbr19)9 (7 nfc.)...PASTORALS............................................. I l l

M-M.MXO.Tfcap.eerc, strings.. First performance, Whittier Symphony Orchestra, IW .

R u t h H a i o lm o n , Com forter.

19)9 (Sain.)...DROUTH......................................................... MXM-M, Thf. fere., strings.Pint performance, Illinois Symphony Orchestra, 1942. Dl Kurt An e i, Cmbr/«f.Composers Forum, 199*.Dalles Symphony Orchestra,W a l t e r H i n d i . Comiuaor.Madrid Symphony Orchestra, 1940.VUKtNn SetriRt, Comforter

19)9 (5 m b .)... CANYON.................................................. MX

fiat performance, Rochester Symphony Orchestra, 1941.D r . H o v a r d H a n s o n , Conduct*.

19)9 {9 win.).. .SATURNALE* ................................................. MXM-)-), 4-M.I, Timp. gen, strings.fint performance, UX Ait Force Symphony,Vnhtgloa, D.G, 1997.C o l o n e l G t o t c t HowAM>, C om forter.

19)9 (20 min.). .ONTONAGON SKETCHES*Robert B. Brown Mink Go.

hM -lgo)*!. Ting, pern, stringL f . SmurtM LdttSnpnhr.I.PW irtO feii,3. V k fr it Ftlh.

Fint peiae Sponsored by San Antonio Musical Guh, 1942.1940 (16min.)..SUITE FOR STRINGS . . . Robert B. Brawn Murk Go.

I .N tt iJ i i*XStrnwr) . Ctmtttrdh*

fint National Priae aponaoced by Sigma Alpha iota Maaical Sorority.fint performance, Rochester Symphony Orchestra, 1941. D r . H o t a r d H a n s o n , Cmfarin.

19400min.)...PRISON (LAMENT) SMALL ORCHESTRA . . MX M -M , M-O-O, Tbap. aringa.Fint performance, Lane High School, Chicago, 1940. Joim i G r i l l , CeWavrer.

1941 (4aain.).. .SAN LUIS REY* Robert X Brown Musk Co.S-1I-I. 4->■)•!, Tiaap. prm, nrmet,Fint performance, Whittier Symphony Orchestra, 1941 R u t h H a r o l m o n , Comforter.

1941 (7 mta.). . XA1NT FRANCIS OF ASSISI*Robert X Brown Music Go.

M-R-llM-l.Ttag. geicwftriaga.Pint performance, Hollywood Symphony Orchestra, 1961. D r . E r n e s t G k r e r t , Comforter.

OaerfCaapwUfci ' TMr NUkUt1X1 («mia.). . PHAWTASY FOR OBOE AND ORCHESTRA . M l

14-M, M-M, Timp. pare* *rf«p.Hnt [wfaiwiiH, Amarillo Symphony Ontetn, 19)1 A. C tm Rollm, SM u.Goonei Blcmoc, C*»4uti*

IM*(4nJa.)...WE BELIEVE.................................................M ll-VM, 4*H*l,Haf. part, rtriap.W n fint national priae ip woieJ IfDelta Onleton International Musical Fraternity, 1X>.

IX ) (In la .)... JEWELS OF LAKE TAHOE............................M lM 44, M-M,Timp. ptic, rtriap.

1X6(7 M ia .)... RED CLAY................... . . .M l)M V W l t l l f . P**, tfriap.

1X 6()aria.). . .SERENATASORRENTINA (SmallOcdintn) . . M ll-MA Timp. ptfc., Priap.

Pint performance, Amarillo Symphony Ofdwim, 1X7. D l K d n i t B how k, C tU uttf.

1X6(1 aiia.)...UMPQUA FOREST......................................... M lm-MJ'H.Twp,IX7(7am )...PA tN T HORSE AND SADDLE........................M l

f-t-M,4-l-M. Thap. pare* rtrinp.IXI (4 min.). . .CHICKEN IN THE ROUGH (High School Orth.) M l

M4-I, M-M. Timp. pot. Mtiap.IX ) (to la .).. .CACTUS RHAPSODY*...................................M l

»!-3,4->-)-l,Tiaip.ptK, rtriap.Pint performance, U 1 A if Force Symphony.Waahangton, D.C, 1961Captain John F. Youlaitm. Cvndmm.

IX4(»min)...ANGEL CHIMES................American Muric CenterM-l-1, MM, Cpdbalt, otati w ptimo rtriap. fintpc sfonunce, U 1 Air Force Symphony VnKofton, D.C, IX).Majo* Aknoid D. Gamuil, CaWarfar

IX) (4 m in )... RADIATION.................................................. M lM M , 4-FH. Thap. peat, atriap.

19)6(1)*ia.)..COWBOY RHAPSODY*.................. M lW44-)HTiMpr«,iuta|pPint performance, Amarillo Symphony Orchestra, 19)1 A.CLYM Rout*, CmUtKttr.KPFK, Lor Angeles, 196).

IPX ()« ia .). ..THBISTHE PLACE.................................. . . . M lMUWI,19M(4min.)...MlHHATERRA (BuharotoNetto) . . Rfootdi and Sana

of Bearilm i , FM-I.tlmp, peir, rtriap.Pint performance, U 1 Air Form Symphony Wompglon, D C. IX).Major AtNOio D. Gamiil, CoWortor

AM M Cmtf tM m TkU MM ittr1962 (34 m in.).. COSMIC MIST SYMPHONY*........................... U S

M-M, 4-5-5-I, Tinp. pest, strinp. h Tkr D rtim iht NtM*Nmt«r Fill**

Rnt ml'l. price of 1)00.00 sponsored by National League of Amnion Pen Women

Washington, D.C, 1964.1965 (4min.)...UTTLE PER CENT (High School Orchestra) . . . U S M-M, l-5-M, Tinp. pat, nh|i.196)(Amin.). . .KAMBU........................................................I. ICS.

Ut-li4-VM.Ttav.p«c,iltliw.■Scoreand put* available: Fleishcr Library, Philadelphia, P«.

C H A M B E R MUSIC1927(• min.)..."EPIC POEM” FOR SIRING QUARTET......... U S.

Pint National Award sponioted by National League of American Pm Women, 195C

1954(19m in .)..SIRING QUARTET (4 Movement*) ................ ICS.Fint National Prim aponaorcd by N.LA.P.W., 1959. Rut award Lake View Muaicat Society, 1940.

1955(4min.)...PRISON (Lament) string<piartet.............. ICS,Ptiformed at White House, 19)6.

1940 (Itn in .).. .CHIPMUNKS for Woodwind, Harp and percussion MS.Fint National Priae sponsored by N.LAP.W, 1964.

1942 (9 min.)...PHANTASV for Oboe, Harp and Piano . . . . . . . . MS.I9M()min.)...BARCAROLLA for 9 CeUi and Vocalise.............ICS.1959 (4aain.).. .CASA DEL SOGNO for Oboe and Piano............ ICS.1960(4min.)...DANCE GROTESQUE for 2 F lu tca .................. ICS.1962 (6 min.). . .IN THE BEGINNING for 4 Horns....................ICS.Fint national price, Washington, D.C,

N.LAJ.W., 1964.

STAGE W O R K S1929 (15 min.)..SHEPHERD IN THE DISTANCE (Ballet) ICS.

Orchestrated.1955 (15 min.). .WHEEL OF LIFE (Ballet) orchestrated

Rnt performance, Goodman Theater, Chicago, 111,-1955. flints Hmrkni m i r*U,

19)7 (Ihr.)....UBIQUITY (Musical Drama)................ ICS.Text: LtUtr Lxtkit.

D m of C m p w M m Ttk1946(1 hr.)....IIAPPYLAND (Operetta) .................................MA

Text; Ado Grtenfmd1992 (2 ft hr.).."CARILLON" (Opera in 3 Acts)

Text: Refer! Hogbtt.1999 (29 min.)..THE SPIDER AND T1IE BUTTERFLY

"Operetta in 3 Ktt for children."Tex!: Lem Frfuttto HouAberg

1969(1 hr.).. . ."KUTHARA" Chamber Open *n 9 Acts.T*xt: Letter Luther.

First performance, Santa Barbara, Calif., 1961. SfowowJ by National Society of Arts and tenet*, Elvina McNiiy, President Dkrtted m i product*! bUrgont Stromtr.

190 (1 hr.). . . ."LADY IN THE DARK” from Shakesperean Sonnets. Dktctrd m i predeced I; fare L tt Stelieimm. Commissioned by Mary grove Gollege.3 performances, Detroit, Michigan, 1962.

196}(19mio.). .KAMBU BALLET............................................. MS.1964 (1 hr.). . . ."WESTERN TESTAMENT'

Text written m i directed by Sore L tt StoiArmm. Commitsioned by Saint Mary’s Golkar,Omaha, Nebraska.T.V. performance, Omaha, Nebraska, 1964.3 major performances, Music Mall. Omaha, Neb., 1964.

CHORAL MUSIC1994....... .. .DRUMS OP AFRICA (Jenkins) Witmark and Son

(a Capeita) 5.A.T.B., T.T.B.B.First performance, Chicago Symphonic Choir,

OiKSgPk III., 1933.WaLTU AsCHINaatNNEft, Coodmtter.

1994...........PRAYER (Quarry!..................... ........Rieordi and SonsS.A.T.B., First performance,Qiautauy a Chorus, N. Y„ 1999.W altck Howr, Conductor.

1999............HAUNTED (Griffin)..............................................MS.SA.T.B.

1999 NOONTIDE (Nietadte)....................Arthur P. SchmidtSAA.A.Tint ptiae, lake View Musical Society, Chicago, Illinois.

1999............ FAIRY OF SPRING (Butterfield) . . . . Arthur P. SchmidtSAA.

1999............ DICKY DONKEY (Lester Luther) . . . . . . . . Out FkhecRAYA. -SAA.A.

1999............ RAIN (Lester Luther) . . . . . . Robert B. Brown Music Go.SAA.

125

IOT If MVPffflnVi lilr rWRMf1934............BABY 1 CANT SLEEP............................................ MX

Fint pcitc Fade Song contest. Tm i compoaer* Guild.1937............IMMORTALITY (Francesca Fallc Miller)

( i Cappdla) S.A.T.X Arthur P. SdmUtIMS............TWILIGHT MOON (Ebnhait) .............................l i t .

SXA.IMP............NATURE USHERS IN THE DAWN .. Arthur P. Schmidt

SJ1.T.X (Hi told Skesth)Chosen on Cumulative High School list. Boston, Mm,

1940............ LASSO OF TIME (Alin McKciuk) Ned KJosT.TB.B.

1940........... THE EARTH DOES NOT WISH FOR BEAUTYS.A.T.B. (Letter Luther) Arthur P. Schmidt

194 0........... TSE COMIN* LORD TO YOU (AUn McKcnrie)S.A.TJL Clsfton P. Summy

194 1............STILLNESS (Lnler Luther) ....................................MX&A.T.B. Symposium, Austin, Tcsas, 11)1.

1941............HUMBLE ME (Lester Luther)................................ MXS.AXX

1931............THE CHALICE (AlnuHalff).................................MXSATJL

193 6 THE STAR AND THE CHILD Robert B. Brown Musk Co.LA.T.B. (John Lancaster)SXA.

193 7............ VENETE, FEUI AUDITE ME (Father Fred Consol) MXSXAX.

1949............ BARCAROLA (Vocalise) MX 'SXAA

1941 ( • min.) N IS AN (Kate Hammond) . . Robert X Brown Musk Co. SXA.A. Strings and piano.Won First International prise sponsored bp Delta Omkson Fraternity, 1962.World premier, Detroit, Michigan, 1963 D n . H a r r y S e itz , CeuJmlor.(Score and parts available bp publisher)

1963..........AWAKE TO LIFE (Lerac Britain).............................MX&AXXFint performance Southern California Mormon Choir, 1963. Fetocaiac DAVts, Co«/rr/#r.

196 3..........HARVEST HERITAGE (Lerae Britain)......................MX&A.T.B. Second National Award,N.L.A.P.W., 1963.

196 4.......... ETERNAL SPIRIT (Lerae Britain)XA.TJL Robert X Brown Musk Go.

1964 (Basin.) BROTHERS OF THE CLOUDS (Kate Hammond)Robert X Brown Musk Go.

(Ordsestnl Score and parts available from Publisher)

126

1963 (I min.) THE FI.U1T. SONG (Catherine Manore).............. M SSSA.A, F kt and PianoGommfctionoi bjr Sotcr Marie Gomtaacr, I.H.M, and the Marygime College Chorea, Detroit, Michigan.

1963 THE BUILDERS (Lerae Britain)....................SATA.

PIANO MUSIC1923..........PRELUDE........................................................Neil Kjoel> » .........WESTERN SUITE................. Otto HaSwfctcr (Germany)1923..........COVERED WAGON...................................... Neil Kjaa192 9.........DANCE GROTESQUE .............................................M lI9 » ......... INFANT SU1TB.......................................................MSl»5t.........THE CHATEAU...................................................... MS1931......... LITTLE SPANIARD (2nd Grade) . . . . Arthw P. Sdmidt193 9......... DROUTH ............................................................... MS.194 0......... SERENADA DEL CORONADO.............................. MS194 0......... GEPPETTO S TOY SHOP (2nd Grade). . Arthur P. Sdmidt194 1......... SAN LUIS REY................... ....................................MS1941......... SAINT FRANCIS OF ASSISI.............. ..................M S1943......... DANCE OF THE CLOWN (2nd Grade) Arthur P. Sdmidt1946..........SERENATA SORRENTTNA.....................................MS1941..........BARCAROLA.......................... M S1941..........GODDESS OF INSPIRATION.................................M S1949..........ENCHANTMENT .................................................. M S1949..........ESCAPE ..................................................................MS1949..........HEEL AND TOE....................................................M S1949..........TORILLO................................................................M S193 0..........HOW TO PLAY THE PIANO................ Walter T. Foittr193 1..........WINGS OF SILVER..............................Willi* Muric Co.1931 ANGEL CHIMES........................American Muric Edition193 3.......... RADIATION...........................................................MS1931.......... JOY ................................................. M S193 4.......... MEXICAN WEAVER.............................................. MS1933.......... ADORATION........................................ CaMMmicCo.1936.......... SONG OF THE JOSHUA.........................................MS1936.......... ENSENADA..........................Ricordi and Sana (Braid)1936.......... SONATA OPUS 1 7 ............................................ . . M S

Fint Mat Muric Tcachcn Acaodation of California, 1939.1963...........FOUR SARABANDES.............................................MS1963...........THE FAMOUS 12 ................................................... MS

4

127

T W O PIANO MUSICI fj f ...........PASTORALE............................................................MX

Pint Priae, f aaoml bjr National League of American Pen Women, 19)1

IM1...........ANGEL CHIMES.....................................................MXIPX...........MINHA TERRA (BamooNttlo) RkotdiandSona (Brsti!)1917 IE PETIT CONCERTO Robert B. Brawn Music Co.196)...........CACTUS RHAPSODY........................................... .M X

VIOLIN■PM...........LEGEND .................................................................MX

Pint National Briar, National League of American Pm Women, 19)1

1929........... DANCE GROTESQUE...................... MXI9») PRISON..........................................................Nail Kjaal f » THE CHATEAU.................................. I .................MX1944........... SERENADE.................................. MX

Fint Priae aponaoced be Marie Teachers Aaaodatioo of Califs im

1949........... BARCAROLA ..........................................................MXPint Natl Prize aponaoced bjr N.LAJ’.W., 1940

19)5........... CASA DEL SOGNO.................................................MX

HARP1947...........LOVE SONG OF THE TAJ MAHAL...................... MX

Tnd: Aim* HdjfPint performance, EbeU Theater, Lot Angeles, Cali/., 1944 Roberta Bladcatone Smith, Narrator

196)...........THE CHATEAU...................................................... MX196)...........WESTERN SUITE ...................................................MX

SONGS

ruautHia1926...........HAD I A CAVE (Robert Bumz)... Otto HaEwietcr

Fint performance, 1926. (Germany)Eric WirRugen, baritone of Munich Opera Company.

1926...........HALF RISING MOON (Ttbb)................ Otto Hafcriater192 6...........WITHERED FLOWERS (Fried! Sducyvogal) (Germany)

(M liotion Award) Compo rt Pima192 7...........NIRVANA (Warlock) Robert B. Brown Muaic Go.

■ Firrt Prim, Trua Federation oif Muaic Club* lint pcrf. Tito Sdtipo, Chicago, Illinois, 19S).

1927...........BERCEUSE (Jean Saundcn)........................... MX

128

m u iw u w nl» » ......... SUNKEN CITY (Mkhact r « U ) ................................M l

First |» r . Heinrich Gerfletter, Munich, Germany, 1 9 lt1»M......... OPEN THE DOOR TO ME

(M m B u im )........................Rohert B. Brown Musk Co.Orchestration initiUe.

192*......... REQUIEM (Goethe) ..................... ; ......................... MS.19)2......... THE WANDERER'S EVENING SONG (Goethe). . . MS19)4..........WHEN WE SHALL PART (Hartley) ......................M SIPX..........BABY I CANT SLEEP...............................................M S

Pint prite, Trni Federation of Musk Clubs, 19)719)7..........ELEGY (Later Luther)..................................... . . . . M S193*..........IN LIVING ECSTASY (Harold Sheath)

Ordtettntion available19)0..........TWILIGHT MOON (Ebcthan)................................M S

Orthotration available1940 LASSO OF TIME (Alice McKentie)................NeO Kjoa1940..........STILLNESS (Later Luther) ......................................M S1940..........THE EARTH DOES NOT WISH FOR BEAUTY.. . M S

(Lena Luther).1941..........LIFE'S EBB AND FLOW (Elsie M Fowler)..............M S1942..........ETERNAL CYCLE (Aha Turk Everett)..................... M S1942..........SERENADE (Isabel Dewitt) ..................................... M S1942..........LOVE ME TODAY (Isabel Dewitt)...........................M S1942.......... SILVER WINGS (John G. Magee) ............... M S194).......... ALL ALONE ON THE PRAIRIE (R. Britain).......... M S1940.......... THE CHALICE (Alma Hatff) ................................. M S194*.......... GODDESS OF INSPIRATION (Panmanda)............M S194*.......... VISION OF LOVELINESS (Ada Green Held)............ MS.1949.......... FAREWELL AT DAWN (Rupert Hughes)................M S1949.......... YOUR HAND (Mary Millet Beard) .........................M S19)1.......... LITTLE MAN (Mabel Wilton) ................................M S19)2.......... LOVE STILL HAS SOMETHING OF THE SEA.. . . MS

(Sir Charles Sedtey)19)).......... SOIL MAGIC (Genoa Mocris) ................................. M S19)6.......... MY DREAM (Allen Eadl) .......................................M S19M.......... REVELATION (Later Luther).................. . .M S199*.......... VOUDOUN (Kate Hammond) ...................M S196 0.......... OLD BLACK LEVEE (Kate Hammond) M S196 1.......... YOU (Elvina McNaty)..............Heroic Musk Publications1961...........HUSH MY HEART (Alma Halff)

ihmit Muaic Publications196 1...........BARCAROLA (Vocalise) .Oaian, Paris, France196 2...........THE SECRET (Ralph S. Cushman)............................M S1964...........ETERNAL SPIRIT (Lerae Bctuin)............................M S1964...........LUUABY OF THE BELLS (Aiieen GuMe)

Robert B. Raman Muric Go.

RADIE BRITAIN’S COMPOSITIONS

that have received

INTERNATIONAL and NATIONAL AWARDS

ORCHESTRA HEROIC POEM

National Publication Prize, aponaored by Juiliaid Foundation (1945) InlernalJona! Award aponaored by the Hollywood Bowl (1930)

RHAPSODIC PHANTASY FOR PIANO AND ORCHESTRA Fint PWza—'Ttaas Compoaere Guild (1939)Firal National Prize - National League of American Fen women (1945)

UCHTPint National Priae aponaored by Boaton Womans Symphony (1941)

RUtTE FOR STRINGSFirat National Award aponaored by Sigma Alpha lota Sorority (1941)

ONTONAGON SKETCHESFint Prize aponaored by San Antonio Musical Chib (1940)

PHANTASY FOR OBOE AND ORCHESTRASecond Prize - National Compotera Clinic (1950)

COSMIC MIST SYMPHONYFirst National Award of $500.00 sponsored by National Le*ue of

American Pen women (1964)Rockefeller Foundation, Houston Symphony Orchestra (1967)

DROUTHDslas Symphony Symposium ( 195S)

WE BELIEVEFirst National Award - Delta Omicron International Fraternity

(1945)U3FEMEUX DOUZE FOR 12 INSTRUMENTS

Fint National Award of S200.00 - National League of-AmericanHamiieiMann i%nsvroiiMN8AN FOR SSA.A . PIANO AND ORCHESTRA (Kate Hammond)

First International Award - international Fraternity of Della Omicron

CHAMBER MUSICBARCAROLA for 6 Cclli and Soprano

First State Award- Music Teachers Association of California (I960)ORPMUNKS FOR WOODWIND ORCHESTRA

First National Award - National League of American Pan women (1964) AWAKE TO LIFE FOR BRASS QUINTET

Second Prize - Texas Federation of Music Clube (1968)M1HE BEGINNING for 4 Home

First National Prize - National League of American Pm women (1964) PHANTASY FOR FLUTE AND PIANO

Firet National Award - National League of American Prnwomin (1970)

STRING QUARTET OICfOEM

First National Mm - National League of American Pen womenSTRING QUARTET IN 4 MOVEMENTS

Finl National Award - National Uigue of American Penwomen (1938) First Priaa - Lakeriew Musical Society of Chicago

TWO PIANOSPASTORALE

Fint PHaa - Illinois Federation of Mu tic Clubs Second Award - American Women's Contest (1940)Second Award - Texts Federation of Music Clubs

LE PETIT CONCERTOSelected on Festival List - National Federation ofMudcClubs(l970)

HARPREFLECTION

Selected on Festival List — National Federation of Music Chibs (1970)

SONGSNIRVANA (Weeloek)

First Prize - Texas Federation of Music Clubs (1927)I [AIL TEXAS (R. Britain)

Selected lor Texas CentennialTWILIGHT MOON (Eberturt)

Second Price - Texas Federation of Music ClubsCASABLANCA BY T1IE SEA (Elvina McNary)

First National Prize - National League of American Pen women (1970) CHALICE (HaUQ

Second Priaa - Texas Federation of Musie ClubsWITHERED FLOWERS (Schreyvogl)

Publication Award - Composers Press (1939)

PIANOSONATA OPUS 17

First PWee -Texas Federation of Music Clubs (1958)First National Award - National League of American Pen women Second Prin - Musk Teachers Association or California

CHIPMUNKSSecond Award - llUnok Federation ofMurieClubs (1939)

BALLETRED Cl AY

Second Award - Texas Coanpoaers GuOd

COMMISSIONSLADY IN THE DARK from SHAKESPEAREAN SONNETS

Manrgra* Coflege. Detroit, MichiganWESTERN TESTAMENT

CoBega of Saint Mary'a, Omaha, Nebraaka1MB FLUTE SONG FOR S5AA.Fhite and Piano(Manon)

Cw— hatMtH by Maiygrow CoSaga, Patroit, Michigan

VIOUN■RENADE

Fint Mae—Marie Ttachan Aaeodatfen of Catfomla (IMS)TIB CHATEAU

Second Price — National I aigne of Americas PrawooM■ARCAROLA

Finl National Award - National League of American Ptnwomen

CHORUSNOONnDE SS A A. (Nielieha)

Fint Mae - Lakcview Musical Sockty, Chicago, IQktoit (1940)NATURE USHERS IN THE DAWN (Skeatli)

Cfcneen on Cwaulalha Um for High School (1941)BABY, I CANT SLEEP - SATA.

FiiU State Prize-Folk So<« Contest of TexaaHARVEST HERITAGE - SA TJ. (Uiae Britain)

Second National Priia - National Lrague of American PenwoonatllUJNESS - SATA. (Lather)

Yanas Uahairify Symposium

132

AFFILIATIONS

HONORARYSigma Alpha tola National Muiical Sorority Federation of Musk Club* of T ou Elude Mu tic Club of Loi Ante lea, California fhBkarmonte Club of Amarillo, Texas Schubert Club of Lot Angeles, California Tcxai Mutic Teachera AiiociatJon MacDowell Chib of Amarillo, Texas Who's Who In America Who** Who in Music Wbo’a Who American Women Whole Who of the Desert Royal Hue Book of EnglandDoctor of Mutic, Mutkal Am Conservatory, Amaritio, Texas Harmony Club of Amarillo, Texas

SPONSORBrentwood Symphony, Lot Angeles, California

ADVISORY BOARDOpera CuBd of the Desert

DIRECTORNational Society of Arts and Letters of Sants Barbara, California

a

MEMBERSHIPA iJC A f.International Commit lee for Los Angeles Philharmonic Orchesin American Mutic Center. New YotfcNational Astociation for American Composed and Conductors, Washington, DC. Music Teacbed Association of Los Angeles, California Lot Angeles World AfTain CouncilNational Astociation for American Composed and Conductors, Los Anpkt,

Cahforais Womans Chamber Muaic Society National League of American Pmwameo Brentwood Symphony Womans Guild MacDowel Colony Asaocistion

U FB MEMBERSHIP *MntMam Union, Local 147 Trims Comport CuBd

*

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DEAR Ms, CORNELL,

I n response to your request for m u sic .

ro il UNISON OR TWO-PART VOICES, 1 REGRET

THAT I HAVE NOTHING IN THAT CATEGORY.

I HAVE TWO SATB WORKS, GUT THEY ARC NOT

WHAT YOU ARC LOOKING F0R,(AL$0 A 3-PART

SSA WORK,GUT IT -IS A PSALM SETTING.)

Wit h thanks for your in t e r e s t ,

SINCERELY,

Miria m Gideon

143 *

NEW! NEW NEW

THE REV. OR. IRMA GLEN’S GREATEST RECORDINGS Two LP Albums in GLORIOUS STEREO-COMPATIBLE 12” 331/3 RPM

•v {

MUSIC. ECOLOGY and YOU Narration and original, inspirational music by Irma Gian,Timely, Provocative, Soul-filled!“Something In all of Nature rings.” A tonal message on the most important subject of our day. Suddenly our Individual Interests are of least import, and our great concern is to save the earthl

THE PROMISES OF CHRIST JESUS Spoken by Charles Robert Sloan with correlative organ music by Rev. Irma Glen, Mus.D„ R.Sc.D. called the “Organist who preys as she plays.” The application of Jesus* teachings could be man's one hopo of survival...Side 2: "Transcendental Organ Music”To set the tone for Prayer and Meditation. A transforming musical experience meant to lead to spiritual awakening.

At the peak of her outstanding career, Irma Glen, Master-Muiician, presents tone colors and arrangements seldom heard on an organ, together with brilliant and soul-stirring commentary keyed to today's work). Here is a way to reach what some era trying to get through the use of drugs.

OTHER RECORDINGS BY DR. GLEN: "MUSIC, A BRIDGE TO HIGHER CONSCIOUS­NESS” A "MUSIC-PRAYER THERAPY*

ORDER FORM* tt-SlheNewSprtc*'35| IMH CUN

"Musk; Ecology and You”

"The Promises of Christ JesusT*

"Musk-Prayer Therapy”

' "Musk, A Bridge To Higher Consciousness” W k w C-t w t

vase ncnimsnt eaf‘ffl|g iu l|W j hlpTo:

1 Name__

Street,

© ty _

State, Zone.

List Price: S5.95 each, post paid. Californians add 6% sales tax. Please enclose check with

THE ARTISTS 144

DR. IRMA GLEN b beloved of audiences In many countries and her recordings art mad worldwide. One of tho great woman organists of our time. Dr. Gian contributes to these recordings her enormous talents for composing and performing spiritually uplifting music. Millions have witnessed the soul-satisfying quality of her MLovable Music," "Beautiful Thoughts" "Quletlme," and many more featured NBC program*. Completely dedicated as a student of religion and music since her early years; Irma has earned the degrees both of Dr. of Music and Dr. of Religious Science. Currently, the is tilling engagements to speak and play all over the world.

Sidel: Ecology's SongNature's Rhapsody Aspiration Soul Sowing E /ry Day Is Earth Day

Side 2: Elysian Fields Tonal Upanbhad Song of the Sea

All music composed and played by Irma Glen.

CHARLES ROBERT SLOAN who was chosen to voice the "Promises of Christ Jesus," has had a distinguished business cwaor In which he applied the principles of practical Christianity with great success. Since entering religious work, Mr. Sloan has taught and lectured widely in his native California. He has been a practitioner of spiritual healing for over tovcnty years. His rich, deep voice Is admirably suited to this particular recording, and hit humility and sincerity add heart-felt meaning to the precepts taught by Jesus. Irma Gian's inspired and inspiring musical interpretations are interrelated with the Word.

Musical Selections on the Record “MUSIC. ECOLOGY and YOU"

Musical Selections on the Record "THE PROMISES OF CHRIST JESUS"

Side 1: AdorationIf With All Your Hearts..............He Touched M e..........................Let Not Your Hearts Be Troubled The Lord's Prayer......................

GlenMendelssohn

.Gaithw

...Glen

.Malott*

Side 2: Tranquility

0 Master Let Me Walk With TheeSoftly and Tenderly

,Blanding-Glen •, . . . Thompson . . . Schumann

Dawn of a New Day Arioso in "A" . . . .

GlenBachHinaHow Great Thou Art .•

Script written and narrated by Irma Glen DEOICATEO TO THE GLORY OF GOD IN YOUI

June 29* 1979145

Helen Loft in Cornell 12M> Ashland Avtnue CeluriHiii Ohio 43212Dear Mrs. CornelIi

Your lattar of May 23. 1979 has reached me Just recently and 1regret that I an unable to be of help to you since the only work of the

type you require that was ever published Is. In all probability, out ofprint* It was an arrangement of an old Texas cowboy song and was in one

of the Texas school books, which I believe was coepiled by Hollis. These

graded books were In use during the late *20s and the Depression Era. Z

recall that the Dean of Fine Arts* Henry E. Meyer. Southwestern University.

Georgetown, Texas, sent the arrangement In with some of his own works.

In the Depression Era. I conducted a Junior Choir. ‘As there was

no money available for music* I made my own arrangements which were onlyscored on the cheapest manuscript paper available to me. That has been

many years ago and I am now 79 years old and my music has been stored for

a long time now| but I believe the little school music books I used are

still up In the attic. A cerebral accident* In 1965* left me more or less

Invalided and although the doctors allow me only a limited number of students,-I still teach singing to the High School students whose voices and desires

for private Instruction give me a feeling of usefulness In the field In whichI have found greatest satisfaction. v

Please accept my good wishes for you end your endeevors and thank

you for your Interesting letter.

Prances Wright Hausenfluck

146

1M D M U I T JUMOH CHOBUSHW Ftowl.............................SamFoaFattHMntCo.fcoaalMo .... iMftifiMMntOiiItoHaao................ .Warnar trot. M vHctonataa FaraaaH.......... San Foa FubMHna Co,

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ft. BMaoarlttt H ow , Cempaett Awtm Cduanaur mom M l I* Mr own M i mm IM Ma­dam! M i Comm, k n i lod m , hkM w , (M mat a tawte nJmator Mr many VMn Hi iM fhoramaod Amtir Raalai HA. in IHurw m l, • auburb of Mil- m M , W iiiiH i. Htr WDriMlM M Hit IMd of amah Mti Mil a h wan known. MM IW i tarty •mMpr. M • ttM todllp ttiahnt mm nw IM M OHM CaHtye and Chmnnall Cwia m w r . Mm MM Bath a B.A. M m M Ltoaral Am (Ontord CaaayH and an MJM* rMb a mafar Hi toko and ■dear M "atfta N a NariMmArm Univardtv, IM M* d m further paduat* om k ai CMurMji* IMmt- dty and abroad.

la addMlan M BafpUa orpmilat «M T«M Sym­phony. (T«M, Oklahoma) Mmyuarltae. M Dam at Chh, aadatad iM flm yarr In awMMrini iM No- domt Made Com la HfairfacMn. Midi Inn. A« Fra* pam Ohaetar. iM mm anpu yad tor mo m m at VMmOom Haiiaaal Fark Ciim . Far da aununera Aa a n am at tM Dhtaort at tto M h 't Bummer OM a a w at Mm Mum Materiel*. (Kantat City, Mai lh a aha took an actfea part In tM t emmar CMatmaaa Fpr Male UmcM . aon ard by Irhaliii Hdi and McCraary fat Muaiiapalii. WMh taacMnf In ■Mrmaod, MM Hauaa mntd an tM Board at Cfarfe Cawtaita Arracittlon at MHwaMaa and tM Board of OMMMnhy Cancam fat I Mr* m od. Far a nomtm at yoart oho Muabt cb m tor aduha fat Muale Apprada- tian Bath In tM IMrmaod Opportunity Bernal anda w AuM a uMai aJ lllaAd M ^W HRH W IHWHii v*m PtmQ H nVmPRat tM **|n and About Made taacMn* Club at Mil* madM*” and diractad tM Nwtad CMrut at CefumbiaTCMpmM VMM CnVa

AMa Mm National MuM fraternity. In taeafnltlan at Bar arorfc dMtmtmadt a mantn r at TMAntarlaan Badaty ad Comparer*. Author* and PabHdttti. Aa a torttor hanor. MM HouwT Bloirtphy rrpran in *1WM*i Id a In Mnic* and ’VAa'i Who InTMNr- tianal Fadaratlan at Made Chabf* Raemtly tM urn fatduMd in tM **Ofaaciatv at American Woman Cam m » f* pdhHihtd By tM National Fadaratlan a* Mudc CtoBt. Mar currtntly pubfamed eempoth Iona era Uttad In tM I A I . "Fan flp*r TM Mfchiyao HifB Icbaot AH B u r CBerua performed ova at MM Haute"* d a a l ararBt at IM National Muaic Camp. In a can- tan apanaaiad By tM Mkhlpan Hah Fadtratad Mutla Club*. Mha Hauaa non foil prltc tar Bar tMnfcar opart "TM Tour Ml" IM aha aran that piaoa with Bar par try In a atata aanmt MM by tM Fadtratad WbmWkCtM*.

MhAlam In la mhia ^w BJ>.«| talaM lH I NmBaa atriad an tM IcMol Board, at Haaldiia at tM BwrttcBaa Hbmaii"* Chib and Traaaurar at tM Tra- tarar Citv Minicab. and h cwrentfy dfaaufaia tM CMrut a t tMt aryanlrat ran. While m i a undid by tM baauty a t BtortMrn Mithltin. Man w Bti Hauta can- dnaaa ta arrila and am pju aa until aa enfoyina a a d and aatBiPB tar th t Bttter uMe a t Bar B aaun tinBi.

THRU FAHT CHORAL FtM WOMBITB VOtCO,BAA.

Afanaat Bprfato IWHB FByNia Hathnannt.. .RtMfai MMa FubWthfatl Carp,Oaffedib ...R eum e Co. Muale FubbiMriJamaica FamnaN lam Fan FubMMna CompanyFrayar Far Today IWIth Fhylfc* Hoffmann), , Schmitt, HaH and McCraary CompanyFraa Capart (WlthOtadRobfnton Vaute) .Bouma Co. Muale FublltharaA layout Eaatar le n t Raymond A. Hoffman................................... Campany Inc.Ramenbat TM OayF (With FBytlh HoHmannl Bourne Co. Mutic PubtirMrtla a lo n i............................... .lamFapFubUtMnaCa.tanaaamattoad Raymond A. Hotfman ........................................ .Campany Inc.Band no n*t Bant Raymond A. Hoffman

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Fublkatianr Item Far) *

• Introducing Mitt L Msrgucritte HouseWi»<iii|iw

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Well Described, To Students Everywhere, is

“A W ORKBOOK THAT HELPS YOU WITH MUSIC*MY MUSIC SOOT* * * l« t aa U —v lk d l

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0 SAY, CAN YOU HEAR?A MUSIC APPSCCtATION BOOK

by L MARGUESITTE HOUSI# 1 . ^ ^ J ***« — * > W *

Y»»m gooplo oto Introducod to botawd mosieol themes through descriptfro to lei, mtnfcol —eotptt and stimulating review questions at avail at many illustrations.M!»i House hat hod long experience toothing youngsters In musk and host relates tha storiet matt entertainingly, doarfy and instructively. Utttnlng to music wilt bo aver mart meaningful lor yaong folks offer reading that# two books.

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B o a r H a . C o r n a l l t

T o u r l a t t a r o f Hay 31 w as r e o e n t l y s a n t t o a a f r c a C h io ag o a n d a y l i l a y i n a n s w e r in g i t i a t h a t I h a v e b e a n .c o n d u c tin g m is io w ork­s h o p s o u t o f tow n a l l a u a a a r - i n M ontana, U ta h and C a l i f o r n ia - .and a b a l l n o t bo r a t u r n i n g h e m n n t i l n a x t w aak - a t t b a t t i n e - i f i t i s n ' t t o o l a t a - 1*11 aan d you a one s t a p l e s o f a y o o n p o a i t io n s , how­e v e r t h e y a r e n o t p a r t i o u l A i l y d e s ig n e d f o r e h o r a l s i n g i n g .

P l e a s e d ro p m a a b o r t n o t e i f you a r e s t i l l i n t e r e s t e d i n th e r e ­q u e s t e d n u e ie - u p o n a y r e t u r n t o C h icag o I s h a l l lo o k f o r y o u r r e ­s p o n s e an d th a n a a n d i t t o y o u .

A t a n y r a t e , g b d h s u o o a s s on y o u r d o o t o r a l w o rk .

P . 8 . K ara* a a f r i e n d who i s 'a u e h in v o lv e d i a ob a b u sl a s t r o e e n t l y a o v e d t h e r e t H r i Avon O i l l a a p i a

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A b o p si of Soto Oantt oad Btydwa EipedoBy Dslgiiid For Audience Fertidpofion.

ABOUT ELIA JENKINSE1U Jenkins is known totetchere andparenisthrough-

out the United States for her contributions to the teach* Inc enjoyment of folk music and rhythmic activities for children. Miss Jenkins' records and teaching methods are used in many preschool programs, and in elementary and high schools. Her records are also being used in many federally funded programs for education (including Project Head Start).

Miss Jenkins was born in St. Louis, Missouri. She grew q> in Chicago and was graduated from San Francisco State College with a major in sociology. She was a teenage-program director for the Chicago Y W C A for four years.

Since 1956 Miss Jenkins has devoted her time and energies to folk singing, teaching iAtin-Amcrlcan per­cussion instruments, and conducting her ‘'Rhythm Work­shops." In these workshops, Miss Jenkins developed and taught new group-singing techniques. She toured the Mid­west presenting elementary and high school assembly programs for rural, urban, and suburban communities In a program titled “Adventures in Rhythm," She has also held workshops in New Jersey, California, and Colorado;

The “Adventures in Rhythm" workshops were de­signed to demonstrate to teachers ways to improve the child's sense of rhythm, and to help create an aware­ness of the many rhythmic patterns in dally living. From these workshops have come the records issued by Folkways.

h July, 1963, Miss Jenkths participated as a guest teacher at the Orff School in Frohnburg, Germany, at the request of Carl Orff, the composer and also creator of the Orff-Schulwerk "Music for Children" teaching method. Orff's “ Music for Children" method has been successfully Introduced into some school systems in the United States — notably, in California. Miss Jenkins' teaching methods and Mr. Orffs are similar, since both are based on folk traditions.

Ella Jenkins has appeared in radio and tele vis ion Inter­views and demonstrations, as well as before camps, • conferences, schools, educational conventions, and club gimps. She had her own television show in Chicago in 1964-1965. She is the creator of nine records and two books. One book ia a companion piece to THIS IS.

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Older fraa year dealer ar JBSfOHO WStC M U M tB, IK. dffih Otreat, Mm Tari,K.T.

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Qoofottofts Prom a Foot of tfw Many Rm and B a«M fd Utttr* Racdvad from TEACHERS**1 sonnet prttse MY MUSIC RECORD to* Maty. It tolpe to pot teaching w n aptfomatic lull t M wtofi the Interact of lit tmtl. If tiny trecter w w U wt It ayitcmalteaBy, I m Mr* It « w U dt tw A to mito tto itotM of taachhg It tttotoi**— Oasato.'Conpretulaltaftt on yeur **rj fin# mod adegssto MUSIC RECOSO Saak. I be** latn leaking far a laag tlma far {ml such a hoek. I A M Aar ar* wan Jarful end M l to glad to rcBcmwand tty to alter H atters.** Maryland.*Ywpib ara cpwding Mara Ana practicing, aa I aaa (apart yaaJ rawbi."—MerylervJ.*1 tka wry tack yeur ptUMan, finding It Aa mart car** M | Aatjki aa* mod arranged hook af tbit type I law atar wen.**—Miitewd*1 baa tteta toeto wS *a*a fhra ar taa predeci aiwrttt af

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/SAVES FIVE MINUTES EVERY LESSONI

“MY MUSIC RECORD"for Student, Taoehar and Parant

byEula Ashuorth Lindfors

Developed Through Yaara af Teaching Esperteace ta provide Lessen ta Laaaan

Assignments ■Practice lactrurticas. * Craftng Raparta • Maaaaga ar Natotlan - Practice Schadala • Graph ad Oat Una af Prograas • Carr* (at ad Matlcal Activity*

Includes l t d . Practlca Alda A*Study Phasas wi.ich Form the Baala far Grading In tha Auditions Sponsored Yearly hy tha National Gal Id af PlanaTaocharaand tha American Cal'oya af Musicians,A Systematic Learning Procedure far Students, Tima Saving Assign meat Symbols, Blank Staff»Llned PagesEllminatea Baekkaeplngtecaww it Gives Yoaa Record

af Every lessen Given and Every Lesson MissedGives Yaw a C ample ta Record far One Year

Angle Vrltlng Space • Attwctively Produced In CaterEndorsed ky Leading Educators Including

Molar • Duma soil • Burrows • Barth •Allison • Pratt■MY MWIC R K Q E P -- NO. 1 Assign meat Space Contains

• VelLOrganised, Tlme*Se*lng Plan■MY MUSIC RECORD - NO. 2Asalenmant Space Left Blank

far tha Teacher’s Own Lessen PlanPrice# each f l .M

J . FISCHER & BRO. GLEN ROCK, N. J . '

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VIOLIN PIECES VIOU PIECES CELLO PIECES TRIO POR PIANO VIOLIN S CELLO

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ATPLI BLOSSOMS . . . . . .BLINKING STARS, TNI . . , BLOSSOM WALTS, THE . . . , BCAUTT WALTS, THC. . . . , BAIDAL BOUQUET, THC. . . .BROKEN TOYS............BATTER U P ............CLIMBINS TRIES . . . . . .COTS AMO ROSSERS . . . . . CNRIBTHAS tree (THE) . . , OANCE or THC WAVES . . . . OAYLICHT . . . . . . . . .CASTER EGG,(THE) ................PAINT'S SECRET, (THE). . ,rARNTARO, (THEJ....................riRST MONTH AT THE PIANO, BOOK or SO PIECES. . . ,

CRANDMA'S PAVORITE STORY0REETIN6S ...........NAPPY BIRTHDAY <A> . . •

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HAPPINESS ...........HAPPY MOMENTS .......HALLOWEEN ...........HIDE AND SEEK . . . . . HONEYSUCKLE, (THE). . .IN MY OAROEN.........IN THC WOOOS.........I LIKE TO PUT TNC PIANO JUNE LARKSPURS. . . . LANDSCAPE . . . . . .LISMTHINS BUS, (THE). LILY POND, (THC). . .MY BULL PUP'S LOST. .NAY PARTY, (THE). . .MOONBEAMS.........HOONLICHT.........ON TOP OP THE HILLS . PASSIM CLOUDS. . . . POLISH CAPRICE. . . . POLLY WANTS A CRACKER PRETTY THOUGHTS . . . PRINCESS, (THE) . . . PUSS, PUSS, PUSS. . .PIGGY BACK.........PIERROT AND PIERETTC. RAINBOW, (THE). . . .ROMPING ...........SLEIGHING .........SLUMBERING.........SHEPHERDESS, (THE). .SORT SHADOWS.......SPANISH CASTLE, (A) .SUMER RAIN.......SUNBEAMS...........SUNSHINE...........SUNSET WALTI.......SWEET OREAMS.......SWEET HELOOT.......TIP TOE OANCE TULIP'S SONS,TWILIGHT. . .VACATION TIME WILLOW TREE .WIGGLES . . .

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PIRRO TIACWIRO PIECES A MINOR PUTS A MAJOR

.00 IVORALWAYS OC NATURALMEASURE POR MEASURE . . . .00 IVOR00 SHARPA PLAT BOAT........... .00 IVORHIGH SEASTINE POR REST..............00 IVORf i t TUB CORO A MAJOR IN THE RENT ..00 IVOR

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COUICTIORS OP PIARO TCACNIRS PIECES II MlnKif /ar iifiirfbt IMuif m i wriil l.tS ICRLITTLE CHILDREN IPRATERS M RSPRING IS HERE PI TIER* PATTER JINGLE SELLS •THC LITTLE SQUIRREL NOTESPRCTTT PAIRT LITTLE STARSGOOD LITTLE GIRLS AND MTSROCK-A-BYCPUSST CATIKIAM.MOTHREE LtTTLE PIGGIES THC HAYSTACKS IN THE WOODS BUTTERCUPS IN THC CORNPICLO C I WITHOUT TITUSCD11ECTI0NS OP PIASO TCACNIRS PIECESPITS PIECES - GRADE St PI VC PIECES - GRADE Gt PI VC PIECES - GRADE II STORIES PROH THE GARDEN ii wr dm »«

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OpHt ll|.IU *EKARA-CDCCA

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A NUTB ON MAXA.RUCCA

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173

17 SONGS BY MANA-ZUCCA JAMES FARRAR, BARITONE

7 « o o J i n e , T V e i o fJ & R e c o r d s♦

PIANO CONCERTO IN E FLAT MAJOR UIOUN CONCERTO IN 0 MAJOR

R P A f i f M H ; ■ ^ COMPAIBLE

DBQUES M * M * 2 U C C A

W FU JO C0MCOT1 n l / l H*nm a t v tMt

MANA-ZUCCAAM af Ml— Iww ’i aarly aarka. nulut if • OTHMll Jli»M wtthawt m«m. It M|Im dtlh • M M l lb*aa, IMlflM III-Im I CiM*tlli,«Mil It tttpttflllilHlill by flaaa MIIiMn.4 raytlaa fallawa It Sahara* (Ni,tkH a gnat C H n » t Salltlaal allm, m • M i aaaatataa tba t m m i. it it ttittM it iniftMtMtt- ttyto.lt tollltoatly ytayat by tto Cityinr.H W I f f l M tot* la Mw Ttrk Clly. IM M p u l talaat at aa aarly ata. IM M ylaaa altb iM btrt. Oatawaby u l taaaal, aaayaal* tiaa with bytaltat a at fa trltb . Raa awar aaa t haaaaal wacha, y b lU M , la a ll lataa «a bar m m .

M VIOLIN CONMRB » I/I *“"•» l» 11*1EDDY BROWN

Caayaaat May ra ta l Iy by NMa.fwi*, It aaa M U M la N im baaaatta atyla. It la a wark (all af yaathfal ayarhto a at JarfalMia Naaa*taaaa aaa laaylral ta aril* tbla wark altat baaflag tba aataaata halt ahtaaa at a Irtaal'a ayanattt, haata It kaa baaa aallat Tba Chiaaa Caaaaaia. It aaa atlitaa ta tktaa m i a i i i i l . .* ll i |ra aaa laaaat I . tataata •aa «att| I, Atlaara batlaayaa aaa fin * .iniiiiiiiitiiiiiiiio n MOM aaa bam la Cbliaya, 111. IM M altb Nabay la batayaal at Ika ay* af It,that altb laayaU *aar la tarlta far flaa yaara. bat taaattiltab a ll awar tba aaclf, ytoylat altb tha ynataat aaaban raa. at t ar tba aaat •alabraut aaataatara.

With tba fMbt lAOr bMiaObt otCbtblbb af fatla, fraaaa. Jaw tUAW, Ctatattaf baatafUy Mafia*. Tbaatra ta t Ckaay i'flyaaaa, faala, fiaata. tatra OMbtta, latiaaat

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- noot 4. f t m r ««i«a H i m U .H Mtoaat ata taaaab toatoaatt a * Mat*

Stories from the GardenBy MANA.ZUCGA

PLEASING m I practical (m ami tmi*tl tradr |4m (M fin n M fur tW r Im m xJnI ^uNqr. BmIi

d t h an t a d llmilMi amd nH i pltttr kw tu iadi* vMwl atwhrwlw.garden

i m u i i m i

The Farmyard, ._. _ H w i-H M ian w i

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..-T he HoneysucklenevM eot . mamhi*

l.T je Tulips Sons

MANA-ZUCCA Plono P lm t

Poinsettias

Redwood Trees

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Resignation

A n r .

Sombrero Dance

r “ l l i U " ' i| L ,J1T i c -

J L J U L

The Gazelle

m I LOVE UR

IHEIOPCIHEMOtNM*

JUKfOMETHMQItoiMMtvaKM^iif

tMktMiNLCMl fcMtbthWJa■ a n a

MTIAtVvon amM»ig » r ty > n « —«m Aft* MtfbWftM*

LOVES KGRtMACiC

M l | A,gW Mu n

MWMa

HKHAVOI (Niiilw) Mm—I)• M m MWMi

CONGRESS MUSIC PUBLICATIONS MltwinwMi1 ton lift ffftitarf to _Ito JAs ClMRk Casts*. Bqn.lUw. Fit. i Hah IVUIcatfaaa. MalriMata

177l

Jm i 2ith, 1*73

lb* Bolen Leftla Condi 1240 Aahland Avowo C» loot wo, Ohio 4)212

Boor Hi. CornellsBacloood on two published and recorded songs, "I Don't Moat to Bo Burt Anynora" rocordod by Bat King Colo, and "Can’t Too Boo !*■ Berryt" rocordod by Jorry Valo.Aa with wot vritora, 1 boro aovoral othor tunoo, which 1 con- oftdor ofudly good, bat for which 1 can find no aarkat. Hy publisher, who hnndlod everything for no— finding an artlnt for w, handling pronotion, etc.— paaaod away a fow nontha ago and 1 an at a loaa to find aooaoao to do thia for w. But, that deoea’t atop w fron writing wra.

Cordially,

£Bciftc(? 9TUfam•AN FNANCIACO CALtP.1617 Plymouth

Memo totHelen loftln Cornell 19 June 1973Dear Me Cornell:

Although my songs for children have been sung In public in churches & television

* progrMS) the publisher who wished to publish thempassed away just before publication* His business

*

was not continued.Since your P«S. in letter stated

you wished only published music, this negates my offering you any help. I am sorry. Best of luck.

Sincerely yours,

Bethel Melvin 1617 Plymouth Ave. San Francisco Ca

. 9U127P.S. Contact Dorothea Brandt Nelson who was not in­cluded in the Nat'l Fed. of K.C. Directory. She has ■any published songs. Address:

2931* N.Towne Claremont | Ca 91711

j K o n t g o m e t t f J K u t i c O n e ,M U lie P U I L I f H K M

1*0* UBCftTV B A N K B U M . BUPTAUO. N. V. M t O S

May 7, 1973

W e s H e le n L o f t l n ‘C o r n e l l 1 2 4 0 A s h la n d A v e n u e C o lu m b u s , O h io 4 3 2 1 2

D e a r H is s C o r n e l l !

He a r e p l e a s e d t o e n c l o s e a c o p y o f HAKE A JOYFUL N O ISE TO THE LORD b y N a n c y V an D e V a te ( W i l l i a m H u n t l e y ) . We h a v e o t h e r c h o r a l e o t q p o s l t l o n s b y H r s . V an De V a te u n d e r c o n s i d e r a t i o n , a n d I f y o u w i s h we w o u ld b o h a p p y t o s e n d c o p i e s o f t h e s e t o y o u a t a f u t u r e d a t e .

Jf./I.Yr)K , A . M e y e r

S i n c e r e l y y o u r s .

XAHi b

En c l . 1

180

COMPLETE LOT OP ALL PUBLISHED CkatfM ip A fa Airman*

\

Ckcnl Cmmpmitioma tnd Amnfmmk IfMAE NIGHTINGALE

A t tm lm e d u M h i l i t t c »r ALL *f Hm i i m m > t a n to i t f tav ia lea tor aklftlag vacel teagea *1 ■ tlec leg n t r n r . Ttalr m etle ti Reality to to Uw f c n t w i u t to to m t t f v tlc i u t i t i m , toteg* r lty * f m r t » to ■ u to u tw i. ta It tolk caag * r ■to M tk ef 4 t o i u r c w n t t i i r . T1U« rrp tr ta ry t a t a i t t i r r u t« iM > l i u t e rt |ta* l n n f t t l i l N t aaB*M* tor t l t n fM m u t ferferm aace • • • i f

1 i t a t r l § rt f i ml varyiag i ( i i fm m taaaaga to

• t t n l limitative* ml l i t tay’e ckaaglig veto* s n | b n t f t t l i t attantiaa, l i t n a to rt t a n r will ( M |K* tkirg f a r t egaally Hlltlrtofl to elag • All SATB m a ker* llllW are vitkto l i t vatce t u | t i eetltaag kataw. O f- ttoMt M itt a n aaggaatag tor vela** cafakl* ■ itagtag ti tm witiwat atrala. ito c t aaci fa r t I tat wall « iiito l i t t a u t . treacpaaitiaa mar i t an*4t a t i t t n a AaatraWa i t fit t ia M at. M.N.

.BATB Mtctg ae Pave* VttoetV" ----------- YjBe-

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tm m u T t i t tTaaataiear fC em fla ia .. Catoat VaL I

AB l i r a e a i l i t Nl|ktTa t a i l tear* -Camfto ta ., la la tl Val. I t i a d Stager** Ototr Beak

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America Cr-Traafcagcera-Can y lt ta . . tolacl V al.l T m a Stoaara' Cttolr Baak

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Btklltiar Carl flacker, tot.

Mae NlgkUagtla - Carl nattar, tot.OM Valai to Carl Blacker, toe.

Wal%aag llaear* to Carl Blacker, ha.Hmry Carey m Carl Blacker, few.

lawetl Warg to Carl Blacker, toe.

Aar. mgktlagale TiaAUmiI

•to Carl Blacker, lac.

Maa tdgillagala MtrMae Mlgiiiagala ■TratoBaaal (B i If . Carl Blacker, ha.Baetttai • Cart flecker, tec.Aaetoat Malagy CMSM1 Carl Blacker, toe.Aam m Carl Blacker, toe.■tafia* factor cusiii Carl Blacker, toe.Tratottaail * Carl Blacker, to*.BaWae'a Citalty • Carl Blacker, toa.

Or gar gramAWT >IU B |S PBALBB

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Lai Aagcfct, Catifarala 90019' t o a l l l f A#etto...gO*ar A B B M O M A

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Tn O ii in H .CiiM hu . .Salact Vol. a-----------------1 Choir Book

war. Ow d»lw _________ •CiiMlr tt .. M id Vol. I

V. p J9aaS*Klght»- LUiViTwrfw w n •CMWlm.. Salact Vol. 1

00 W**t, T m | Mm„ . .XU i'm , Cawbay.ooartna im acta V I* Mar* Tim*I, Com* Again No Mon

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Caiwanar Hamhar BhblltherGilllMiM CMTISS Carl rtachar. Inc.

• Carl flacbar, la*.

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Ma* NightingaleMcharfWUU*

SSSI• Carl flachar. Inc.

StaghM faalcr CMS lib Cart flachar. Sac.OM%aal*h m Carl flachar. Sac,Mlchaal Bella m Ctrl flachar, ha.fcpfcPYt IdMMM m Carl flachar. Inc.

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If tm arc, canaiAcr

RidemO o v b o jI

MPE*CM. COWBOYToa-Act Operetta far B tfi ar Bay* aM Oirla

•oak a*f Lyric* by Baalrlca Hamilton McKtU

Maatc by blaa Nightingale

Act t Canyu at Waffle Callage. GraAaatien Day Act n Mack heeae. Artaeaa, a few Anya Utar.

Libretto ta ■toataral'" tba plat eltnatfan anA Ala* lag baiag latrigatag *e aarly-taaaaaara, Tba aleanaat of romance ta carefully hanAleA u t v l l l prorifa laagbs for tba auAlonce. Lyric a w t

a hara lltt anA rhyflim anA trill i ta a b ory laag aflar lha akta ta aaar.

A a mail principal caat la rageireA. Aay alaaA abaraa can ba oaeA aa atuAaata, cawboyo. te w gtrla. taAlaaa. Tbara ara law aalaa, making graalar Aranatlc cbalca peaaible. Each iM aal

parMctpetlag artU foal b g a tw d , for thla ta aM a aaa-man abav. Tba tk tn a ti ara acaraA SAT* «a yratAAtproper ringing raagaa tor aU lypoa af eoicoa aaA give fuUar tana-color. bat If the group ta J b liy ir iu c tA ar thara Itn’i lima ta prepare cbarvaaa aa arrittaa. aay ar all af them caa ba eaag l u y pnlaog.. Tba mateAy ta clearly AattaaA anA cetietAarata at voter llridUTl5o‘t~Tb~ya^*'>brt1ra ia iN

Ridefem,C ow b oy!

eufflcieat acceinpanlmcat for yaaag atagara.J A M . Tba mataAy ta claarly AattaaA anA Ta tba ability af eteAeaia ta perform aaA laV a amallar caat la AatltaA, cbaractara caa atthar bo allmtaataA ar AoehleA-op. b ta aaggaataA MM aa aAflttaaal charaa ba aaataA ta lha pit ar fraat aacUaa af lha aaAlaaca anA participate la tba greap raacliaaa Auriag tha Aiatag anA tinging. Tbta will minlmiaa a U| Lag anA caitumlng aaA etraagOie tatyaara atfacu. Coatwmlag aaa auglag ara eimplo aaA iaenpeaelve, A ttaga man- agar*a gnUa ta available that aftara practical AatallaA information anA aeggeatieae.

£ £ UtW # T m a a jn t. o ri» l*—i a a < «U .« , a m i a < *< m i l a M d I h »iQ «rt»r H M p W w iI M M tm U i n M iiw , for aria anC animat. Tt w trft't hwIm. at rmettttt b i ain tn n ti i l l a n attr. utrHra H—itll a ttoUtrM etmNamOtt tie rate. Oinnrttr naiiiibam taTWf. min—rat. iiwIihantrraatatnnnInpi "aaa

acr ttt » n ttm ta ettMr Oat . mcLCMrrataa„ tanlr *M*bL______ ____arwn ittttty aintvttt ant n» tta»rt«a

WtfUtW It ateima* *M Ow staMm IMti n u tba Mar m lata vtaiAUUNa MOW, T>t Mtrnl ___~ ^ a w b n n it rntaMtaar. mi w a nt ttatptoey I _______ i wtlCraC arrllr otti." raCaCt AhJUTMTiMuna«niHt Mt r i t t a t M t, imi t aaar ittur not • i tiftuai nan w a**a m tp a»t aval

t t l eoyaoaca ^EA XH* bornnaaara anpttTamtac rm acATaicatigrimoHMratM.«wwilt— u*t»Mn a—ihum. iMthraMitralMarraM ‘ Meatman e» JtaMttiat tttmlbat tarn wmrttttC out Ittc fl la iilnum MattrCta ait. TVn UU M HtKlvMa. aaaw mratMbuaaM an *mm triaaapa wee aatCalaame aai UMnaa* au«t 1'irnni. rat ariama tB r o i. coaaov aaa •ynrBawM aLsaairetaeeiinotmiiiW r’iieeeiari. aeiiipirr ---------- -- -------------------------

187

M f l I • MAE lOOHTMALt Choral Ciii m Wim —d Atw j iw H

M n CHORUSES far M tX P «> M TT VOICO . TtOtAOC Miiwrt APOLTHOOP

O B 1 4 . • lUrtirf COM PLttt EDITION

IW M llO O M k Mit Nightingale'* m I1«cHmi b t m M itai voice*. U Me M ilH ilM * n k h UhTM revlalaa of *hl* book ia attracting IM atteatim of choral director* throughout the cwintry

to earn* imgacl an whan It orlglaalty aggoertd. TROUBADOURS camgrlaaa ninety-thra* aum* a nagfolla and ocoomganlod.

Btatr number la reared IATB, rlthar Mlaad nr Bay*' grange. a l* aagrana. alta, alto-lauar nr M a r . barltaaa ar baaa voice*. However, many mi thart number* may ba aung aidifactarlly la k a r t voice comMaatlooa, aach aa SA. ST. SAT ISAM. Refer ta m m VH Halaful Hlnta. and Mae VMAnalyataef Oaatanu. '■ t ,~ ’tM SU D O O M contain* malarial far a tln»nem**icr cycle af Male. unified atudy. with a wide

gaaaaf iLgHaiaA

ally of aeon tygaa and tnoodi. gar the American aaaga. teat* hava Man carefully edited ta aata affeaalv* traada and dialect »Mle retaining tM traditional <' w ______cKifftl Ifti ffcjcfc An A

ef our Mritage. ror other coualrie*. thlrte*a~t*xtaia Praach, Oerman. Sagan* a*. Latin or are glean, graakdlag eacalleat carrelatlan with the laagaaga degartaaant.

t a g tide gagao of de Reviaad Bfltlen remain tM aama aa In fanner edition*, aa tu l la *ltnaHana uhnaa name eld baik* at* a till in uaa, tMy may M need almuluaaaoaly with the new aa aatharlty.TROUBADOURS Coimloto Bdltleo carnal ia a with tM adagtlan regufremaata af many cilia* In Oat lad •M ae. and aggeara an cMIr aulhoriaed Uat beak I lata. Scbaol a ye tame interacted in a caul ring thie M k t i a Mata text adagtlan will receive aU gaaalMe caagaration threagh IM Bducatianal Deaxrt-

vRtead* Carl MacMr. Inc.. M-M Caeger Sguar*. New York, Now York 10001.■ I»n »— .1 I HIM i an— f W | WW S O B I A D O B I t l « Reviaad SELECT CD KDITION Valnma 1

FuaOy taa nacnMra (T* gaga*) Mae Men aalected frem Traubadaara Caiwglate Edition ta comgrte* wkda dhrrraUr In tygaa eaally aacertolnad andnr CUaalfiad Inde*. Sin tttlea are nlan available In Treadhadaur Octavo darlaa.

t r i O B I A P O t t l > Revived H X S C T P EDITION Valnma I

TMeCyHdne numMra <11 gagaa>. different from thaaa faaad In Selected Bdltlen Val. I, alcaeffara wkfn choice In tygaa. Vela. 1 and □ are af aguel difficulty, each containing varied ragertery anil* akde Me many accaalane. Cavan tlttaa are alaa available In TraaMdanr Octavo Cerlaa.t I O B t O I I B O t l l 1 C H O I R R O O K

1H lt| ti ar aunvMra (td aeaaa) aaiuble far C* Church Program kava alaa Men chaaen frem

•teaching Imgartanca, Early gartlclgation abtuld M aac any aged, with cagnlaancai wMre church chair giaaglnga af different ago levala la not graclical or geatlUa.

dda aamgUitiaa will grave ta M m etical far an all-age rcmhlntilm chair. Fear titlea are alaa evoOahfo In TraaMdanr Octavo Striae.

nTMaa 0*11 a Him a hava been gahllrhed In gager hack farm la accommodate grange daalraua af fewer Mdea at feat eagenae. They may M IM an awar ta year need. However. U year budget will garanlt," “ ' ‘ M mate acaaamlcal, not

i net found la any of dm letaarutmwm v a a a a u a o ^ u n u v i t w e y taawy wm we* w nam w e m | o h aauvw. ( y a w a * a t r i

Me g m k w t of Traubadaara Reviaad Cawglt lt Milieu wUl ultimately M mare acaaamlcal. not only Mcauia af the mare laatlag durability. hutiM additlmtl cMraaaa aa '

188

MAE IQOKTPnAUt Ctont C i^n lllw i aai Arrangenili • f i | i 9 Camblaetiaaa

WtlUae Aa chart ta TROUBAOOCM RnliH ComgltU Mlttaa, H l< VO Hnlgfnl HiMi, u 4 Ml* VOt Aaalyata af CMt«U. nfly-alikl M | i i n Ualel aa BAT (ar BAA) awealkuitiea.

M.W.

t m lA T I - it i id w i N t i w r be w n In ( n - •r w lci cembUatiaaa, each n Uni MS, (At BTi BAT (nr BAA). ConiUtr harmonic n m lilH ii i i m Im i IIm i m 4 i M m A UUrail ia dm m m i

BOlPartHHBOW TttUL w iim i CwWr fAida'atn.CowhovI

(AUe'am. Cwkw) ' *'

CanioaaarCwkifMm NlghttagaM

thwWf PebllakarTalm a Buni n w t . A f/# WiIIiii BIHim I Pkki

MWTIm TWO-PART CHORUSES Iw Hl»l» M i U * VeHea•I M I * Waoi Of Craig lalaa (a* BATB 12006)Cm Cava Ba Blind (Rida'am, Cowboy)

•Paaa Cratlna. Sweat Bnllu ,*I A a A Pretty Olrl , . B•Mac Tba Daar tim er __ A

iTeckar * * * * * *O lM M l

BcattlahMiaMlfMpila Tralitlaaal Mao Nightingale Maa Hiikiiifili J> P. Wabeier

H

M iltootBOOSto ilton

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I’d Mag A Caw bay Soag (RMa'am. O H'a Oad>>» That Maka Tba Maa (Rida'am i MaalaM Mtdlty, A (Marta Bouaia Afar)

Maa NlghttagaM Maa Nightingale MaakM

OUlataaPeb.

N M b M i Ca. W iltm Oil I in.in Wb.Palteite Peb, Ca.

POPE-FAAT CHORUftEB (rafar la gagea 1, S. 1, 4, ft, 4)

m t - W I t CHOBPB af Wamn’i Vaitaa BBBAA wiA CMrUal*Smc<XTha ghafheti U U (Saegaerrtchte) Rlmaky-KeriakaH CM41M Carl Hacker, ha,

STX.PART CHORUSES BBATBB

i t u i MaTbB aambera far allar atudanla aai adulia ware w t u i J w itU aw a aura camgact aaaad ihna SATB. Thair harmony Ir mara cam alata, got Oay ara laaa demanding vocally Am elght-gart arraagementa Beam! with ana alto aai aaa laaer R*M. they gravida far iba grogaaltr- anan af maeao aoyraaea an! bailee found ia many choral grauga, The. . . »*»»**■ alaa ba eaag by elloe, baaaaa and changing vaicaa.' Taw fat traatmrat af accamganyiaa parti aahaaca raihar than iatrari fram cnagaiaN' intent. Bugera etoull Uara M* gam la taiera cbaral taliaca la gerformabco. A an la iM eagerfonca far email ar Urga

CHORAL CONCERT BEA1CBOMtftft M laai Vatcaa (far Cliat fttaiaaia aai AialU)

5Baaa Bair*Oaai Blag Waacaatea*Oraai March, finale Act M (Alia)IllWlNlf la t Haaa Leal Tka Warli (Serbian Taaa) *Mey MjM (Opua II No. t)' t a g Of The Siepherl Laht (Snagoeratchka) ' f t i w n la A-Coming U (circa UW) Twelve Day* Of Chriaunaa, TheBCTBM.PART CHORUS BBAATBB (Oaa Taa

*My CUM ta Oaaa (Publiahal IMS)Haaatagly galgaaat ia omailaaal impact.

Safe£S>M,r 3883Otaergno Var i i CMMH UvatiCriag CMT0Z4 P. Tachalkaveky CMT01T Jehajiaae Brakma CMT01S Eagiaali laKavaa CM4M4 Almiky-Karaakalt CM4I0I lata af rem ote CMTOftt Traditional CMklSl

>r Part)AenortcM Sava CMM71 Carl Tlaahar, few,

MwU) affactiva medrigal-tyge ar awaaaai a barer.

mCarl rtachar, Im . s r i s S S c r

M o* M * MAC MOHTMQALC Cktrtl Caf u l l l a a a a*| A n * | i t * i

a pro to .* o r m a c m otrnftO A t.c

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ANDREWS UNIVERSITYU U i m tfMNOIt MICMJOAK If | M

W clim (HO <71*W71

June 20, 1973

Mb* Helen Loftln Cornell 122(0 Ashland Avenue Coluebus, Ohio Ii3212Deer Ma. Cornell!I'e sorry that 1 do not have compositions In the category you are working on* I have Ii part anthena, 3 and li part «oaan*a choruses, aale quartet and two SAB compositions, but no unison or 2 part secular eonga.This gives no an idea on which to write. Seblraera suggested this s tyle of writing to ae years ago, but I have never followed the suggestion.Oood success to you In your interesting study.Sincerely,

tth t

tO /m

n % s C u ^ L A - vcK 1 ^ tsfcc& &vov. V0 t y u n G ^ n r n ^ J [ ^

v u i u X r t ^ u / t / t ^ O A ^ A

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l a a r M a , d M d l i

tar Utter if K«J JUt Jut n u M aa tetejr it W M m r kaaa. X aa >laiial ttet r u mat u Ink at agr aaUrlil, ht la faliaaaa te yaa 1 tkiak 1*1 * w M kaav tk«t W aala f U U la ateaa. X mi • aakaal teaakar ( grate) aat fean aaaa pkklicatlaaa la tkat flail, Wrtautalf X ter* XltUa at w auaiar kaaa, tit X aaa aaal j« tkaia tflraatl/ fraa tka Mtllabar If yaa aw lateraatal. I*a aaalaatag aaaa‘kraakawa far yaa te law avar,

Vte aaly akaral aaala X ka*a Htllahal la *>111 af tearlaa" (Si) krtttek aayaalally far flag Xkla X wall ka*a te aaal far, Tka •atariaa alth aaala'aarlai, aaek aa *1ka Uaa aal tka Kaaaa* aaalaaal, ait waf kr teaakara aa llttla ayawttea la crate aakaal. "Slag la Syaaiak* (aaalaaif) la aqr aaaaat kaakf alaa alaal at grate aakaal,

XT X aaa ka af fartkar aaaAateaaa ylaate'Ut aa kaav. Sat aaa tka fallaalag altwaaa

Ma Matter tea l$tTwaaaal'a Xalat, tafaraw M h )

Wife teat alakaa X iaal%

Maaawly yaara.w

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195

LIbtlMaMr, N.Vh TkoiWajr Erwdniu Oetafcrr IS, 197S

fo-vg g f f l f r f c ><*iTntxft^twcut!***111 Mvtea 1 4 ^ tt^ M lm iN iM lk tA ilU iita T k v iir M lN

f‘The Shadow Knows9 It 9s Rosa■IT HOMED yiKKANEN

"lb* Sharfnat" j torn ahat **il b in

to fha totrta K m ! IM• • • Cl

■ M M t af Lament Craaataa, ■ M i i h tlndh).' H h lb* arjaa aaaM hH tba m a r

M , yaa caa laar II a i i p k M yU at tto Aadha> M tk a M u Ma. “Aa

qr radia qaaaa af ylaya Aa n a i a k r

gam* aa At ailfMjr War- itaaa a i yant arli* a( Ilia M ataator Theater Orgaa Sa-

Laniont Cranston’* sound track will come to life at the Auditorium tonight

a t tog all radia a iM n a it , aaed m

yragruai tad t f l plar aw* cempetUta far Itm argan, "DrMatag."

“I dM fita l« m an aerial* a day, Kara abaara tliaa any ether radia ariaaiat." aha a*id yttttrday deriny a hraak baai rthraraiad aa Hi* aadi* tariaaa* WartiUer theater eryaa. Dariay bar » yaw* abb CtS aad NBC actvarin

ylayad aad iaiprariMd far

V*M a* T*d Kalaaa** ya- «(>y (baa. **Beiw*ta the Bath Bad*,* "Hbaa a CM Star* tk tT “Lama* Jaaaa," “Vtant Faya ram ll" aad “My Tm* Slaty.'*

“I Harlad am a* a theater erpaiat far ailtat aMriea, bat I baeaa* ted l a w far radia abm ." tba Uaada d t» *d

e f JaatyaaM Mat d a f tojMhfslebaltflcim.

A traca af aaatbani accent Aaai bar aaUm Haw Orttaaa thM | | )||f wick amiUm aatoa, “drrybaTeho >• «*• aattb all tbaaa yaan *rkb tba Yank**. That'* trbat I caB ay fr—**■* u , " aba aaid.

■ill, Bactotitriaa VllUaa Yaaattn, aaa af X n. VdUaa V. Ycomaa af Cadaranad tto* net* k «1m M w $WR tof IlMk Miic ilsAt Is

m LmUik m n yevegtr tu i died tor aadncMtad etauga, aba yea- aa a a rad, ahite aad m y

toactea arcaa aad yiaaa. Ito aaa a radia aaaaaacw to Ka* Yark ahaa May a a t

Baaaa* lam toUr abb to*»

(fkaa* Tam to h f i 0

Organ196

Ami h e 10 aad Bag hMnmk|M at,____ . _ jtaabt aadl In trtHe ahbtbeen «ftta aba to toto «taa At Kariato*

M h b r beat aad, aa a «M I* Omhad, Otoe, beard aa aqaaW play la a Acaltr. .•m e t Aaa aad Ibert 1 * •

ddad Art me At carter b r an. BaaUaaa M n I *1 Maiie m e Aa wty ana Hunt Uagto accaaNMAaral la aka r n (ft. aa I t n a ten la rtady. •"A «aa a (hart tartar.

Saart rtetant caaM to aad I •aa eat, I triad bktariy. Aay* |a t , l w ar R NraYr t and Hayed fbee acctantaJMrtd b rn e a ta ttlb t Mary Uartla aadnuU faa.

AfNr bar radia dayi, Aa■DU NT IRiWD IfWuiHftaH tor a lav abaaa — toriHdw Day,' *Sd« af net* aad ‘Mr. Mfcr Stem’ -aatBIYfredeeenbeeufM M Ibrir am aHMtriaaa," aha . add. Ibea M and I dtddid

b Ow

"I «aa called Ma the NBC atadN at I mm, (bat aitnibv aed tor M baart fltlad to a m area Mato M*r*a Aa atm nertaftan Barapa."lactto ttata» Aeadreat af aaaad twain audt bar

(Nab Ibtabr arcaat vatoi aatar |lty a*aA.N Tbey dtdat* tain inC*baa tfaaS ar|aa aatkUn wart brand la nataa aad meant - bay cafl *1ta IN* at to

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Aa lad

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b, aadaaaate ftaa At argta Aatf i « HMN«ta•lla•tacety

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197

$700 Reinhardt Drive Shawn** Ulssion.Xansaa

6 6 2 0 $June 26,197$

Dear lri*C«n»UiX haw* asked Ur.Stringfiold of Lillcnas Publishing Conpany to eead yon oopios of all ay ausio for Jr.Choirs. X don't know if it will be suited to your purpose. "Pis Latin" published by Boston Uuslo Co.1l6 Boylston St.,Boston,U&ss 02116 would be excellent for you. I'a sorry X do not have an extra oopy for you but you sight try Ulus Katherine Cuanings at the Boston ad­dress.Wishing you stoess in your project,! aa

Sinoeroly,

(Urs.Robert tf.Rogers) Q ^

5

198

Netty Sfmont 374 South Mountain Roatl New City, New York (0956

July 2, 1973

Dear Klee Cornell,• In answer to your letter of Hay 31, Z an sorry to Inform you that the choral nusio that I have written would not be suitable for your research project sines it is slanted towards the professional group rather than the Eleaentary School level*Thank you for asking me and all best vishos with your doctoral progran.

Sinoerely, / A

199

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112 Hoffman KlalraHew York - 1W905

Mi. Helen Loft in Cornell 12**0 Ashland Avenue Columbus, Ohio - 1*3212Mr dear Me. Cornell!Z feel honorod that you vant to lnolude ae in your doetoral program in The Bound of Kuslo at Ohio University. I can think of nothing more useful In this respeot than the programs for elementary sehool children. X do hope these children of elementary age vill fare better in many ways than the child­ren of the 60's and 70's. In regard to much "music" offered them.X fa sorry to tell you that along with over **fjf of Slmlra wo lost so much in the June 23rd flood here.X nearly drowned trying to save some of my husband's world-renowned collection of rare books and first edi­tions. 1 entirely forgot about my music library and was unable to save one thing I had written! I aa still a bit in shock I do believe because X have not been able to recall even titles of things I've written, nor the names of any publishing firms nor recording firms. Isn't that terrible? Our home was ruined, and we lost so much other than .these things.X lost sn amasing collection of recorded works of ay mm, but also lost my collection of rare things too. All tapes were lost, including two fine Pape recor­ders. two R. C. A. disk players| two T. /. sets-one of them bought a week before the flood. Just cannot explain how devastating this terrible flood was! Will be a year and we arc not nearly "caught up" in renova­tion. I nearly died when my piano floated against my

208

beck and turned over on I ts poor f ie e l Zt hat always boon a liv in g thine to m . I gave ay f i r s t concert a t the ace o f f iv e . Played far regualfr C hristian Science sorv lces a t the age o f n in e-so you aea, Z did grow up in auale. Z do not r e c a ll ever hawing to learn to read or to w rite m usic. deemed Z always knew how to do th a t!

Z sh a ll gradually work m yself out o f th is taaptation to in er tia in the w riting o f new m aterial. My husband bought ae a new piano and a frien d died and Z bought h is extensive n u sle lib ra ry . He was a long-tim e organ ist fo r a church here. I f e e l hunble to have obtained a lib rary sim ila r in ca lib er to ay own. G rateful to o .

X doubt we can ever again afford a fin e organ but Z can always p ractice in sons church nearby. Host o f the pipe organs In Kin Ira were destroyed by th is flo o d . I t was an unbellevabla catastrophe.

X do not f e e l able to even try to "lock up" th ings I 'v e u ritten i p laced and had eith er published or recorded.Xt Is a eooaon thing w ith nany people here. No energy. Just "after shook" X b e liev e , we w ill recover, given tim e, but everyone here i s " a ll worn out".

Zf you have a (la te -d a te) deadliney perhaps Z can e ith er w rite sane th ings new or can r e c a ll soae o f the things already brought out. Z used pen nanes fo r d ifferen t types o f work, but cannot r e c a ll sone o f then. X'a not "crasy"- X'a ju st t ir e d out con p lete ly .

Again, nay Z thank you fo r thinking o f as and X w ill be so Interested in hearing about your project when coap leted . Please aoeept ay best w ishes.

Very tru ly yours,L ------- *

H. _(Krs. Michael Daraban Thomas)

P. d . X'a p resen tly "up to here" helping to w rite a 50-vo l . history o f th e sta te o f West V irgin ia . Don't know how In the world X was talked in to i t but i t sublim ates lo s s o f ay a u sle-w rltln g .

209

Rimck Mune Corporation

NOV 29«ltT2

444*-00 M H IM NAIM

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t'i

Ch r is t m a s stcntCHRISTMAS STOATCHRISTMAS STOATCHRISTMAS STOATCHRISTMAS SfCATMUSIC AOR CTERTOME NO 2 2MUSIC FCA CTERTOME MO 2 2CHRISTMAS SCMCS THE kOALO OVERc h a is t m a s sc m js the a c r id overCHRISTMAS HOLIOAT SOROS

TOTAL

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)210

tLIST c r COHTOSITIOie

A lllana Brandon Vabb 3328 Milton Am o*

J U W f f - Z t f - C S Z

D ill— 5 , Tax—

CTMMLWOHP - K I P

■ ftth tr, T—oh K« to mgr* - S.A.T.B. - D u n Moalo C o v u r

■Una Short Choral Ratponsaa fo r Protaatant Churehaa" • S.A.T.B. -Bum— Haale Coapay

■Ba»s Walking Kith Ha* (D an Anthen) - S.A.T.B. - D oD o Moalo Coapay

H r Vkthor*s Pryor* - A Fatfcar'a D y Anth— * SJL.T.B. and 6 .8 .A. ■

■B—an— To B o I — * - Christa— Anth— - S.A.T.B. - KUla Moalo Onpaqr

. CBOBAL WORKS - 6BC0LAB

■'IM i Tba lig h t Dafora Christn—" - Outstanding Sotting o f fanoua F m

■Xha bdU aa Soy" • S.A .T.B., B.8 .A. - M illa Maalo Coapay

TOCAL SOLOS - SACRED

H r Ffcthar'a Pryor* - A Pathar'a Dagr Solo for Madina Yolea -

■rather, Taaoh Ha To FWjr* - Solo Madina High - Banana Moalo Coapay

■Onr Wadding Pnqrar* - Solo for Pryer a fte r Wadding - B—a— Kualo Co.

■Slaay B—d" h— ba— orohaatratod for f o i l orchestra tgr Adolph Schald.

■Last H ^ it Z Walkad Zn 3ha Card—* - Hadi— Yolea - Thaodora Pr— aar Oo.a

••M u Tha Bight Baforo Chrlata—” - T oy Popular for Sop— S olo ists

M ills Moalo 0—p a y

M— or V— - M llla Moalo 0—p a y

TOOL SOLOS - SBCPIAB

. *81say Band* - Madina Yolea - Thaodora Pr—aar Coapay

— w all — for To— - Poor Zntar*national Moale Coapay

211

100IL 8CL0S - 8BCPIAB (Continued)

•the l t d im Sons" - Lera Seng often need for Weddings(New end Different) - M llli M ule Ccnpaiy

•Onr VeddlM Anyer* - Short Fngrer to be snag e t eloee of eWedding - Median Voice - Men or Wenen - Ben ten Music Oonpeiqr

*lhe Male's Tell* - Solo for Median Voice - Men or Wcnon -Ceil Fischer Maslc Ccnpejy

•Are Be Oone, Hm Be Went* - (Encore Munber) - M llla Music Ccnpajy

rtmoTEtcHiita hahrial

■Belly Donhnr" " Second Zeer - ttaueusl - Appealing to Beys end Oirls -Leeds Maslc 6009017

•Ballerina of lbs loe* * Second rear (Arpeggio Style) - Leeds Maslc Oo

•Indian Feather* - f ir s t Tear - Leeds Music Oonpeuy». • ♦

three Plano Solos to be pabllehed ty E. B« Marks Ccnpaty a t cnee.

•Qianllns* - F irst Orade - B. B. Marks

•Bop Scotch* - f ir s t Orade - I* B* Hoiks

•Skates on the Balder See* - f ir s t Orade - B. B» Marks

(Bmot end Omsual)

212

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APPENDIX G Letters to U.S. Music Organizations

217

218

June 15, 1973

Dear Sirs*As a part of my doctoral program at The Ohio State University

School of Music, I am currently working on a dissertation entitled "An Evaluation of Choral Music by American Women Composers as to Its Appropriateness In the Elementary School."

For purposes of this research, I would appreciate your sending on free loan unison or two-part (SA) vocal or choral secular compositions by any of the composers here listed. Please mall music to the address below, and specify a return date.

If such services are a practice of your organization, I will be most grateful for your cooperation in this project.

Respectfully,

Helen Loftin Cornell 121*0 Ashalnd Avenue Columbus, Ohio 1*3212

Enclosure

APPENDIX H Letter of Verification

Which Accompanied Bequests for Music

219

220THE OHIO STATE UNIVERSITY

I verify that Helen Cornell is‘a Ph.D. candidate in the School of llusic at Ohio State University, and that she will use the music requested for research essential to her doctoral dissertation.

TrJLL y. ill* -

SriuwtofMtMC / CollectoTThtAiU / IIMNorthCollrprllo*! / ColumlmiOhio 4MI0 I Pfcoiw (614) 422-4571

APPENDIX I Letter of Explanation,

Vocal Music Checklist, and Table of Tonal Configurations

221 ’

. 1240 Ashland Avenue Columbus, Ohio 43212 *Hay 31, 1973*' I

222

• •

■I am currantly working on a dissertation entitled "An Evaluation of Choral Music by American Women Composers as to its Appropriateness in the Elementary School". The study is limited to grades four, five, and six, and to unison and two-part (5A) secular music*

Essential to this study axe the establishing of criteria for evaluating this music, and the determining of types of data which should be included in- . such a source book* As a 'musician and educator, your cooperation in completing the enclosed checklist is kindly requested*

Items in the list have been drawn from research and statements of authority in the field of music education* The absence of national norms regarding children1 singing limits to some extent the evaluative possibilities of this dissertation, but not its value as a source book for elementary school*

*

Please answer each item, consent as you wish, and place in my T.A. mail box when completed* Tour promptness in completing this questionnaire will be sincerely appreciated* Thank you for your kind attention.

Respectfully,-'

Helen Inf tin Cornell 486-9054

223

VOCAL HUBIC CUSCKU9TP a r t 1 . EVALUATION

Hi se le c tin g n u d e fo r | r « d » fo u r, f i r e and i lx , what Importance do you elve to tho follow In f c r i te r ia ?

1 . b t n n l r ln p e r ta a t 3* Zhportant

Lots la p c r te n t 4* B hlaportaat

1 . Adherence to reeeaeended m e a l ranges fo r tha approxlaate ages 9 - l l j at# below. ■

a* Baalo ra s i i* (C ircle pour choice, o r add I f s o t H a ted * )*rft---t75-Tl--- 75-[ --- =11I k / 11 — *

T -e- --^ --*cr •TT

<3 p 4 s - — ■-*

= z ± = \ = z ! = . - - - - - 1b i dtroBO t i a i * to to uses oeeaslonallp*

(C ircle pow choice, o r add I f no t H ated*)

i

T

. I . I N ■

/ 1 ~ f t 7

_Q.±5 . ►*rC s )

a* Adherence to te x t corresponding to known In te re s ts o f ch ild ren w ithin the approximate age group 9-11.

a* p a t r io t ic pongs

b . pare ice songs

a* lows aongs

d . songs u t i l i s in g l n » r

a* nohsenas aongs

f . songs about aa laa la

g* aongs about b ird s

b* MTiltgr wnga

1* m i l u t l U i l n i i s l a t l w oo ls

J . n b | i n lU i t ln c yodoltag

k* eovbojr h b i i

1 . lnU ab lM

J . U tilisa tio n o f o m lc a l o o to r la l o f s tp s r ls r fn ll tg r«

i> v srlo ty o f • ra n ts l a tboso o r thsaoo

b* daisy*, I n t i U o o i u aesrta lo tyoe» oocploxity

d . c o s lc s l oeoasqj

o . e tb o n _ _______ _______

Oo=«Rto n p t l l a i f t r t X, C vslustlcnt

n » r t IX . XOpRUf IOM

Xn a o la c tli« and ordering n u l a fo r gradaa fo u r , f i n , i d s ix , vhat Talus do you plac* os tha t o l l w l a i t j rp n o f da ta!

•

1 . t i t t o

2 . A m d| m m &t (u a la o o o r SA)

) • Oeaiposor

A* Author o f te x t

5* Acoocpaniad e r a cappslla

A* T)fpt Of IW ttipiBlBM t

7*' D ifficu lty o f aeooapaoteaat

2* Vocal aola contained -

9 . p u b lish * ,

10* Publication nunbar

I t* Kaaio o r rangsa

12* D ifficu lty (s tay o r c h a lla n |ln |)(aoo p a r t X II, d o tsra ln a tio a o f d if f ic u lty )

13* Price

1A* Special a f fa c tsu t i l i s a t io n of*

a* vocal aouada o ther than slagl*i|

b* foo t ib ^ w k i d aounda

a* oov lro iaaa ta l souaia

d* ouslcal hxMor♦

o* co n a e o t

f , aceasp ialasn t designed fo r ch ild(oslo-ly In a tr iB sa t, autoharp, piano* a te* )

|> o thari -----------

226

1 . IM rtM lgr Valuable2 . Valuable2* Of l i s a n l w ;> Werthlaea

1 2 J , ' *

1}* Study n l n •a* m a le r ta d ie g

( 1 ) b i | l n U | n a d l a c a k i l l *

(2) UMcmiBtloflal o r mw typaa a f aoUiloa

b* t o m I p e b l n i

(1) t r a o a l t te a ran t* ( ra g la ta r braak)(C irelo your efeo ice, o r add I f n o t 11ato d .)

e . O tbar study n l » i ,

C ossasta re fa?d l«c f a r t Il9 In fo rn a tio n i

t • ;h r t i x i . oaseasisxoR or onrxctnxt f

H .f l n i * indicate ytnr agrooaant o r d lt ag raioaoclt conoor& i^ tho following l U t n i s t i . . .

A. A oong »hoy Id bo designated a t « » »f o r children in grada* four, f iv e , and s ix I t I t possesses ttaa following ch arao te ris tlea t

1 . Ratio rang* at bar* doteralaad.

2 . Halodf at o M auUiM i acd/or a tap* lee phrases.

3* Xajor and/or olnor total configurations cost frequently used la graded text series.

Appsfidllt)A* Xstam ls no larger ttaa tba sajor sixth

(excluding tta alnor slxth)t no aaallar t t a a a half~atop.

) , Obalooa tonal center6 . Kajor or ainar (hanoale or calodlo) node

? • lay Slgnatwa 0 to A afcarps and A f l a t *• A 2 2 6 3 „ 3■a la w 2* S' A* 8 *9a Mgrtbale patterns catching tmslo actor

1 0 a thytfaale p a tta raa l i d tad to two « n asubdivisions p a r pu lse , and t t a occaatonal nao o f

j t t ), j>11a ’ Unison or Including fcarsongr port o f chord rcots,

chant, descant, round, cicon, third* and sixths, or partner song.

12* to EOdulatlon (seoondary doalnat or altorod chord parnlttad).

1 3 . Zaolcdlag barapnle aeeoupaaisent o f prJaa>7 chorda.

lAa tngllah text.Oocacatai' •

228

U s Strangle A r* * 1 St I p H 4 l* Dlaafroa

2 . A song should bo designated aa challenging U s Btroegljr DIasgroofo r children la grades four, f iv a , and else ;I f U possesses i n o f tha fo llovlng d a r M t w l i t l a l i •

U A » , » •1 . Qso o f extraaa range. M _ .

2* Melody other than chord o u tlin e s , stepwise phrases,aid coat frequent tonal configurations o f gradedaarlaa. (im Appendix) • _ ____ _ _ _

• *3 . C h ro o a tle la . -

A* laterrala largar than tha alxth or a a lla r thaa. _ _ • _ _, .half a tap.

S . ttaa o f tha a ln o r alx th o r a lnor seventh In te rv a l. _ _ _ _ _ _ _

4 . Atonaliaa* ’ _ _ _ _ _ _ _a

7 . Hria othar than najor o r a ln o r. , . . .. - .

* 2 . tax signature Including core than f o t r sharpso r f l a t s . _ _ _ _ _ _ ____ ____

9 . Hatar o thar th aa * , J , j , J , or j . _ ______ - ■

10* T rip le t r l ^ t b i o r o thar odd cohered a a lt lp logroupings and th a lr v a ria tio n s . ,

11 . A predominance o f f our o r sera arao subdivisionsto i pulse and T arla tI c e s tharoof • mmmm _ _ ^ _ _ _

12. A prodaalunoo o f uneven rfaythss

(••«•» )' P JT5 * — — —— —13. A predominance o f sjpeopsted p e tte raa . ____ _ _

14. Rhjrtfcnlc p a tte rn s contrary to haalo oater* _ _ _

15. Vocal harsony o ther than chord ro o ts , chant,descant, r e a d , ctooa, th ird s and s ix th s , o rpartner song. _ _ ^ _ _ _ _ _ _ _

16. Modulaticn._______________________________________ ____ _ ____ ______*

17* A cappalla . ____ _ _ -

12 . Accompaniment o ther thaa the barton laaccompaniment o f primary chorda. ----- _ _ _ _ _

o

19* foreign languaga te x t . _ _ _ _ _ _ mmmmm

« 1?he 66 to st ftr«yi»sgy Sas-d Major

*f'J.TS. o I dand Klacr gosal C cnfloirstloaa

229

Configuration eVi^uaaay j Configuration aretutney & & &

£2 A* 213 j a o f i l£ 2 93 1 .5

>*£& £2 193 3.2 j *® fil SO 1 .6

to re d 153 2.5 | to £i, to 87. 1 .6

£8 1* 12 138 2.2 ! 2& t l to re e l 86 1 .6

£ l f* BO 119 1.8 £2 l e t l da 80 1 .3

Hi 111 1.8 77 1.2

t o e l u 98 1.5 ao 78 1 .2

» £a k 93 1 .5 ;| l e t l to* 73 1 .2

E H * 73 1.2 !• dg d daI

35 0 .5

A* *£ 12 72 1.2 ji to re d da 31* 0 .5

4» £2 £3 1 .1 I f e d f e 30 0 .5

aa c l so 82 1.0 “ to re d re to 30 0 .5

d fa d a 1 .0 L c l ye to re e l 30 0 .5

M fa d re to . 80 1 .0 | — to[ aa to d re to

29 0 .5

to c l re do

» '

0 .9 28 0 .6

da e l 0 .9 3 to ee to 26 0 .6

s i da » 0.9 so to 26 0 .6 .

e l re e l . 0 .9 I n * 1 26 0 .6

1 re da t l la 53 0 .9 1 ao e l 23 .0 .6

i s re da 30 0 .8 j* e l re to l e 25 0 .6

Se a l l e ' 6? 0 .3 J e l to t l l e 25 0 .6

.0 do d 66 O.? !| u —2* 0 .6

re d fa V i 0 .7 j so l e ao to d . «3 0 .6

da re e l fa w ta 0 .8 l i e t l t o t l l e 23 0 .6

la aa fa c i *> 0 .8 f n i so to -

22 0 .5

ra e l re daw • • | 39 1 0.6 1 d re t o t l 22 0 .3

da la i 38 0 .8 la d1 *“

22 0 .3

e l to l e I*

0 .5 ’ j ao t o so .22 0 .3

la M d5V

0 .5 s i l e 21 . ° -3

• to 1* to 33 1 0 .9 j re t o d r * to 21 0 .3

d a d 33 0 .3 ‘ 1 d t o re e l 21 0 .3

-1 la c l 53 0 .5 | ee f a d r* * 20 0 .3~ “ 1 • 1

appendix jList of Recordings of Works by

American Women Composers

230

231

Available Recordings of VJorf:s by Women Composers

M m , I i m wawmttn 0 iii> pAtmpra VitwlOfcNrtrt,

1. CAatlat AAtr. Cent. Compoaert oeeetaMttcmm.

Marten | t i n - n i i | i tuna mIK fl O'thrill*, prt'uM ana ru tva. Mnvt OlCAftfta. F. CMKrl AdVt. M . Camp mere R m r lm CM H Ml.

_ n. IN (1401*1011): Wwic *1 IN ■arj vat. U wtu'ftit M N tin , Ipet U m iM tM M tx tn tK H .

U iN Cancer*malar fm* i m m k m I im m n Cm m IU UAt*tt*1 «1 A AWor. ItHU KWMI, MNOhMOMIMI.

<i**p*n, n aCwtll Mil. Odartri CeiymN* IN ' HI M M II Cl* CVS III!IW f Mi lArta ACCC*.tv Am* M lm i Nr H m Joarpn Mock. I4N. Com- pew rs MtWHtS C*l • l « l . M f N l in i l M i l lMkVIM<«4 flM M M ro M N c M M lC N t M

OaaNM. M*M (1 0 1 0*10 1 1): D*ap fvnLTe*»» irn N l huwriM it. WAw IM U M tlM . Cl»MH » N C I* MpCMIII1m m K m u M m . U m m parNrm «<*.0n4iTnr.

r.tmnatavlltlf* fctaccat* Mr IIM O w n ArmutaAp FNIaIn- NMMIMMCMlCCI«tH.

HtrUn. m m (ll»0- >: Vwrrte.RMMpklMM CmWMMIHMMPDipt cm IU.

Dm . VMM (HIP- t Wm m tb*a«tPtrvc) TM(* MpM4i PM-Jtmot*. W’ami tn«*l*na. IM4 Cempovo'* «M i«kpC N III CtMM’l'M Nr Pm * MM (NM iw M M IW N M H Orrtnvu, Mi* Wmimm . con! Camootart N im p r f tC w u iPncn tmtiwi Orta* tnarmbN- Car*- polar* AwarC np CM 1 719 M m MM FujaN. N» Pjne OoPM) H fp, P M CwptU'l KrwPngi C N IM |M lK t |.

• inn Mr *. Nr Pimp. koMfi NAP*. pt* *nn.Comp*i*ti Brt aitApi CmitOaIM tlU l.t f HTHM p m . IlN P N M Ob Cfmtar*. Jac«*a Um m , can*. Cam* pottrePccariamotCmitP,

CliniCN It tPp. PrpttQ llt- |tNw*• arena [M'ntWii) Athana Symphony

OrtAattra pm Cnarite. Canoe Sim- N d cana. Compear ra N tn a ia i cm mlrm im tl Htaaa. laikiMi* Orcnea* Pa Im m p M l/I (inn M til

opMt, cpuMN Pimp I p p u na t . MWO Arypraa. Compotota N m l P pC M IlU .

Km , Vm| |IHI*1tMp CaalrOpne Nr TaaPanetpraorcrxtira Vienna Or* CMatra.WilamSl'icrUna.CaAa.Caop powrtPacarArppr CAI114.Spring Pnuoral ToNt Imperal PM* hatmena. W in Sltittiand. CM4. Campawrp PrcarpnpY Cai 141.Stern, Sana orthttitf. v;**m lurk . NML tana Campaaara N m i«tlC N

WN IM PPTwNiCvtfcm wlirH* ana ana v-ter l« N n u p m m

_ CNeegoUMFefNtfCenNmperaNPiap art. Aa'ph snapey. tana. Ti a h m 94411.

topaa, t ltiaPam o f - fcAnateO*«a*NAtlwiMV) SBC Symphony Or* cntan* Arpa 2*0 S>1.U0NI.OP II. A2 0 .1 Cl*.!. Arpa MH O u a i Op Hi w «i Ovmatt, F it*b O V r t litnttMMnaOrMHln N* aortal* DartngNn Ouartat (m H PajawAu Arpa 14».Oikncuna John SIwitV*Ourt; aonout N rN w iI CSCSinpimhyOrcneMia. A>(0 IKG C71.

•n/. fDaakaN (1001* p Out*• I AttatiOiMOal. Arpa SIM.

WSl'M !•*. P. AINpri OuartoC. ArpaIK 1 All,

MIm |IM * 1 Lr< Pircafcr p ia n l«>p Imperial Orcht-iP*, IN—nm '>.'mra,.tan*. Cempewe N w nnnbk i %H N r * i ftum ma tnit: nawna at Ht**tn,fcMCi**elY«ne v*no*i»e#r- termoto. Cup ilM Patafmpa OU 9

liaai'tav Iff*

Utvte C4P1*- p VatraPena.la l r » liaa. Cempoatte Aaceronot C» >11.

WaaNP. 041 (till* p Tm (|*ana).On p. in iir i Cack Tia Campaaara M-rcarOngtCNi 110

M W M I I I I P pT*a Antra Nr Am ANN* iMtiar, pana. I army Oramairc Swiioauy. Campaaara NacaranptCW IPl.

0lNeree.PeUNe|1lll» p OwNna. Nr • Ma. Partwaaan, ana lamp pom (An

I mpranaaiiinCnan) m m m U H ill. Souna Panama Nan Vwac Choral tn*patnw. Ara M«ra A AS lU t.Coun* Panama. P iK ha urmanap OvarMarCMnrt.OnoaarV IMIM.. >Aa (I0I4- 0 aNraancpNa

CP.NrTanPaKwtParMN UanAanm Parcirtiran cntamMa. Campaaara AaeerOrataCAiSlU.Staul Wm. Japan PfHaaraiania Or*tnraka. VMm l>r.t>'ar-l. tana. Cam- poatfi Nacaronja CA1119.■nan Pmea Nr Orenatira. Tmtp vraa* HM PnAvannorwc. vrioam tpcaiana. cans. Campaaara Aacaronpacmias.

((Mt*ilMp ta* AH a* O Nr fkrtt. Jr ■ ivPari* Pam pm. mat. MotaA Varan Lar rair. p^n*. Ocnnrma.

(Ill*- V Sunwaar SaV Pn9t-Sw4e far Harp, Are Nana APS •1004.

lUMar, PrlaaN 0019- 0 CftM MDadamaaan. Paiar Paata: tenant par* Prrnarv Arpa 1410 1M: Ouanu. I 'Arpa 9 AO M0.

, Clara |iaip.UMp Cancana Nr Pane, Tta M aim . Otp IP ana 14: Vanaaona an a inama at Patart •Uwmann, Op. 10: Fear lucit.ra Piacaa. OAcMal Pant*, para, Sana ■liVAaniOtcrirs'ra.VoaAaracNNai* CcnanoacK cana. Cana ap 9I0M.

« l (TIM- It I Ptnnpv Kanan Ojanri OaMp III 1.

TalUaNna, OtwniNt (1000* 9 CamC»*imoNrHarptnaO>crai«a Naanar Zanaiata, Harp; Fttncn Aaa a ana Ta'a* vponOicrwalrA Jran Van«an. aano. OnmcPoOraaioiernan IIMP0P.

TaPaa.Ladaa(10M* pCaratYitHory ■aniwia d Jaiin Oanna). Oanan Ou m Campaaara Wataroapa CM 101.•m iPrOea ler Pone, •erenope W * av .am a Dana Till.Soruuna 1 Nr Praia naroaANaaara, pma. campaaara Mataronpa CM ■ Hi.Toccata Nr Ortm *i Taaya Papanpl

' PMiaimanc. V.aipir stncMana. Cano. CampaaaN N w W p CM 141

WIAl*.0aJaAai9rrnntna«aMnaa;Ppp■mnm Nr Cmm. TruNt ana TNnpa am trruot* tar iu it Varmaa partmmaac.Near Van Draaa SaoaN Odra Ona It.Praaa Paam. Canwd Nr Pmap: (««• rettiire. Dm Nr V.a in arm Nano. Van* antpaaarmi a Optra Ona 10. -

t t

■tIJ

J

232

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. *

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S h u ll, C arl N. "A Study o f C h ild ren 's Vocal L ite ra tu re W ritten by S e lec ted D istingu ished Composers." Unpublished D octoral d i s s e r ta t io n , The F lo r id a s t a t e U n ivers ity , 1961.

4 235

Siemens, M argaret T. "A Comparison o f O rff and T ra d itio n a lIn s tru c t io n Methods in Music.*1 Jo u rn a l o f R esearch in Music E ducation. XVII ( P a l l , 1969).

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