An Analytical and Educational Survey of Howard Hanson's Dies ...
An Analytical and Educational Survey of Howard Hanson's Dies ... An Analytical and Educational Survey of Howard Hanson's Dies ...
he used different terminology and focused more on analytical relationships betweenintervals (Cohen, 2004).
10InfluencesIn an interview with David Russell Williams, Hanson identified influences on hiscompositional style. He shared that Palestrina, whose works he studied while in Rome,"was probably the biggest single influence in my life" on "letting the lines flow throughthe harmonies" (Williams, 1988, p.13). He admitted to being influenced by Grieg, urgedon him by his teachers, while he counted Hoist and Beethoven as influences on hiscomposition. Hanson disclosed in the interview that he did not receive very muchinfluence from his teachers, though he did state that he learned counterpoint from PercyGoetschius, and that Peter Christian Lutkin had an impact on his continuation of musicallines and of leading to and away from climaxes in his music (1988). Additionally,Hanson stated that he was influenced in the matter of orchestration through his study andfriendship with Ottorino Respighi in Italy.Hanson influenced many students as a composition teacher at Eastman, includingWayne Barlow, Jack Beeson, William Bergsma, David Borden, Donald O. Johnston,Ulysses S. Kay, Homer Keller, Kent Kennan, Martin Mailman, Peter Mennin, GardnerRead, H. Owen Reed, Gloria Wilson Swisher, and Robert Washburn. Three of hiscomposition students won Pulitzer Prizes in music: Dominick Argento, John LaMontaine, and Robert Ward (Cohen, 2004). Hanson's influence extended beyond theEastman School of Music to American composers throughout the country, especiallythrough the promotion of American music at Eastman.
- Page 2 and 3: Digitized by the Internet Archivein
- Page 4 and 5: Columbus State UniversityAN ANALYTI
- Page 6 and 7: 3Table of ContentsChapter 1 :Howard
- Page 8 and 9: Chapter 1 : Howard HansonBiographyH
- Page 10 and 11: Sweden. He visited the studio of Na
- Page 14 and 15: 11Promotion ofAmerican MusicHanson
- Page 16 and 17: 13Compositional StyleHanson is wide
- Page 18 and 19: 15Chapter 2: Dies NatalisDies Natal
- Page 20 and 21: 17InstrumentationTime of Performanc
- Page 22 and 23: 19on the secondary seventh of the d
- Page 24 and 25: 21Ex. 2: Piano reduction of chorale
- Page 26 and 27: 23Five Variations: Style OverviewEa
- Page 28 and 29: 25Five Variations: Melodic Elements
- Page 30 and 31: 27the chords that the melodies arpe
- Page 32 and 33: P29intervallic relationship of a fi
- Page 34 and 35: 131Variation II.The harmonic materi
- Page 36 and 37: 33The tritone is an essential eleme
- Page 38 and 39: 35Five Variations: Rhythmic Element
- Page 40 and 41: 37Five Variations: Dynamics and Orc
- Page 42 and 43: 139FinaleThe Finale to Dies Natalis
- Page 44 and 45: Chapter 4: Teacher's Guide41
- Page 46 and 47: 43The first variation has a small n
- Page 48 and 49: 45Sequence for LearningPrerequisite
- Page 50 and 51: 47Objectives• Students will perfo
- Page 52 and 53: 49Chimes: m. 208-215All drums with
- Page 54 and 55: Ai,!rrrr51Lesson IIObjective:• St
- Page 56 and 57: 53Lesson HIObjective:• Students w
- Page 58 and 59: 5515. nelmodo Gregoriano - (Italian
- Page 60 and 61: '—57Composition AssignmentStudent
he used different terminology <strong>and</strong> focused more on analytical relationships betweenintervals (Cohen, 2004).