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 ...
23Five Variations: Style OverviewEach variation differs greatly from the others in style. While the introductionflows freely into the chorale without changing tempo, marked at the beginning asmaestoso at quarter note equals 72, each variation has a new tempo and text marking thatalludes to the character of each respective variation. Tempo markings help indicate style,but Hanson draws particular attention to it:"I've felt that music develops its own pulse and its own tempo. Iam veryconscious of tempo. I think that if you conduct a composition at the wrong tempo,it's fatal, and I mean, just a fraction too fast or too slow. It has to be just right, andif it isn't right, the whole thing loses meaning" (Williams, 1988, p. 19).The following paragraphs are a brief overview of style; examples from eachvariation are located in the ensuing sections on compositional elements.Variation I is marked poco phi mosso, quarter note equals 96. This variation ischaracterized by its minor melody, flowing 3/2 time signature, and interesting harmoniesincluding augmented and minor-major seventh chords. This variation is in a legato minorsetting and moves forward at the slightly faster tempo, building intensity throughharmony and then through rhythm in the "Ancora piii mosso, un poco agitato'" section. Adiminution in dynamics and instrumentation concludes this variation, leading into thenext variation.Variation II is marked molto meno mosso pesante at quarter note equals 69. Thestyle of this variation is heavy and definitive. This section is easily identifiable by itsheavy sfortzando whole-note melody and unison pulsing accompaniment. The variationis the most disjunct in presentation of material, due to the augmentation and orchestrationof melody.
24Variation III is marked andante calmo, nelmodo Gregohano, quarter note equals60, and is composed in mixed meter of 2/4 and 3/8. This variation is characterized by itsGregorian chant-like solo voices that create a polyphonic setting of the melody. The useof mixed meter contributes to a calm, lilting feel of this variation. Hanson's choices inorchestration create an interesting texture as well. A shift from Aeolian mode to Phrygianmode at the end of the variation foreshadows the minor second interval prevalent in thefollowing variation.Variation IV, labeled allegro feroce at quarter note equals 152, is the mosttechnically challenging section of the work. This variation is characterized by theemphasis on the tritone and minor second, the syncopated accents of the melody, and thecontinuous sixteenth-note accompaniment. The sixteenth notes create a sense of urgencythat propels this variation forward.The final variation, Variation V, is marked larghetto semplice at quarter noteequals 60, creating stark contrast from the previous variation in tempo and style.Instrumentation and dynamics are much lighter as well. The eighth-note melody ispresented in canon by solo instruments; the melody has a sense of flow proffered by thesetting of this variation in simple triple meter.
- 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 12 and 13: he used different terminology and f
- 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 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
- Page 62 and 63: 59Evaluation SheetName:Date:Title o
- Page 64 and 65: 61Chapter 5: Student's GuideStudent
- Page 66 and 67: 63Hanson's use of the chorale almos
- Page 68 and 69: irr'r-F'rrr'rrrr65Dies Natalis Chor
- Page 70 and 71: s»67O Morning Star, How Fair and B
- Page 72 and 73: 69(Butterworth, 1998)Plate 9: 1972
- Page 74 and 75: .7114. mosso -15. nelmodo Gregorian
23Five Variations: Style OverviewEach variation differs greatly from the others in style. While the introductionflows freely into the chorale without changing tempo, marked at the beginning asmaestoso at quarter note equals 72, each variation has a new tempo <strong>and</strong> text marking thatalludes to the character <strong>of</strong> each respective variation. Tempo markings help indicate style,but Hanson draws particular attention to it:"I've felt that music develops its own pulse <strong>and</strong> its own tempo. Iam veryconscious <strong>of</strong> tempo. I think that if you conduct a composition at the wrong tempo,it's fatal, <strong>and</strong> I mean, just a fraction too fast or too slow. It has to be just right, <strong>and</strong>if it isn't right, the whole thing loses meaning" (Williams, 1988, p. 19).The following paragraphs are a brief overview <strong>of</strong> style; examples from eachvariation are located in the ensuing sections on compositional elements.Variation I is marked poco phi mosso, quarter note equals 96. This variation ischaracterized by its minor melody, flowing 3/2 time signature, <strong>and</strong> interesting harmoniesincluding augmented <strong>and</strong> minor-major seventh chords. This variation is in a legato minorsetting <strong>and</strong> moves forward at the slightly faster tempo, building intensity throughharmony <strong>and</strong> then through rhythm in the "<strong>An</strong>cora piii mosso, un poco agitato'" section. Adiminution in dynamics <strong>and</strong> instrumentation concludes this variation, leading into thenext variation.Variation II is marked molto meno mosso pesante at quarter note equals 69. Thestyle <strong>of</strong> this variation is heavy <strong>and</strong> definitive. This section is easily identifiable by itsheavy sfortz<strong>and</strong>o whole-note melody <strong>and</strong> unison pulsing accompaniment. The variationis the most disjunct in presentation <strong>of</strong> material, due to the augmentation <strong>and</strong> orchestration<strong>of</strong> melody.
Change language