THE THREE SYMPHONIES OF DANIEL GREGORY MASON'
STYLE-CRITICAL AND THEORETICAL ANALYSES
By
DAVID NEAL KAPEC
A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF
THE UNIVERSITY OF FLORIDA
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE
DEGREE OF DOCTOR OF PHILOSOPHY
UNIVERSITY OF FLORIDA
1982
ACKNOWLEDGMENTS
The author is greatly appreciative of Dr. Albert B. Smith, III,
chairman, for his relentless assistance, insights, and guidance. Had
it not been for his constant communication over the years, the author
would have fallen victim to the "all but dissertation" designation.
Special thanks and acknowledgment go to Dr. David Z. Kushner, cochair-
man, for further enhancing my career as performer, educator, and re-
searcher. It was he who acted as mentor and advisor, and reformed me
from my former ways and enlightened me to the research and applications
of music history and literature. Appreciation also goes to Dr. Gordon
D. Lawrence, for his special insights on revisions, and Dr. S. Philip
Kniseley and Dr. Phyllis E. Dorman for their assistance on the
committee.
In the securing of information, scores, and recordings, the follow-
ing individuals distinguished themselves. Acknowledgment goes to Mr.
Scott Mason of Wakefield, Rhode Island, in providing permission to
release a copy of the Second Symphony score, and in the use of the
musical examples. Sam Dennison and his staff in the Edwin A. Fleisher
Collection of the Free Library of Philadelphia are thanked for their
assistance in locating and sjpplying the Second Symphony. Dr. Ernest
H. Sanders, Music Department Chairman at Columbia University, was
most helpful in securing recordings of the symphonies. Bernhard R.
Crystal, Assistant Librarian for Manuscripts, and Alice Schreyer,
n
Reference Librarian and Bibliographer, both of Columbia University,
were most courteous and helpful during my visit to Butler Library in
securing copies of the First and Third Symphonies. Appreciation also
goes to Mike Webb for his assistance in copying the musical examples.
A special acknowledgment goes to both parents, Andrew J. Kapec
and Loraine J.G. Kapec, and my wife, Leslie Gayle, for their encourage-
ment to see the work to its completion.
m
TABLE OF CONTENTS
Page
ACKNOWLEDGMENTS ^•^•
LIST OF TABLES y^^-
LIST OF MUSICAL EXAMPLES ix
ABSTRACT xii
CHAPTER
ONE INTRODUCTION 1
Statement of the Problem 2
Hypotheses .*.'.' 3
Need for the Study 4
Delimitations . . . 6
Limitations . . 7
Definitions .".'.' 8
General Terms g
Terms Related to Hypotheses [ g
Terms Related to Method [ lo
Organization of the Study H
TWO REVIEW OF THE LITERATURE 12
Daniel Gregory Mason in Music Curricula 13
Music Criticism and Analytical Methods 18
Theory of Music 27
Symphonic Writing of the Time {airaa 1910-1949) .' .' .' .' 33
Justification for the Present Research 37
THREE PROCEDURE 3g
General Research Design 3g
Collection of Data 44
Analysis of Data 45
FOUR SYMPHONY NO. 1 IN C MINOR, OPUS 11 (1913) 46
Style-Critical and Theoretical Descriptive Analyses . . 47
First Movement, Largo sostenuto 48
Second Movement, Larghetto tranquillo 53
Final Movement, Allegro molto mccroato 58
TV
Page
Matrix Tables 55
Summary ! ! *. ! 71
FIVE SYMPHONY NO. 2 IN A MAJOR, OPUS 30 (1928) 73
Style-Critical and Theoretical Descriptive Analyses . . 74
First Movement, Allegro maestoso 76
Second Movement, Andante sostenuto '. 81
Third Movement, Vivaae soherzando 86
Final Movement, Lento, Largamente 91
Matrix Tables 95
Summary ........ 100
SIX SYMPHONY NO. 3 "LINCOLN" IN Bb MAJOR, OPUS 35 (1935). . 102
Style-Critical and Theoretical Descriptive Analyses . . 103
First Movement, Lento seHoso, "The Candidate
from Springfield" IO4
Second Movement, Andante dolente, "Massa Linkum" .' 113
Third Movement, Allegro non troppo e pesante,
"Old Abe's Yarns" 116
Final Movement, Lento serioso, "1865" 119
Matrix Tables 123
Summary . . . 128
SEVEN SUMMARY, FINDINGS, IMPLICATIONS, AND RECOMMENDATIONS. . 131
Summary 131
Restatement of Problem and Purpose 131
Restatement of Methodology 131
Findings .'.'!.* 133
Hypothesis Number One , , 133
Hypothesis Number Two .' .' 135
Hypothesis Number Three . . 138
Hypothesis Number Four 141
Implications . . 144
Procedure and Methodology . 144
Hypotheses and Findings .* .' 145
Recommendations I47
APPENDICES
A SYMPHONY NO. 1 IN C MINOR (1913) OPUS 11: SYNOPSIS
BY MEASURE I49
B SYMPHONY NO. 2 IN A MAJOR (1928) OPUS 30: SYNOPSIS
BY MEASURE 152
C SYMPHONY NO. 3 "LINCOLN" IN Bb MAJOR (1935) OPUS 35-
SYNOPSIS BY MEASURE I55
Page
REFERENCES I59
BIOGRAPHICAL SKETCH I55
VI
LIST OF TABLES
Table
Page
1 Sample Matrix Used for Gathering Data for Hypothesis No. 1. 42
2 Component Analysis of Symphony No. 1 in Relationship to
Hypothesis No. 1 67
3 Component Analysis of Symphony No. 1 in Relationship to
Hypothesis No. 2 68
4 Component Analysis of Symphony No. 1 in Relationship to
Hypothesis No. 3 70
5 Component Analysis of Symphony No. 1 in Relationship to
Hypothesis No. 4 71
6 Component Analysis of Symphony No. 2 in Relationship to
Hypothesis No. 1 96
7 Component Analysis of Symphony No. 2 in Relationship to
Hypothesis No. 2 98
8 Component Analysis of Symphony No. 2 in Relationship to
Hypothesis No. 3 99
9 Component Analysis of Symphony No. 2 in Relationship to
Hypothesis No. 4 lOO
10 Component Analysis of Symphony No. 3 in Relationship to
Hypothesis No. 1 124
11 Component Analysis of Symphony No. 3 in Relationship to
Hypothesis No. 2 125
12 Component Analysis of Symphony No. 3 in Relationship to
Hypothesis No. 3 127
13 Component Analysis of Symphony No. 3 in Relationship to
Hypothesis No. 4 128
14 Summation of Classical Components of All Symphonies in
Relationship to Hypothesis No. 1 I35
15 Summation of Eclectic Sources Utilized in All Symphonies
in Relationship to Hypothesis No. 2 . I37
vn
Table Pa^e
16 Frequency of Eclectic Styles of All Symphonies 138
17 Summation of Unsophisticated Compositional Techniques of
All Symphonies in Relationship to Hypothesis No. 3 139
18 Summation of Nationalistic Components of All Symphonies in
Relationship to Hypothesis No. 4 142
vm
LIST OF MUSICAL EXAMPLES
Example No. page
SYMPHONY W. 1, First Movement
1 Principal Theme, Antecedent Phrase (measures 1-4) .. . 48
2 Principal Theme, Consequent Phrase (measures 6-11). . . 49
3 Secondary Theme (measures 44-47) 50
4 Third Theme (measures 56-60) 50
5 Fourth Theme (measures 83-87) 51
6 Presto Theme (measures 381-384) 52
SYMPHONY NO. i. Second Movement
7 Principal Theme (measures 11-17) 54
8 Modified Principal Theme (measures 18-20) 54
9 Introductory Trumpet Fanfare (measures 59-63) 55
10 Secondary Theme (measures 69-74) 56
11 Modified Secondary Theme (measures 80-83) 57
SYMPHONY NO. 1, Final Movement
12 Introductory Timpani Solo (measures 1-5) 58
13 Principal Theme (measures 7-11) 59
14 Interval Comparison of Examples 10 and 13 59
15 Modified Consequent Phrase (measures 11-14) 60
16 Bridge Theme (measures 55-59) 61
17 Secondary Theme (measures 74-83) 61
18 Inverted Bridge Material (measures 86-87 compared
with 26-27) 52
19 New Thematic Bridge Material (measures 93-97) .....' 62
20 Modified Secondary Theme (measures 181-184 compared
with Example No, 17) 54
21 Syncopated Rhythm of Coda (measures 220-225). .' .' .' .* '. 65
22 Fully Scored Syncopated Coda Melody (measures
233-234) 65
SYMPHONY NO. 2, First Movement
23 Principal Theme (measures 3-6) 76
24 Secondary Theme (measures 21-24). . . 75
25 Inversion of Principal Theme (measures 51-55) 77
26 Third Theme, Transitional (measures 71-79) 78
27 Fourth Theme, Horn (measures 86-94) 79
28 Fifth Theme, Flutes and Harp (measures 94-97) 79
IX
Example No. page
29 Sixth Theme in Violin (measures 102-105) 80
30 Rescored Principal Theme, Flute and Bassoon (measures
167-174) 81
SYMPHONY NO. 2, Second Movement
31 Principal Theme, Strings (measures 1-8) 82
32 Secondary Theme (measures 20-24) 83
33 Contrapuntal Duet and Ohliggato (measures 34-39). ... 83
34 Fugue Subject (measures 91-94) 84
35 Fugue Countersubject (measures 95-98) ... 85
36 Syncopated Bass Line in Fugue (measures 110-114). ... 85
SYMPHONY NO. 2, Third Movement
37 Principal Theme (measures 1-7) 86
38 Harp Pizzicato (measures 41-47) 87
39 Secondary Theme, Horn (measures 92-98) 87
40 Antecedent Phrase of "Trio" Theme (measures 228-232) . . 88
41 Consequent Phrase of "Trio" Theme (measures 233-237) . . 89
42 Violin Theme (measures 382-387) Compared with
Example No. 27 90
43 Timpani Rhythm of Coda (measures 400-402) 90
SYMPHONY NO. 2, Final Movement
44 Principal Theme (measures 1-4) 91
45 Recycled Maestoso Rhythm ^measures 139-140) 92
46 Harmonic Pyramid in Co<ia (measures 201-203) 93
SYMPHONY NO. 3, First Movement
47 Opening Lincoln Moti/ (measures 1-4) 104
48 Full Lincoln Theme (measures 186-191) 105
49 Stap Spangled Banner (measures 1-4) 106
50 Lincoln Motif 106
51 Principal Theme (measures 13-20) 106
52 Secondary Theme (measures 72-80) 107
53 Bridge Theme (measures 80-85) 108
54 Third Theme Derived from Lincoln Theme (measures
142-149) 109
55 Modulation Theme (measures 168-172) HO
56 Subject of First Fugue, "Lincoln "(measures 186-200) . . in
57 Subject of Second Fugue, "Douglas" (measures 225-232). . 112
58 Countersubject of Second Fugue (measures 231-234). ... 112
59 Maestoso Tempo Di Maraia Theme (measures 260-264). . . . 113
SYMPHONY NO. 3, Second Movement
60 Principal Theme (measures 1-6) 114
61 Impressionistic String Harmonies (measures 28-33). ... 114
Example No. Paqg
SYMPHONY NO. 2, Third Movement
62 Principal Theme, Antecedent Phrase (measures 1-8). ... 116
63 Principal Theme, Consequent Phrase measures 18-20). . . 117
64 Secondary Theme (measures 62-69) 117
65 Strings from Coda (measures 217-229) 119
SYMPHONY NO. 3, Final Movement
66 Introduction of Funeral March (measures 21-24) 120
67 Theme of Funeral March (measures 25-29) 121
68 Bridge Material (measures 114-155) 121
XI
Abstract of Dissertation Presented to the Graduate Council
of the University of Florida in Partial Fulfillment of the Requirements
for the Degree of Doctor of Philosophy
THE THREE SYMPHONIES OF DANIEL GREGORY MASON:
STYLE-CRITICAL AND THEORETICAL ANALYSES
By
David Neal Kapec
December, 1982
Chairman: Dr. Albert B. Smith, III
Cochairman: Dr. David Z. Kushner
Major Department: Curriculum and Instruction
The primary purpose of the study was to ascertain possible explana-
tions as to why Mason's symphonies did not gain wide acceptance or
acclaim. The methodology included identifying in detail the composer's
stylistic characteristics. The three symphonies analyzed were Symphony
No. 1 in C minor ^ opus 11 (1913), Symphony No. 2 in A major, opus 30
(1928) with the 1944 revisions, and Symphony No. 3 "Lincoln" in Bb
major J opus 35 (1935).
To gain greater reliability of the conclusions four hypotheses
were tested; these were the symphonies failed to gain acceptance and
popularity because 1) they were overburdened with eighteenth century
classical style and forms; 2) they utilized numerous eclectic styles
such as neo-baroque, neo-classicism, neo-romanticism. nationalism,
impressionism, and expressionism; 3) the composer utilized unsophisti-
cated compositional techniques catering to the untrained listener of
music. The Third Symphony attained what limited popularity it did
because 4) the composer incorporated selected nationalistic elements
into the work.
xn
Traditional analyses of style as prescribed by LaRue, Meyer,
Siegmeister, Hutcheson, Sessions, White, and Piston were employed as
the method of analysis, and the results were quantified into matrix
and summation tables.
Based on the findings, it was concluded that Mason did use neo-
classical elements, but not in sufficient quantities to accept the first
hypothesis; therefore, hypothesis one was rejected. Hypothesis two,
however, was accepted since many eclectic styles were identified.
Hypothesis three was also accepted because of the many unsophisticated
compositional techniques found in these three symphonies. Hypothesis
four was supported by the findings which showed a high degree of
nationalistic elements in his Third Symphony. It was concluded overall
that Mason wrote for the masses, and by choice, he incorporated the
styles which were identified.
The researcher recommended that actual performances of the three
symphonies be conducted, as well as the symphonies being transcribed
to other media for more accessibility to the public. Inclusion of the
findings of this study into music curricula of higher education dealing
with American music, symphonic literature, and nationalism in music
was also recommended.
xm
CHAPTER ONE
INTRODUCTION
Daniel Gregory Mason (1873-1953) was among the most widely read
American authors on the subject of music during the first four decades
of this century. Because of this popularity, and the lack of research
dealing with his compositions, the topic of this study was to conduct
an analytical and theoretical study of his three symphonies.
Through such analyses, additional dimensions were ascertained as to why
these works did not gain acclaim through public demand for repeat
performances.
As a result of his literary achievements, many institutions and
individuals benefitted from his keen observations, perceptive insights,
and enduring theories concerning music. He lectured and taught through-
out the country promoting music which he felt should be readily acces-
sible to the untrained listener of music. Because of this, his views
appeared to sympathize with Soviet realism (Schwartz, 1972). Mason
philosophically concluded that music was most enduring when it was
socially conceived and suitable for human nature (Mason, 1948). For
example, in the late 1940's, he stated his belief that cyclism (Apel,
1972) was one of the highest sociable aspects within music.
I believe this guidance of the listener through the
labyrinth of a movement by giving him definite themes
and their developments to follow, is one of the most
sociable features of the classic symphony. ... I
believe that this process technically known as
"cyclism" of carrying an important theme through a
whole work or cycle of movements, with such changes
-2-
as adjust it to changing conditions, is of immense
value both to the variety and the unity of a symphonic
structure, and has limitless possibilities. Note that
it again is a "sociable" process, depending for its
success on both the ingenuity of the composer and the
keenness and adjustability of perception of the listener.
(Mason, 1948, p. X7)
The acceptance of his symphonies, however, was inversely propor-
tionate to the popularity of his lectures, teachings, and theories.
Mason's symphonic writings, therefore, did not receive acclaim from
either the public or the professional musician. Historically, when
such discrepancies existed between the popularity of literary works
and musical compositions of the same individual musician, the composer
was either writing in an antiquated style or an avant-garde fashion
(Apel , 1972). It was this discrepancy— popular literary works versus
unpopular symphonic works--which was the focus of this investigation.
By looking at Mason's compositional styles and forms, this researcher
attempted to ascertain why the composer's three symphonies did not
receive acclaim through repeat performances.
Statement of the Problem
Since Mason's literary articles and lectures were better known
than his symphonies, there has been little analysis of his musical
works. The problem of this study was that heretofore undergraduates,
graduates, and other advanced students of music did not have complete,
systematic analyses of the works of Mason by which to determine why
the symphonies did not gain acceptance into the performing marketplace.
The purpose of the study, therefore, was to ascertain, through detailed
analyses, why the symphonies were not artistically considered to be
-3-
great works (Haydon, 1941), worthy of acceptance into the standard
repertory of the major symphony orchestras of America.
Hypotheses
Prior to this study there existed no detailed analyses (Howard,
1968) by which to evaluate the symphonies. In order to conduct the
study, four hypotheses were formulated; three were used to reach a
conclusion about why the symphonies did not attain greatness while a
fourth one served to test why the Third Symphony in particular gained
limited popularity. The four hypotheses were
1. The symphonies failed to gain acceptance and popularity be-
cause the composer relied on once popular but antiquated eighteenth
century classical style and forms (neo-classicism) rather than utilizing
contemporary structures and procedures.
2. The symphonies were unpopular because they were written in
a radically eclectic manner using a multitude of sources within one
symphony which caused disunity within, and among, movements. These
eclectic sources tested were neo-baroque, neo-classicism, neo-romanti-
cism, nationalism, impressionism, and expressionism.
3. The symphonies did not achieve repeat performances because
the composer utilized unsophisticated compositional techniques catered
to the untrained listener of music. The refined concert-goer, there-
fore, absorbed the simplistic techniques on a first or second listen-
ing, and the audiences' interests were not captivated on subsequent
performances.
4. The composer relied on nationalistic elements in his Third
Symphony more than in the other symphonies, which may account for its
greater popularity than the first two symphonies.
-4-
Specific musical examples from the symphony scores provided
evidence with regard to accepting or rejecting the hypotheses. In
addition, there was an attempt to quantify the specific musical
traits relating to the hypotheses so that more valid conclusions
could be achieved. A summary of implications as to how this study
and its conclusions could be utilized in music curricula of higher
education was provided. In addition. Implications for specific
courses such as symphonic literature, American music, and national-
ism in music were explored.
Need for the Study
Since it has been recognized (Klein, 1957) that Mason's true
achievements were realized in his literary works, there has been no
attempt to promote his orchestral works, especially his symphonies.
However, since specific course study in American music has evolved--
rather than being grouped under one large category such as twentieth
century music— the inclusion and entry of his musical works could be
more thorough and detailed. The bicentennial celebrations in America,
funded by private and public institutions, acted as a catalyst to pro-
mote the research of music in the United States. Many concert-goers
benefitted from the research initiated in 1976. The present study
continued that same need by the public and serious music students
alike to fulfill basic inquiries into American musical heritage
(Hitchcock, 1974).
-5-
Perhaps the greatest need was to analyze Mason's symphonies and
to disseminate the identifiable traits which caused them to lack the
qualities needed for inclusion into the standard orchestral repertory.
By doing this, the student of music would then have a method of
evaluating the symphonies and comparing them with other works. Cur-
riculum planners could also utilize Mason's symphonies as supplements
to other music courses, primarily those dealing with American music
and the symphony.-
Hypothesis one addressed the possibility that Mason's works were
not accepted because they were written for an audience of a time
period other than Mason's contemporary listeners. In several of his
other compositions he adhered to classical style, and extensively used
forms such as sonata allegro form, rondo, bi -partite and tri -partite
forms, and saherzi. Perhaps this was a result of the composer's pre-
occupation with imitating models such as Mozart, Beethoven, and
others (Chase, 1960), instead of composing to his contemporary audience
of the twentieth century. This study attempted to test whether he carried
this musical practice over into his symphonies.
The second hypothesis was developed to see whether or not the
composer created disunity within the symphonies by utilizing eclectic
styles and by not formulating his own unique and innovative style.
Although the symphonies, themselves, might not have contained defective
aspects in compositional form, harmony, melody, development, and
orchestration, they may not have appealed to his audiences because of
an overreliance on eclectic writing.
The third hypothesis was formulated from the composer's preoccu-
pation with writing music for the masses instead of for the advanced
■6-
music listener. He attempted to assist the untrained listener of music
by oversimplifying the compositional techniques (Apel , 1972), and thus
did not incorporate the frequent complexities needed to qualify the
work as a great composition.
Hypothesis four led to an examination of the effect of nationalism
on the limited success of Mason's Third Symphony. This last hypothesis
had implications for incorporating the symphony into college music
curricula dealing with nationalism, while the former three hypotheses
had implications for curricula dealing with the symphony and American
music.
Although the present study did not prove or disprove conclusively,
through the use of hypotheses, why the symphonies did not gain favor
with the music listening audience, the study did, however, amplify and
present greater dimensions as to why the symphonies did not achieve
greater acclaim.
Delimitations
Since the study was based on the acceptance or rejection of four
specific research hypotheses, it was necessary to delimit the focus of
the study to the three symphonies rather than the six orchestral works
which can be considered symphonic in nature. In addition, the study
was delimited to the musical elements of the scores rather than in-
corporating the opinions and interpretations which other writers have
formulated about Mason's personal life. In this manner, it alleviated
the possibility of other non-musical prejudices to contaminate the
validity of the data and conclusions. Including those mentioned above,
the researcher employed the following delimitations:
■7-
1. The eleven movements of the three symphonies of Mason were
cited as the boundaries from which the analytical data were extracted.
The purpose was to gather musical elements which were contained only
in the scores of the symphonies.
2. The particular editions of the scores were chosen as follows:
The University Edition was used for the First Symphony (copyrighted
1926); the Edwin A. Fleisher manuscript version with 1944 revisions
was used for the Second Symphony, and the Juilliard Edition published
by the American Music Center was used for the 'Third "Lincoln" Symphony
(1935).
3. The style-critical method chosen was an amalgamation of LaRue
(1970), Siegmeister (1965), Hutcheson (1972), Sessions (1951), White
(1968), Meyer (1973), and Piston (1941, 1950).
4. Although other non-musical factors could have contributed to
the symphonies not achieving public recognition, the present study only
dealt with the musical components contained in the eleven movements of
the three symphonies.
By confining the study to the aforementioned precepts, the evi-
dence gathered was more valid as a means to accept or reject the four
research hypotheses. Through this focusing, the discrepancies which
existed between Mason's literary works and musical works were identi-
fied.
Limitations
The present study employed the following limitations:
1. Conclusions as a result of accepting or rejecting the four
hypotheses could not be generalized to other orchestral works by Mason
with any great reliability.
2. Since the ultimate success of a work depends upon the recep-
tivity of the listening audience, attitudes of the general public may
have contributed or been responsible for the works not achieving suc-
cess. This presented a major limitation to the research because no
identifiable method existed in which to evaluate the skills, percep-
tions, and keenness of the listening audience of the early twentieth
century.
3. The study could not attempt to measure those nonrmusical forces
such as politics, social conflicts, or boycotts by ethnic or other
groups which may or may not have influenced the receptivity to the
symphonies by the general public.
4. If the fourth hypothesis was accepted, then the conclusion
must be limited to Mason's own partial success and not generalized to
state that other composers could gain wider acceptance by using national-
istic traits indigenous to their countries. Nationalism, therefore,
may have proved successful in Mason's case, but a generalization that
nationalism used in any musical composition would increase its popularity
would be invalid.
These limitations provided the framework for reaching conclusions
in this investigation.
Definitions
For the purpose of this research, the following definitions were
used :
General Terms
Great works. Musical works of sufficient complexity of detail or
implication to sustain the listener's interest during repeated perfor-
mances.
Musical esthetics. The sharing of artistic experience between
composer and listener which has three component parts: the musical
composition, the performance, and the response of the audience. The
first two parts form the stimulus and the last part the response or
reaction.
Style-critical. Defining or establishing features and methods
of treating two major areas. The first major area is the technical
aspects such as form, melody, rhythm, tonality, meter, modality, and
others; the second major area is esthetic, such as expression, meaning,
and social implications.
Theoretical. Fundamental technical knowledge of music in con-
struction and classification of counterpoint, form, orchestration, and
others. It involves the discovery, verification, and organization of
the component parts of music.
Symphony. A multi -movement musical composition for orchestra
using symphony in its title.
Terms Related to Hypotheses
Classical style. A specific style of musical composition charac-
terized by formal elegance, simplicity, dignity, correctness of style,
lack of emotion, and order illustrated in the time period of approxi-
mately 1750-1830 by the Viennese school, especially symphonies and
string quartets of Haydn and Mozart.
-10-
EcTectic. Utilizing a multiplicity of styles and "schools" of
composition within one musical work or movement.
Nationalism. Musical compositions which are an expression of
national traits by using elements such as folk melodies, dance rhythms,
ethnic traits, heroic personalities for subject matter, and other
identifiable qualities indigenous to a specific country.
Simplistic manner. Opposite of a great musical work, a musical
composition constructed in such a way that it yields all of its detail
and complexity within a limited number of listenings.
Terms Related to Method
Musical formal analysis. Discovering, identifying, and classify-
ing how musical tones are grouped to yield a structure in which a
listener can perceive the organizational groupings such as motifs,
phrases, and cadences into larger structures as sonata, rondo, fugue,
and other major structures.
Harmonic rhythm. The pattern of harmony within a piece of music
which yields important and distinctive features of style and texture.
Stylistic analysis. Same as style-critical under "General Terms."
Although there were numerous other terms which were utilized in
the study, the researcher employed the traditional definitions, and,
therefore, no special amplification was needed here. Definitions of
these terms can be found in Haydon's Introduction to Musioology (1941)
and other authoritative sources (Apel, 1972).
-11-
Organization of the Study
The remainder of this research study was organized in the follow-
ing manner: Chapter Two contains a review of the research, theories,
and analytical methods relating to the focus of the study; Chapter Three
outlines the procedure and methodology to be implemented in the accept-
ing or rejecting of the four hypotheses tested; Chapters Four through
Six provide the descriptive analyses, data, and results of Symphonies
One through Three, respectively; and Chapter Seven concludes the study
with a summation of the findings, implications for music curricula,
and recommendations for further study.
CHAPTER TWO
REVIEW OF THE LITERATURE
The following chapter is broken into four subsections dealing with
1) Daniel Gregory Mason in Music Curricula, 2) Music Criti-cism and
Analytical Methods, 3) the Theory of Music, and 4) Symphonic Writing
of the Time ciroa 1910 to 1949. The first section provides an under-
standing of Mason's theories and his analyses of not only other com-
posers' works, but of his own. The purpose for reviewing his texts
was to ascertain if he, himself, might have provided clues or analyses
of why his symphonies did not gain greater acceptance. Because of
Mason's preoccupation with classical composers, his literary works were
permeated with this influence, and thus provided the basis for the for-
mation of hypothesis one. Although certain sources and materials cited
in this section did not directly contribute to the methodology of the
study, each was essential in providing a basis in the formation of
the study's four hypotheses. These materials were used in establishing
definitions, methodology, and evaluation criteria for this research.
The second section explores the various methods employed by the
music community in ascertaining the worth of a composition, and how a
listener in a particular time period perceived the performance. This
section provides information on other similar research, and how the
method chosen for this study was formulated.
The third section. Theory of Music, deals with the systematized
hierarchy of orchestration, counterpoint, phrasing, form, intervals.
■12-
-13-
melody, acoustics, and includes those fundamental techniques upon which
all compositions are based. This section also provided other studies
and papers which shed light on the development of the present investi-
gation.
The fourth section provides an overview of symphonic compositional
styles of the times (1910-1949). It established the basis for which
to compare Mason's works to the mainstream of compositions during the
four early decades of the twentieth century.
Daniel Gregory Mason in Music Curricula
Mason wrote nineteen books, and numerous magazine and newspaper
articles. Several of his lectures were later incorporated into some
of his publications. The following section provides a brief description
of those books and how they related to the present study.
Mason's first book. From Grieg to Brahms (1902), contains an
introduction entitled "The Appreciation of Music," in which Mason
sketched the principles of musical art and development in musical
history. It was in this section that Mason expressed his views which
he would later incorporate into his symphonic and other musical works.
This chapter was followed by studies on Grieg, Dvorak, Saint-Sagns,
Franck, Tschaikovsky, and Brahms. Mason arranged these composers in
an order in which he felt they exerted an influence on Western music,
specifically orchestral compositions. It was here that Mason's pre-
ference for formal structures was discovered. The final chapter in
this book was an epilogue similar to an essay on the meaning of music
in which he considered life a medium for music. Here, Mason described
-14-
his esthetic opinions that music should be written for the untrained
listener of music.
In Beethoven and His Forerunners (1904), Mason devoted the first
section of the volume to subjects such as the development and origins
of music, Palestrina, the music of mysticism, the modern spirit, and
the principles of pure music. The latter portion involved the music
of Haydn, Mozart, and Beethoven. Mason treated the material in a sub-
jective manner. It was through the reading of this text and others
that the first hypothesis for this study was developed. Mason con-
sistently praised these composers and hinted that writing in this
classical style should be promoted as it was in the eighteenth century.
Within the volume, The Romantia Composers (1906), Mason took up
the study of composers and their music at the death of Beethoven and
carried it through the period of romanticism. He included in this
work a discussion of the music of Schubert, Schumann, Mendelssohn,
Chopin, Berlioz, and Liszt. His plan for the text followed that of
Beethoven and His Forerunners in that the treatment of the music in-
volved the composers and their works.
TTie Contemporary Composers (1918a), Mason's fourth book on the
subject of great composers, was arranged in the same manner as the
other books mentioned earlier. An introduction in the form of an essay
on "Democracy and Music" was included with subsequent studies on
Strauss, Elgar, Debussy, and d'Indy. The closing essay was on Music
in America. This was an important source for this research, for it
formed the basis of this study's fourth hypothesis. It was here that
Mason espoused that composers should utilize the sources of their own
country and need not "import" European styles or traditions.
-15-
Mason published, under the general heading of The Appreciation of
Music Series (1921), numerous volumes of texts designed for the layman
of music. They were put together from the many lectures and classes
he taught over the years. One volume was coauthored with Thomas
Whitney, and expressed that music should be composed in such a manner
that the uninitiated music listener could appreciate the composition.
Since Mason felt that music should be written for the untrained musical
listener, he felt that composers should use compositional techniques
which would assist the listener in following other compositional com-
plexities which existed throughout the work. The third hypothesis
was developed from this premise.
The Orchestral Instruments and What They Do (1909b) was a book
in which Mason illustrated the various instruments and described their
tone quality and range of pitch. Each family of instruments was dis-
cussed in this work after a description of the orchestra. How the un-
trained listener can interpret the music was also explained. This
publication was intended as a guide for the concert-goer.
The book. From Song to Symphony (1924), was yery similar to The
Appreciation of Music except that here Mason approached the study of
composers and their music through analyzing the chief musical media-
folk songs, art songs, opera, oratorio, piano music, chamber music,
and orchestral music-rather than through the various structural forms.
Here, Mason let the reader know his preference for certain musical
media which favor accessible works for the ease of the listener.
Mason considered his Artistic Ideals {1921) his best book. This
work was developed from a series of lectures which covered topics such
as independence, spontaneity, workmanship, originality, universality.
-16-
and fellowship. The audience for this work was the creative artist.
It was through a text such as this where a discrepancy existed between
musical works and literary works. All philosophies contained herein
appeared not to have been utilized by Mason in his symphonies. Had
he employed his literary philosophies espoused in this text into his
musical works, especially originality and innovation, his works could
have perhaps been more widely accepted. : '
The Dilerma of American Music and Other Essays (1928) was an
accumulation of magazine articles published in Mason's early life.
The layman of music benefitted from this text in that the problems of
early twentieth century American music were discussed. The text pro-
vided added information with regard to the fourth hypothesis. It
further explained Mason's understanding of audiences' skills in music,
and what musical compositions they could comprehend more readily.
Tune In, America (1931) was perhaps his most controversial book
(Chase, 1960). The theme of the book provided an independence from the
feeling of inferiority in relationship to European musicians. Hereto-
fore, the public viewed the composers of America as less creative than
their counterparts in other countries because of the disparity of
music traditions. Mason criticized "imported" conductors for neg-
lecting to perform American works. He felt that jazz, however, was
not worthy of its performance, even though it was indigenously American.
The encouragement of young American composers to adopt an attitude of
"sobriety and restraint" was an underlying theme. It was this text
that may have been responsible for the negative attitudes of the general
public toward Mason's symphonies. This was an example of one of the
-17-
non-musical political entities which is discussed in a subsequent sec-
tion of this paper.
Mason traced the growth and development of Brahms as a composer
in The Chambev Music of Brahms (1933). Mason organized the book around
the maturing of Brahms as a man not as a composer. The publication
was intended for the enjoyment of chamber music lovers as well as for
students of music. The author presumed much knowledge about technical
matters, and consequently the text was of little value to the layman
of music. Throughout the book. Mason expressed the loyalty and
respect which he had for Brahms. It also shed light on Mason's use
of formality in structure with a romantic coloring which was a charac-
teristic of Brahms' music. This book provided one of the clues which
pointed to the possibility of Mason using eclectic styles within one
composition.
Music in My Time and Other Reminisoenoes (1938) was a rich source
of Mason's personal life, both biographical and autobiographical.
Mason provided the reader with a further understanding of himself and
his enduring theories concerning music. This source provided a base
on which to both analyze the symphonies and to formulate the
hypotheses.
Mason's last book, the Qiuxrtets of Beethoven (1947), was an
analytical study of the quartets-all sixteen plus the "Grosse Fugue."
The analyses were highly technical in nature; therefore, they presumed
much information about music theory and analysis. This technical
analysis approach was used in this investigation to evaluate and
analyze Mason's symphonies. Using the composer's own techniques
provided greater credibility to this study. . The other Mason books are
-18-
listed here; however, they contributed less to this study than the
previous sources; The Appreciation of Music (1907) coauthored with
T.W. Surette; Ears to Hear (1925); A Guide to Music for Beginners and
Others (1909a); Music as Humanity and Other Essays (1921); A Neglected
Sense in Piano Playing (1912); Short Studies of Great Masterpieces
(1918b); Great Modem Composers (1916) coauthored with Mary Mason.
The literary sources cited in this section contributed to the
present study as follows:
1. All sources mentioned provided key points in formulating the
four hypotheses used in the study.
2. A selected group of texts formed the basis of the methodology
of the study. Mason's own analytical technique, which he used in the
study of Beethoven quartets, was of prime interest.
3. Mason's own texts and articles formed the base for conducting
the present study.
4. After a perusal of Mason's literary works, there existed no
possible explanation by the composer, himself, as to why his symphonies
did not receive the same acclaim as his many texts. Had an explana-
tion been discovered, there may not have been a need for this study.
Music Criticism and Analytical Methods
The following material provided the investigator with an overview
of the various sources available for inquiry into topics concerning
criticism and analysis of music. The sources cited functioned as aids
in understanding the more complicated analyses which were used in
testing the four hypotheses in this study.
-19-
Crocker, in a text entitled A HUtoTy of Musical Style (1966), de-
voted his attention primarily to musical style rather than to music
history. Because the author specialized in various musical periods,
the text attracted many readers for the purpose of utilizing the source
as a reference in various curricula on the subject. None of Mason's
works were used, but the source provided basic analysis and style
techniques.
The text, A History of Music and Musiaal Style (1963), by Ulrich and
Pisk contained extensive examples of various style analyses in the
different musical time periods from an historical view rather than an
analytical one. For example the method used for analyzing classical
style music was primarily of form, tonality, and development of the
principal material, and how the composer deviated from traditional
norms. This provided a method for evaluating the data relating to the
first hypothesis- Although used primarily as a music history source,
the style analysis of Ulrich and Pisk provided differentiation between
works.
A compilation of writings by theorists, composers, music critics,
and other personalities involved in the study of music and criticism
was provided in Strunk's Source Readings in Music History (1950). The
most beneficial use of this source came as a supplemental source to
history, literature, and especially music criticism. The many transla-
tions and topics provided rewarding examples that otherwise would not
have been accessible. With this text various periods and events of
music history and criticism were presented so as to form a basis for
esthetics and style analysis. The source readings provided firsthand
■20-
information on how outstanding musicians arrived at their particular
theories of music history and criticism.
Worner's, The History of Music, originally written in German under
the title Gesohiohte der Musik (1973), utilized many approaches to the
history of music through an outline form. The text was significant to
this study because Worner proceeded by using stylistic, national, and
biographical views to organize the book, which especially assisted in
the method employed in evaluating the four hypotheses of this study.
One of the most comprehensive texts about music history and cri-
ticism v/as Haydon's Introduation to Musioology (1941). Hay don pro-
vided the standards for approaching the subject of music history, cri-
ticism, and analysis from different theoretical concepts throughout
time. Not only did Haydon provide theoretical bases for the present
study, but he contributed to the many operational definitions used in
the study. Although Haydon did not provide musical examples, he pre-
sented a more systematized foundation and criteria for music analysis,
theory, criticism, and history.
Some authors segregated the various components that make up the
study of music history by subcontracting a specialist in a particular
field to write about that subject. The results were combined into a
series of books under the main title of history or style analysis. One
such approach was the Prentioe-Eall History of Music Series (1965-1969).
The series contains eight different texts; however, the only one that
contributed to the prsent study was Hitchcock's Music in the United
States: A Historical Introduction (1974). The author explained the
various styles of musical composition which were taking place at the
time Mason wrote his three symphonies. From this text, it was determined
-21-
what type of compositions were being accepted by the audiences of
Mason's time. There were no analyses or evaluations of Mason's sym-
phonies in this publication, and no real explanation as to why they
were not accepted. Hitchcock merely listed Mason's name under a
classification he refers to as the second New England school.
Another music series book on history and style covered topics from
Greek and Hebrew music to supplements on contemporary music'. It was
edited by Buck, and entitled the Oxford History of Music (1929). Colles,
author of volume seven. Symphony and Dream 1895-1900 (1934), provided
continuity of how the symphony evolved over the last portion of the
nineteenth century, but he did not mention Mason or his symphonies.
This volume contained an outline of the eclectic styles which Mason may
have used in borrowing from Brahms and d'Indy.
Dart, in his The Interpretation of Music (1954), provided technical
knowledge of how to evaluate musical performances to ascertain if such
performances were recreated in the manner in which the composer intended.
Dart planned his text for those with advanced technical knowledge in
music because he encouraged the serious music enthusiast to scrutinize
performances and compositions. He accomplished this by recommending
the study of original scores and treatises written during the specific
time period in which the work was composed. It was this section which
assisted the investigator of this study in the selection of his method
of analysis and interpretation of scores. Dart organized his book by
starting with the most recent music— where interpretation is not that
vague— and proceeded by retrograde motion to the more complex inter-
pretation of the Middle Ages.
-22-
In Composer and Critic (1946), Graf not only traced the develop-
ment of music criticism as a practice, but also discussed two hundred
years of criticism by the most authoritative sources including composers
themselves. The author further employed a "history of ideas method"
by tracing the origin and development of music criticism. Graf provided
standards which were applied to this author's analyses and evaluation
of Mason's symphonies.
One of the best texts on the subject of musical esthetics and
criticism was Hanslick's Vom Mueikalisoh-Sah3non (1854) or The Beccutiful
in Music (translated in 1957). Hanslick promoted his philosophy, or
theory of music, by defining music as the experiencing of sounds in
motion and their relationship to movement. This was in direct opposi-
tion to those who maintained that music could depict or narrate a story
as a form of "universal language." Hanslick was labeled an autonomist
because he maintained that music was a self-sufficient realm of orga-
nized sounds which meant nothing. The opposing view (heteronomists)
stated that music functions to denote or connote certain specific ideas,
things, emotions, and was like a language. Since Mason utilized pro-
grammatic elements to describe Lincoln, he would have been classified as
a heteronomist. Although HansMck and Mason would probably have been
opposed to each other's philosophies, Hanslick's ideas were used in
this research to test the fourth hypothesis. This was done by separating
the pure musical sounds in motion from the extra, nationalistic elements
which denote a nation's heritage.
The purpose of Cuyler's The Symphony (1973) was to trace the two
hundred year development of the symphony as a musical form by citing
and discussing the most representative compositions and other
-23-
contributory symphonies from each period of music. Unfortunately, there
was no mention of Mason's symphonies. Cuyler described the development
of the symphony during Mason's time, but did not include him in a list
of composers who wrote symphonies. The analyses used by Cuyler' com-
prised general analytical techniques and were not patterned after any
one method. Her style of analysis was used for a different result and,
therefore, did not contribute to the method of analysis in' the present
study.
LaRue's Guidelines for Style Analysis (1970) had a great influence
on the investigator because it was this text which was used by the re-
searcher in coursework while pursuing graduate studies. The text was
one of the few in which a systemized method of musical analysis was
employed in great detail. The investigator used a modified version of
LaRue's method. Of greatest value were chapters two through six in
discussing the sound, harmony, melody, rhythm, and growth (SHMRG) tech-
nique of analysis.
One of the two doctoral dissertations on Mason, Klein's "The
Contributions of Daniel Gregory Mason in American Music" (1957),
dealt with an overview of Mason as author, lecturer, educator, adminis-
trator, and composer. The dissertation was very comprehensive and
excellently written, but without detailed analyses of any of Mason's
symphonies. The publication contained a M&ry thorough report of the
genealogy of Mason's family, including the other notable musicians in
the family. Klein's outstanding achievement, however, was an accurate
listing of all of the composer's works which was more detailed than any
other preexisting list of works by the composer. Instead of using the
Dewey decimal system for cataloging Mason's works at Columbia University,
■24-
Klein separated the compositions into boxes. By using an index as a
guide, a particular work could now be located for study. This organi-
zation was helpful in securing scores for this investigation.
Two years after Klein's research, another dissertation appeared;
this time the author, Lewis, placed emphasis on the "Life and Music of
Daniel Gregory Mason" (1959). Here, Lewis provided more detailed analyses
than Klein, especially with regard to Mason's feeling that an indigenous
American music was formulated through folk songs and other inherent
qualities in America. Lewis did identify where these qualities existed
in Mason's works, and to some extent, in the symphonies. But the
identification was general and did not provide information which proved
or disproved the four hypotheses of this study. Again the dissertation
was an excellent overview of several topics; however, the author never
provided detailed analyses on which to evaluate Mason's music. Nor
was there any attempt by Lewis to formulate hypotheses about Mason's
compositions. By providing examples of Mason's own theories with some
analysis, Lewis came \/ery close to the objectives of this study. How-
ever, he did not amplify on those ideas by providing analyses sufficient
enough to yield evidence of why the public did not widely accept Mason's
symphonies as great works of art. Lewis' dissertation was cited as a
forerunner to the present study.
Another dissertation was completed by Hanna entitled "A Statistical
Analysis of Some Style Elements in the Solo Piano Sonatas of Franz
Schubert" (1965). Hanna determined certain style elements in Schubert's
Sonatas by tabulating the harmonic, melodic, and rhythmic components and
established the progressions of each. The results were presented in
summary tables. It was this method of quantifying the musical elements
-25-
into tabular form which was of significance to this study rather than
the topic of Schubert.
Since the present study was involved in identifying specific
qualities which could prove or disprove the four hypotheses, analytical
techniques were borrowed from Schwejda's "An Investigation of the
Analytical Techniques Used by Rudolph Reti in The Thematic Process in
Music" (1967). Here, there was a systematic approach in regard to
1) organic unity, 2) intuition and analysis, 3) esthetics and analysis,
4) sense perception and analysis, and 5) Reti's thematic transforma-
tions. This dissertation assisted in the methodology section of this
research by providing sources for analytical procedures.
The purpose of Kli ewer's "The Concept of Organic Unity in Music
Criticism and Analysis" (1966) was to define what organic unity means
in a musical composition, and, in a logical way, how it applied to music
analysis. The study defined organic unity as a composition which is
coherently whole in which elements are completely interrelated. They
were integrated so that a high degree of affinity exists between the
parts and the whole. When analyzing a piece of music Kliewer believed
that one must, therefore, be reminded that it was an attempt to show
the essence of the composition while still considering the whole.
In looking for sources which might yield forms of analysis for
Mason's symphonies, the investigator perused Wenk's Analysis of Twen-
tieth Century Music: 1940-1970 (1975). Although Wenk listed Lewis'
dissertation on Mason, he was misleading, because Lewis' study did not
give a complete analysis of Mason's works. Since no other sources were
mentioned in Wenk's study, it provided further evidence that verified a
need to analyze Mason's symphonies.
-26-
Other studies, texts, or research data which influenced the pre-
sent study in the direction of analytical techniques, model studies,
similar methodology, or other guiding principles, but were not adequately
significant for individual discussion, are listed here: "The Symphonies
of Gustav Mahler: A Study of Musical Process and Symphonic Structure as
Related to the Composer's Programmatic Intentions and Literary Exposi-
tions" (Bergfeld, 1969); "The Symphonies of Anton Bruckner" (Wilcox,
1956); "The Four Symphonies of Charles Ives: A Critical Analytical Study
of the Musical Style of Charles Ives" (Badolato, 1958); "The Symphonies
of Sergei Prokoviev" (Brown, 1967); "An Analytical and Statistical Study
of the Harmony in Carl Nielsen's Six Symphonies" (Wilson, 1967); "Stylis-
tic Analysis of Selected Works by Frank Martin" (Tupper, 1964); "Music
and Language: Some Related Analytical Techniques" (Youngblood, 1960);
"Harmonic Analysis and Musical Style: Harmonic Causal Factors of Style
Recognition in Music, Methods of Analysis" (Schaeffer, 1937); "Stylistic
Development in Selected Symphonies of William Schuman: A Comparison
of Symphonies Three and Nine" (McKinley, 1977); The Art of Music: A
Short History of Musical Styles and Ideas (Cannon, Johnson, and Waite,
1960); Musical Form and Performance (Cone, 1968); The Continuity of
Music: A History of Influence (Kolodin, 1969); "The Organ Symphonies of
Charles Marie Widor" (Wilson, 1966); A History of Western Music (Grout,
1980).
The sources previously cited in the criticism and analysis section
contributed to the present study in the following ways:
1. The two dissertations completed in the late 1950 's acted as
bases to continue the research of Mason's music. They also provided
the boundaries for this study so as not to duplicate previous research.
-27-
2. After reviewing sources dealing with symphonic literature,
there was revealed a total absence of Mason's symphonies which further
verified the need of the study.
3. Numerous sources provided the esthetic, analytical, and
philosophical bases on which to critique the Mason symphonies and
evaluate the data.
4. Particular sources yielded definitions of terms which were
more operational for this study than traditional definitions found
elsewhere.
5. Previous accepted methodologies were the source for the for-
mation of the method employed in this study.
Theory of Music
The following section contains a discussion of various sources of
theoretical analyses while still addressing how composers used com-
ponents of music which form the foundation for composition. Although
no one particular method of theoretical analysis was utilized, selected
procedures from LaRue, Siegmeister, Hutcheson, Sessions, White, Meyer,
and Piston on analyzing component musical fundamentals were employed.
Piston's text on Harmony (1941) has been the most widely used
source on the subject of music theory in America. The author dealt
with fundamental theoretical concepts and practices, and provided a
framework on which more complex theories may be laid. Through Piston's
own admission, he felt that the text was at a disadvantage in compari-
son to other sources because it did not address the problems of con-
temporary practice. The author's fundamental belief was that vertical
■28-
treatment of harmony is the most valuable technique for studying the
subject. To arrive at a systematic analysis, this text was used in
conjunction with Piston's The Musical Experience (1950) which was more
thorough in its representation of the author's academic theory of music.
This work consisted of six lectures given at the Juilliard School of
Music in 1949; they dealt with musical impulse, musical ear, composer,
performer, listener, and music in the world today. It was this work
of Piston which provided direction for the present study.
Sessions also provided fundamental musical concepts in his Harmonic
Practice (1951). In chapter fourteen of this book. Sessions presented
the "Inadequacy of Theory as a Guide to Contemporary Practice." This
was the very point which Piston admitted was lacking in his treatise
on the topic. Since theory is a product of practice, the theorist has
to supplement the text to keep the theory up to date on the practice.
Although the text contained no outstanding or revealing method, it was
used as a source in establishing the methodology of hypothesis testing
for this study.
White focused his Understanding and Enjoying Music (1968) on the
development of musical understanding. His audience is the college and
university student who has the prerequisites of music listening and
literature. The first five chapters were devoted to the elements of
music while the following sections amplified specific composers' works
and the relationship to the musical period in which they were composed.
This reference contributed to the approach of analyzing the Mason
symphonies by focusing on how the composer's (Mason) symphonies deviated
from the mainstream of writing during the first four decades of the
twentieth century.
-29-
Meyer's purpose for writing Explaining Music: Essays and Explora-
tions (1973) was twofold. One was concerning the criticism of music,
while still expressing his own theory of music, and the second was
presenting a systematic procedure for analysis based on criticism. By
the author's own admission, current theorists had to be both critics
and theorists. He dealt with the structure and process of a particular
work, and how the procedure functions on the listener. The Explorations
portion of the text identified systematic analysis and, therefore, was
partially used to evaluate the four hypotheses of this study. Through a
systematic process, Meyer clarified component parts of composition by
starting with motives of a phrase and concluded with the impact of the
entire work. Through this approach one was able to systematically
extract the elements of interest from each musical composition. The
process was similar to a checklist in that all areas were explored even
though a composition may have been void of a particular element. As a
result of Meyer being both an educational researcher and musician, his
definitions and methodologies were of great significance to this study.
His technique of analysis also intertwined esthetics with analysis
which generates greater unity between listener and composer. This
technique was partially employed when data were collected from the
Mason symphonies.
Hutcheson, in his Musical Form and Analysis (1972), utilized inde-
pendent modules to convey his technique of analysis. Complete with
learning materials, testing, and recycling methods for mastery of
material, Hutcheson incorporated his analysis into a practicing ex-
perience for the student. Therefore, this text was one of few reviewed
that incorporated theoretical, analytical, and educational elements
■so-
under the same cover. It provided a practical illustration for the
method used in this study.
Benward's dissertation, "A Proposal for the Analysis of Motion
Factors in Music" (1951), provided a more systematic manner of analyzing
progressions of harmony, melody, and contrapuntal elements. In his
study, he focused on one fundamental element of music theory and
introduced a technique to identify how motion was achieved through
various factors in music. Benward's study provided a theoretical base
of harmonic progressions in music for the investigation of Mason's
symphonies.
Similar to Benward's study. Pierce also identified an aspect of the
total fundamentals of music theory through his "The Analysis of Rhythm
in Tonal Music" (1968). This dissertation considered rhythm, pitch,
and the fundamental duration unit as the primary musical elements for
his topic. Pierce's study was developed on the premise of Schenker's
concept of natural analysis based on the overtone series. Numerous
analyses were discussed by Pierce in a way in which the structural
accent--by their durations, resolutions, and other accents--was divided
up into the musical tones. Of special interest was the relationship
between structural accents and metrical accents. The Pierce study pro-
vided specific detail in which to analyze rhythmic elements in the
Mason symphonies, especially in the fourth hypothesis for folk or dance
rhythms.
In the study "An Introduction to the Analysis of Certain Contem-
porary Harmonic Practices" (1942), Cooper summarized various studies
which were conducted on harmonic analysis. By perusing this source,
the investigator was introduced to a multiplicity of concepts and
■31-
procedures in regard to harmonic analysis used in the early 1900's.
Since Mason's Third Symphony was written in the saiiie year as Cooper's
dissertation, harmonic practices of analysis of this same time period
were judged appropriate to include in the methodology of this paper.
Just as Cooper analyzed aspects of harmony, and Pierce rhythm,
Solie conducted a study on melody entitled "The Analysis of Melody: A
Study of Selected Nineteenth and Twentieth Century Theorists" (1977).
She explained how melody acts as the primary source of organic unity.
Her study was a result of her dissatisfaction with present theoretical
explanations for melodic analysis. By basing her approach on formalist
or morphological analyses, modeled on musical grammar or architecture,
she was able to establish a sound method for the identification and
classification of melody. Through applying her method to the analyses
of the Mason symphonies, the present investigator was able to utilize
a more detailed procedure than other sources.
Since one of the hypotheses of this study dealt with Mason emu-
lating classical style, an appropriate article which incorporated both
theoretical and stylistic aspects of classical music was Moe's "The
Implied Model in Classical Music" (1977). The author described two
models; one called explicit external and the other explicit internal.
The former model described a work which was constructed from another
work of the same composer. For example one movement of a symphony
might have been based upon the model or form of a string quartet. In
the explicit internal model, however, the composer was interested in
stating a principal musical idea, developing or breaking that idea down,
and later restoring it to its original form. For example sonatas and
minuets were implied models of this type. Moe's concept and definition
-32-
of the explicit internal model of classical music was used in the col-
lection of data for this study.
In "The Melodic Structure of Tonal Music: A Theoretical Study"
(1974), Narmour examined aspects of melody including archetypal struc-
tures, gap filling techniques, triadic, axial and linear components, and
curvilinear forms. He also studied the Cooper-Meyer method (each of
these theoreticians' methods has been explained under previous sections
of this review of literature) and the Schenkerian method. This source
presented many theoretical treatises of various personalities under one
cover.
Toch's The Shaping Forces in Music: An Inquiry into the Nature of
Harmony J Melody, Counterpoint, and Form (1948) was used for the composer-
theoretician viewpoint. Many other treatises on theory have been written
by noncomposers; however, this source had a greater usage because the
author was a practicing composer.
In the Spring issue of the College Music Symposium (1977), a series
of articles, as a result of a music theory convention, were published
under the title of "If We Are All Theorists, Why Aren't We All Theorists?'
The title was adopted from a specific paper by Browne in which he de-
scribed music theory as being a separate academic discipline. Although
the article was primarily a philosophical treatise rather than adding
to analytical technique, it did provide guidelines from which to ap-
proach theoretical analysis.
The following sources also contributed to the procedure and
methodology of the theoretical analyses found in this study: "The
Validity of Information Theory as an Analytical Tool" (Hessert, 1969);
"Music Theory in Re-Transition: Centripetal Signs" (Forbe, 1977); and
"Metaphor and Model in the Analysis of Melody" (Solie, 1972).
-33-
The sources previously mentioned dealing with the theory of music
contributed to the present study as follows:
1. The sources cited provided operational definitions and guide-
lines to conduct the theoretical analyses necessary to gather evidence
and data for the four hypotheses.
2. They provided a panorama of different theoretical approaches
from which to choose or combine into the methodology section of this
study.
3. Through the inclusion of these sources, specific theoreticians'
philosophies were identified for use in this study. Subsequent re-
searchers, therefore, wishing to replicate this study would know the
specific theoreticians used.
4. The sources provided models for evaluating the hypotheses
proposed in this study.
5. The texts, dissertations, and articles provided review of the
state of the art in treatment of theoretical analysis.
Symphonic Writing of the Time {airaa 1910-1949)
Symphonic writing in the United States during the four decades of
the twentieth century was in a transitional period freeing American com-
posers from the German-European tradition of writing to the establish-
ing of an inherent American style. Although most symphonists from
America were still obtaining their compositional training from European
conservatories and academies during this time, most notably under Nadia
Boul anger (1887-1979), they would return to the United States to develop
their own unique style interrelated with eclectic techniques. At the
-34-
close of the nineteenth century the nationalistic movement was in vogue
in countries such as Russia, Denmark, Sweden, Finland, Norway, Poland,
Czechoslovakia, England, and others. This influenced American com-
posers to write symphonies based on Indian themes and rhythms, jazz
elements, black spirituals, folk songs and dances, patriotic subjects,
and other topics indigenously American.
Notwithstanding, the United States composers, trying to create
their own unique tradition, were products of their European training
and incorporated those techniques subconsciously into their works.
Those composers influenced by Boulanger, such as Copland, Harris, and
Piston, were employing American folk songs in a neo-classical context.
Many others were devout neo-romanticists who identified with leading
late nineteenth century composers of France, Germany, Scandinavian
countries, Italy, and other prominent European countries.
Also during this time composers started introducing new atonal
and avant-gopde techniques into their works to achieve a wider range
of sonorities. This experimentation led to twelve-tone methods, quarter
tones, micro-tones, and electronic music which were incorporated into
the symphony later in this period.
The composers cited below represented the most exemplary symphonists
writing in the United States during this four decade period.
Although Walter Piston (b. 1894) wrote eight symphonies, his
First (1938) is perhaps the most praised. It is a three movement work
and follows a fast-slow-fast pattern. The symphony is constructed neo-
classical ly in forir and is reminiscent of the Viennese style of
writing. The composer emphasized rhythmic motion as the key element
rather than thematic development.
-35-
Roger Sessions (b. 1896) composed four symphonies; however, his
First (1927) was most representative of the symphonies of this time.
It is a neo-classical work in structure with chromatic and dissonant
harmonies. Since Sessions was a pupil of Ernest Bloch (1880-1959),
the former incorporated traits of his mentor--such as intense melodies
and chromatic harmonies--into his works. Sessions, however, employed
the twelve-tone method in his Third Symphony which was evidence of
Schoenberg's influence.
The six symphonies of Roy Harris (b. 1898) paved the way for a
unique American tradition, especially his Third Symphony (1939) in one
movement. Even though the work was originally a four movement composi-
tion, he consolidated it to avoid the stereotypical formal design of
the neo-classical influence of the 1920's-1930's. To enhance the
nationalistic spirit of symphonic writing, Harris' Symphony Number
Four (1940), subtitled the "Folksong Symphony," and his Symphony Number
Six, "The Gettysburg Address" (1944), were both based upon unique
American elements. Although he steered away from neo-classicism, he
did incorporate neo-baroque techniques in his writing. This represented
the eclectic nature of symphonic writing during this time.
Howard Hanson's (1898-1981) six symphonies could perhaps be cited
as the most representative of symphonic writing in the United States
during this period. Although his musical compositions were not American
in a nationalistic style, his extensive use of neo-romanticism was
characteristic of many American born composers. His First Symphony,
"Nordic" (1923), expressed Hanson's resolve as a romantic and also his
attraction to the nationalistic flavor of various countries. Most
notable, however, was his Second Symphony, "Romantic" (1920),
-36-
commissioned by the Boston Symphony. In this symphony, the composer
expressed his belief in neo-romanticism exemplified by the lyrical
themes, chromatic harmonies, and large orchestral scoring. The re-
maining symphonies were also commissioned by major American orchestras
which further enhanced the position of Hanson's relationship to the
American audience as an American composer. The Fourth and Fifth
Symphonies, however, revealed some neo-baroque traits with American-
romantic treatment.
Since much of Aaron Copland's (b. 1900) training was with Nadia
Boulanger, his compositions were very much influenced by her neo-
classical outlook. Although his usual style incorporated jazz modes
and rhythms, atonal harmonies, and scoring instruments in their extreme
registers, his Third Symphony (1945) followed a classical framework
with a tonal center in a four movement structure. Copland was one com-
poser who led in the development of a unique American style.
Other composers such as Elliot Carter (b. 1908) and Samuel Barber
(1910-1981) contributed to the American style with compositions of
their own. In the case of Barber's Second Symphony (1944), commissioned
by the United States Army Air Force, it was a work written to bolster
the patriotism and nationalism of the troops in the service. American
composers, therefore, were being called upon not only for their I'art
pour I'art esthetics, but also for their functional patriotic value as
well. Although Ernest Bloch (1880-1959) was not American born, he melded
European elements with American national styles which resulted in in-
fluencing many composers of this country. For example, his America
(1926), based on American folk songs, hymns, and American Indian melo-
dies, contributed to the creation of a nationalistic style.
-37-
Other composers and academicians who influenced American symphonic
writing prior to, and during, the time period 1910-1949 were Arthur
Foote (1853-1937); George Chadwick (1854-1931); Arthur Whiting (1861-
1936); Horatio Parker (1863-1919); Mrs. H.H.A. Beach (1867-1944); and
Frederick Converse (1871-1940). These composers also had a direct in-
fluence on Mason, and played an important role in shaping his symphonic
style.
Justification for the Present Research
Although Mason's literary contributions to American music were
more popular than his symphonies, there has been no attempt to have an
analysis of his symphonic works presented for evaluation. The purpose
of this evaluation was to verify whether the difficulty lay in the
construction, style, or form of the music, or whether Mason's music was
disallowed for non-musical reasons. There have been no conclusions
(Tuthill, 1948) about why the symphonies did not gain acceptance in
any of the sources cited in the Review of Literature section of this
study; therefore, the query still existed. It was the purpose of this
study to provide unbiased, authoritative evidence and conclusions to
answer this query.
During the bicentennial celebration, interest in American music
was enhanced. Mason's music, however, still escaped the attention of
public and private research. The present study was justified in that
it contributed some answers about a composer associated with the Boston
Classicists.
This study was one of few which utilized the testing of hypotheses
in the area of music style-critical and theoretical analyses. Other
■38-
previous studies in this area conducted harmonic and style analyses
and arrived at a conclusion based upon subjective interpretation rather
than verifiable evidence.
If the hypotheses were rejected, answers could be sought in other
areas, perhaps non-musical explanations. Without hypotheses, however,
the researcher had no restraints placed on the study. A justification
for this study existed under the need for greater objectivity and veri-
fiable methodology in analyzing musical compositions.
There also existed a need to provide supplemental curriculum
material in courses dealing with American music, nationalism in music,
and symphonic literature. Since these courses are now taught as separate
topics on the undergraduate and graduate levels--rather than being
grouped under one course--there existed a need to provide authorita-
tive and systematic analyses of Mason's symphonies for inclusion in
these areas.
Since this study intended to accept or reject the four research
hypotheses with a minimum of prejudice and subjectivity, an unbiased
method for collecting and interpreting the evidence was chosen. The
following section, therefore, illustrates how such reliable evidence
was collected and analyzed so as to provide confidence in the con-
clusions.
CHAPTER THREE
PROCEDURE
In testing the four research hypotheses, the following procedures
and techniques were employed.
General Research Design
In order to employ the method previously described in Chapter Two,
it was necessary to amplify exactly how the symphonies were to be
broken down into parts for data collection. The following section
deals with the design of analyzing the eleven individual movements
of Mason's three symphonies.
The general research design was formulated around the four
hypotheses:
1. The symphonies failed to gain acceptance and popularity be-
cause the composer relied on once popular but antiquated eighteenth
century classical style and forms (neo-classicism) rather than utilizing
contemporary structures and procedures.
2. The symphonies were unpopular because they were written in a
radically eclectic manner using a multitude of sources within one
symphony which caused disunity within and among movements. These
eclectic sources tested were neo-baroque, neo-classicism, neo-romanti-
cism, nationalism, impressionism, and expressionism.
3. The symphonies did not achieve repeat performances because
the composer utilized unsophisticated compositional techniques catered
■39-
-40-
to the untrained listener of music. The refined concert-goer, there-
fore, absorbed the simplistic techniques on a first or second listen-
ing, and the audiences' interests were not captivated on subsequent
performances.
4. The composer relied on nationalistic elements in his Third
Symphony more than in the other symphonies, which may account for its
somewhat greater popularity than the first two symphonies.
The style-critical method chosen was used to identify component
musical parts of the symphonies such as form, tonality, modality,
consonance, dissonance, melody, rhythm, meter, counterpoint, ornamen-
tation, expression, and the relationship of these components to the
four hypotheses. The theoretical analyses were a means by which the
style-critical analysis could be determined, and, therefore, knowledge
of the construction, classification, and organization of these same
components was also employed. The analyses were of the entire eleven
movements of Mason's three symphonies.
Once the component parts were extracted, using techniques de-
scribed by LaRue (1970), Siegmeister (1965), Hutcheson (1972), Sessions
(1951), White (1968), Meyer (1973), and Piston (1941 and 1951), the data
were separated into four groups corresponding to the four hypotheses.
The operational definitions described earlier, in addition to selected
sources from the Review of the Literature section, provided the criteria
for evaluating whether or not the component musical parts related to
one or more of the hypotheses. From the evidence gathered in this
fashion, four frequency summation tables were constructed corresponding
to the four hypotheses. By imposing frequency requirements on each
table, evidence was gathered to accept or reject a particular hypothesis
-41-
through a quantitative and verifiable analysis with a limited amount
of subjectivity. These tables provided the data for making conclusions
on the study's four hypotheses.
Within the eleven individual movements of the three symphonies,
there existed component musical parts making up the bases for style-
critical and theoretical analyses. During several visual perusals of
the scores, with recordings of the symphonies being played, the in-
vestigator identified these component musical parts and qualified them
as to whether or not they provided evidence for one or more of the re-
search hypotheses. For example, if within the first movement of a
symphony, strict sonata form was found with adherence to appropriate
tonal relationships in the development and recapitulation (which quali-
fies it as classical trait), it was coded as a positive (+) element
in supporting hypothesis one. If the form deviated significantly in
structure and tonal relationship where it could not be distinctively
classical, it was coded a negative (-) value. This design was followed
in each movement of each symphony identifying as many music theory com-
ponents as practicable. This provided a measurable device (Travers,
1978), in comparing the component musical parts that exerted a positive
influence on a particular hypothesis with the total components iden-
tified. For example, if thirty separate themes were identifiable, and
eighteen of them were distinguishable as classical, a ratio of eighteen
to thirty, or a 60% positive value, would be revealed in favor of
hypothesis number one. Numerical criteria were then presented so as
to evaluate the data in accepting or rejecting a specific hypothesis.
After the raw data were collected for each movement of all three
symphonies, a matrix was constructed comparing the positive values to
-42-
the total values identified for each hypothesis. The following table
(see Table 1) provides a general example of such a matrix. From the
table, a ratio of positive elements to the total elements for each
hypothesis was determined. For example, adding the total elements under
hypothesis one, sixty-three, and comparing the positive values, thirty-
two, a ratio of 32/63 or a 50.8°^ positive ratio was obtained from all
movements of one symphony. This procedure provided the raw data for
accepting or rejecting hypothesis one. A similar table was used for
each of the other hypotheses.
Table 1
Sample Matrix Used for Gathering Data for Hypothesis No. 1
Positive elements Negative elements Total Ratio {%]
Themes
8
Forms
18
Harmony/ Key
Relations
2
Orchestration
4
Totals
32
7
15
53.5
12
30
60.0
5
7
28.6
7
11
36.4
31
63
50.8
In order to determine whether or not a particular hypothesis should
be accepted or rejected, the investigator established specific positive
ratios as criteria for each. These were
1. If a positive ratio of 75°: was attained for each symphony,
then hypothesis one was accepted for that particular symphony. It was
possible that the hypothesis could have been accepted for one symphony
■43-
and rejected for another. If this occurred the hypothesis could be
partially accepted for the entire study. The criterion of 75% was
utilized because of the high usage of neo-classicism in symphonic writing
during the time period 1910-1949. Since most compositions during this
time contained neo-classical elements, a 75% criterion was formulated to
meet what would be considered an overabundant use of this style of
composition. Had it not been for the high use of neo-classicism during
this time period, a lower percentage criterion could have been employed.
2. If three of the six eclectic elements were identified to exist
within each of the movements of a particular symphony for the second
hypothesis, then the researcher concluded that the movement was eclec-
tic. If a majority of movements of a particular symphony were eclectic,
two movements of the three for the First Symphony or three movements of
the four for the Second and Third Symphonies, then the entire symphony
was identified as eclectic, and the hypothesis was accepted. It was
possible to accept the hypothesis for one symphony and reject for
another, leading to a possible partial acceptance of the hypothesis
for the overall study.
3. If a positive ratio of 60% or more was attained for the third
hypothesis on each symphony, then hypothesis number three was accepted.
The purpose of having the threshold at 60% was that in order to be a
"great work" a composition had to have sufficient complexity. It was
concluded that 40% complexity was deemed insufficient (Haydon, 1940).
If a higher criterion percentage was selected, then the work would
have had to meet such a high level of complexity that the work would
have been labelled esoteric, and it would have been of little performance
value.
-44-
4. If two or more elements in the areas of folk songs, ethnic
dance rhythms, folk song instrumentation, and descriptive nationalistic
elements were identified within one movement, then it was labelled
nationalistic. If a majority of movements of the symphony, two out of
the three movements for Symphony One, and three of the four movements
for Symphonies Two and Three, then the symphony was classified as
nationalistic, and the hypothesis was accepted.
It was anticipated that the aforementioned research design would
be adequate in evaluating the four hypotheses. Although it is customary
to use the same criterion percentage for each hypothesis being tested,
it was felt that the hypotheses of the present study were each unique
and, by their nature, required a different criterion percentage in
accepting or rejecting the hypothesis. The design incorporated statis-
tical elements with style-critical and theoretical analyses and provided
sufficient evidence to accept or reject the hypotheses.
Collection of Data
The collection of the scores and recordings was accomplished by a
personal visit to Columbia University in New York City on June 16, 1981.
Both the First and Third Symphonies were secured at Columbia, as well
as recordings of the Second and Third Symphonies. The particular edi-
tions used were the University Edition, copyrighted in 1926, for the
First Symphony, and the Juilliard Edition published by the American
Music Center (1935) was used for the Third Symphony. The Second Symphony
was secured through the mail from the Edwin A. Fleisher Collection of
the Free Library of Philadelphia.
-45-
Dur^ng the vUU to Columbia a discovery was made of two old re-
cordings of Mason's S„W.3, numbers n,o and n.ce. Both were re-
cordings of radio broadcasts from April 11 and February 8, 1948, respec-
tively. The Seoond Sy,^Hc„y was performed by the New Vork Philharmonic
Bruno Halter conducting, and the THiM Synphony was performed by the
Detroit symphony Orchestra. Karl Krueger conducting, u was the Krueger
performance which was used as an audio aid in gathering the data from
the score. Both of these recordings, on the old seventy-eight discs
were very rare because there were only a few extant recordings of the
Third S„h^y. Personal copies of both recordings were successfully
Obtained. The search and analysis of other pertinent information was
begun at the Library of Congress in Washington. D.C.. on 0„„e 7, 1979,
and was completed in April. 1982. in Gainesville. Florida.
Analysis of Rata
From the identifiable musical components which made up the stylistic
and theoretical bases of ►bson's three symphonies, an analysis of why
the composer's works did not gain public acceptance was conducted.
The raw data, therefore, came from the organisational ele^nts of music
theory. These available data were Classified as: 1 ) a positive value
for those elements contributing to the support of a particular hypothe-
sis, 2) a negative value to those elements that related to disproving
a particular hypothesis (or not relating at all). From the ratio of
positive values to total values, a determination was ™de for accepting
or rejecting the particular hypothesis involved.
CHAPTER FOUR
SYMPHONY NO. 1 IN C MINOR, OPUS 11 (191S)
Before component musical items could be identified as either a
positive or negative element with regard to each of the four hypotheses,
style-critical and theoretical descriptive analyses were completed.
In accordance with the previously described research design (see Chapter
Two), the musical analyses involved numerous perusals of the score
identifying items such as form, tonality, modality, consonance, dis-
sonance, melody, rhythm, meter, counterpoint, ornamentation, and ex-
pression. Theoretical analyses yielded knowledge of the construction,
classification, and organization of these same components. Only after
both the style-critical and theoretical components were extracted could
they be tabulated into matrix tables quantifying these component parts
as either a positive value supporting a particular hypothesis or a
negative value.
As a result, the following chapter is divided into two sections.
The first division is a descriptive analysis of the style-critical and
theoretical components which form the bases of the symphony. These
components relate directly to all the elements of the four hypotheses:
themes, forms, harmonies and key relationships, and orchestration for
the first hypothesis; neo-baroque, neo-classicism, neo-romanticism,
nationalism, impressionism, and expressionism for the second hypothesis;
repetition, cyclism, form, and orchestration for the third hypothesis;
-46-
-47-
and rhythms, melodies, instrumentation, descriptions, and orchestration
for the fourth hypothesis.
The musical examples provided illustrative evidence of these com-
ponents which have a direct bearing on one or more of the hypotheses.
From this descriptive analysis, matrix tables were provided to quantify
the components which yielded either a supporting or non-supporting role
to the particular hypothesis involved.
The second division of the chapter includes the component musical
analyses in matrix form with brief discussions of the findings. These
matrices are presented in table form, and each corresponds to the four
hypotheses. Each table contains the total number of elements analyzed,
the total number of supporting elements, and the total number of non-
supporting elements. The numerical ratios are presented with a brief
discussion of the criteria, conclusions, and implications for accepting
or rejecting each of the four hypotheses.
Style-Critical and Theoretical Descriptive Analyses
The First Symphony in C minor is scored for a traditional orchestra
of flutes, oboes, English horn, clarinets in Bb, bass clarinet in Bb,
bassoons, horns in F, trumpets in C, trombones, tuba, kettle, snare,
and bass drums, cymbals, triangle, glockenspiel, harp, violins, violas,
violoncellos, and basses. The three movement symphony is dedicated to
Edward G. de Coppet, who assisted Mason financially when the composer
travelled abroad to study with d'Indy. One of Mason's original drafts
contained four movements; however, he extracted it for a completely
separate work. This was indeed desirable from the listener's point of
-48-
view because the three movements alone make it a lengthy performance.
Perhaps Mason was influenced by Beethoven's choice of removing the
Gvosse Fugue from the Tatter's opus 132 string quartet. The following
section presents detailed descriptive analysis by movement.
First Movement, Largo sostenuto
The movement opens with the flutes and clarinets presenting a
descending chromatic antecedent phrase in three-four meter (see Example
No. 1).
Example No. 1
Principal Theme, Antecedent Phrase (measures 1-4)
fiJTli If I
CM. 1*2
w2»
Siiv, It: i
At the PoGo andante the clarinets continue the consequent phrase of
the principal theme with reinforcement from the flutes, oboes, and
English horn (see Example No. 2).
-49-
Example No. 2
Principal Theme, Consequent Phrase (measures 6-11)
CJl. IrZ
At rehearsal mark one (measure 14) the strings provide a repeat of the
antecedent phrase while the oboe subsequently recalls the consequent
phrase. This same theme is restated in the violoncello at the next
Poco animato section (measure 26), but this time an ascending violin
solo bridges the two violoncello phrases.
At the Tranquillo (measure 36) the oboe and English horn, in duet
fashion, restate the theme of the violin. This also serves as the
bridge to the next section. By using bridge themes as the basis for
new thematic development. Mason attains greater cohesion and continuity.
Following this section, the secondary theme is introduced by the strings
and woodwinds (see Example No. 3). The next fourteen measures act
as a bridge to the third theme. During this time. Mason uses triple
rhythm to cause a metric accelerandc and later initiates a true
stringendo with the harp glissando as a climax to the allegro moderato.
■50-
Example No. 3
Secondary Theme (measures 44-47)
yiouJ I
f^Z Uisf.
At the allegro Mason uses a triplet and syncopated theme to accom-
plish both a contrasting theme and accelerated tempo (see Example No. 4),
It is scored for the strings, but later is reinforced by the woodwinds.
Example No. 4
Third Theme (measures 56-60)
^Liimc M6D£2A70 hiCiJr£ ): 111
ViDU/vlI
/ EiPiLii
This same theme is then repeated an octave higher at rehearsal mark
seven (measure 64). At the next rehearsal mark Mason employs split
thematic presentation by stating the first portion of the secondary
theme in the strings, and the upper woodwinds continue with the
second portion. This technique continues until the horns introduce
a fourth theme in hemiola fashion (see Example No. 5). With the
violoncello filling in the rests and long quavers of the horns, and
-51-
Example No. 5
Fourth Theme (measures 83-87)
vise versa, Mason creates a quick question and answer section which
intensifies the motion of the work. This technique is repeated in
the woodwinds and later in the strings. At the A Tempo (measure 98)
the exchange of pointalistic motifs between strings and woodwinds
reaches a high point before the Tranquillo section recalls a varia-
tion of the principal theme. When comparing measures 113-126 with
forty-four through fifty-one, it is revealed that a recycling of themes
and sections is taking place. Although this does make for long listen-
ing, it adds cohesion to the movement. Using stretto technique with
the fourth theme in the horns, oboes, clarinets, and bassoons. Mason
accomplishes a bridge to the Largamente (measure 37) where the strings
repeat the secondary theme (see Example No. 3). This theme is used
as the codetta to conclude the first section of the first movement
as the strings fade out at a piano-pianissimo dynamic to the double
bar.
After a four measure introduction by the trumpets and trombones,
the strings recall the first two measures of the principal theme in
canon form. This technique is repeated after a sustained bridge sec-
tion by the woodwinds;
-52-
At measure 195 the third theme (see Example No. 4) is recalled in
the trumpets and trombones with reinforcing lines from the strings and
woodwinds. As the syncopated theme continues in the woodwinds, the
strings create tension with thirty-second-note descending patterns
which repeat every measure. Through the Largamente and Maestoso sec-
tions. Mason creates further climax with trilling woodwinds and fortis-
simo, syncopated brass. The climax is not calmed until a full restate-
ment of the third theme (see Example No. 4) is initiated by the strings
and bassoons at measure 214, which is exactly the same as measures
thirty-six through sixty. At the repeat of this theme, the trumpet,
employed as a oantus firrms, states the principal theme in augmented
form. The molto sostenuto at measure 333 contains a restatement of
the secondary theme (see Example No. 3) in the strings. At the repeat
of this theme, measure 353, the horns and upper woodwinds are embellish-
ing in ohliggato fashion scored in eighth-note triplets. Mason closes
the second section of the first movement again at a ■piano-pianissimo
dynamic with a double bar.
The next section. Presto, is in triple meter, but is marked at a
tempo to indicate one beat per measure. A rapid eighth-note theme
commences in the bassoon (see Example No. 6) and is supported by the
Example No. 6
Presto Theme (measures 381-384)
SAS5fl?Ai r
■53-
woodwinds. On its repeat the strings add pizzioato, ascending quarter-
notes, while the first violin carries the next repeat. Using the prin-
cipal motif of the Presto theme (see Example No. 6) as the coda. Mason
slows the tempo for a final Maestoso section which concludes the first
movement.
Throughout the first movement the listener must endure many thematic
introductions which. are not continued, developed, or repeated. New
thematic material is introduced for bridges or extensions rather than
extracting transitionary material from preexisting themes. Since a new
theme is introduced in the Presto section as the coda, the listener is
expecting an extended section rather than an abrupt conclusion for an
ending.
Second Movement, Lavghetto tTangu-Lllo
The clarinets and violins provide a ten measure introduction by
utilizing stretto technique on an ascending chromatic line. The melodic
introduction of the principal theme is accompanied by a quicker tempo
than the introduction, sixty-six to sixty-nine beats per minute as
opposed to fifty-two to fifty-four beats per minute. The English horn
presents the principal theme as the bassoon and viola provide a counter-
line. Both are supported by string and harp accompaniment (see Example
No. 7). With the transition of the principal theme to the clarinet.
Mason incorporates mixed meter such as three-two meter followed by
four-four meter to give the theme an extended, irregular phrase length
(see Example No. 8). The flute repeats the modified theme of the
clarinet, and the horn follows with the original theme (see Example
No. 7). A transition, based on the principal theme, is used to bridge
-54-
Example No. 7
Principal Theme (measures 11-17'
LjiUitt Hoijj
Example No. 8
Modified Principal Theme (measures 18-20)
CjkHiji:: wJ^
the previous section with the fully scored, fortissimo repeat of the
principal theme at the Lapgamente.
At the Andantino oommoda the key changes to F-sharp minor, and the
trumpet introduces a two measure fanfare followed by a fermata (see
Example No. 9). This fanfare is a motif derived from the secondary
theme which occurs later in this section. The triplet motif is repeated
in stretto by the harp, bassoon, clarinet, flute, and strings. The
harp continues with embellishing glissandi as the strings reinforce the
triplet rhythm of the fanfare motif. At rehearsal mark thirty-nine
(measure 69), the oboe presents, in full, the secondary theme
■55-
Example No. 9
Introductory Trumpet Fanfare (measures 59-63"
3^ . C\
rxjMftTl-i
^inXP
(see Example No. 10) accompanied by ascending and descending arpeggiated
chords in the harp with oscillating triplets in the strings.
Immediately following the complete statement of the theme by the
oboe, there is a repeat of the introduction by the trumpet (see Example
No. 9), but this time the statement is a diminished fourth lower in
pitch. Instead of an exact repeat of the secondary theme, the flute
and clarinet melody now contains the same intervals but the rhythm has
been modified (see Example No. 11 and compare to Example No. 10). The
theme continues in the new modified version in duet fashion with the
oboe and violin as principals. With the secondary theme continuing,
the harp and strings provide an arpeggiated triplet melody which acts
-56-
Example No. 10
Secondary Theme (measures 69-74'
02Di
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-57-
Example No. 11
Modified Secondary Theme (measures 80-83)
SOLO
ajtMf^^j^
Ml
^JM..
as a counterline to the theme. The listener experiences multi faceted
thematic treatment as the lower woodwinds introduce motifs of the theme
in a highly contrapuntal fashion incorporating stretto. This complex
section is resolved by the trombone recalling the secondary theme in
its entirety. With a transition based upon this, theme (see Example Nos.
10 and 11), Mason recapitulates the principal theme in its original key
of Db major (see Example No. 7).
Measures 134-140 are almost identical with measures eleven through
eighteen, and measures 141-147 are easily recognizable from measures
eighteen through twenty-four; therefore, Mason is adhering to classical re-
capitulation. At the Maestoso section, the fully scored orchestra, at a
fortissimo dynamic, drives home the repeated recapitulation of the princi-
pal theme. At rehearsal mark fifty (measure 155), the subito piano iden-
tifies a long extended aresoendo to the recapitulation of the secondary
theme. After the subito piano, the same line is repeated, except this
time at a fortissimo dynamic. This section is reminiscent of the aonaertino-
ripieno style of the eonoevto grosso form of the baroque period; therefore,
it is an identifiable trait that Mason utilizes neo-baroque elements. This
occurs again before the violin and flute solos, accompanied by augmen-
tation of the principal theme, introduce the recapitulation of the
-58-
secondary theme at the A Tempc^ motto tranquillo. The English horn
and flute are scored to state two complete phrases of the secondary
theme before the horn and solo violin restate a motif from the principal
theme. The movement concludes with the violoncello stating a descending
line which is accompanied by sustained Db major chords at a piano-
pianissimo dynamic.
This movement presents the formal side of Mason, for the themes
are presented in a coherent exposition and concluded by an identifiable
recapitulation. The movement represents the major core on which to
build two outer movements. The balance for which Mason strived was
attained through an expressive and cohesive second movement.
Final Movement. Allegro motto maraato
The third, and final, movement begins with a timpani solo enforced
by heavy, sforzandi chords and moving quarter-note rhythms in the horns
and trumpets (see Example No. 12). The principal theme ensues directly
Example No. 12
Introductory Timpani Solo (measures 1-5)
■59-
after the timpani roll, and is scored for horns in five-four meter
(three plus two accents) (see Example No. 13). This theme has a re-
markable similarity to the secondary theme (see Example No. 10) of the
Example No. 13
Principal Theme (measures 7-11)
»T
tfetftiuf
#1^-5^
^ U mfi^wi^mm
second movement. If one were to compare the two, side by side, the
interval relationships nearly coincide (see Example No. 14). Again the
Example No. 14
Interval Comparison of Examples 10 and 13
mi
JL ASi^ 65fL
KoiSij^
■60-
listener is introduced to recycled material and does not have the
privilege of a fresh new principal theme for the finale. A short con-
sequent phrase using augmented note values, based on the horn theme
(see Example No. 13), is scored for the violins (see Example No. 15).
Example No. 15
Modified Consequent Phrase (measures 11-14)
ViSLisJ '
This begins a pattern of Mason basing many of his transition and bridge
themes on the consequent phrase of the previous theme of that section.
On the repeat of the principal theme, the violins are supported
by the bassoons and clarinets to provide a variation in scoring. With
a series of ascending runs passing from various sections of the orches-
tra. Mason accomplishes a climax for the fully scored repeat of the
principal theme. This is attained at rehearsal mark fifty-seven
(measure 39). Mason again uses the consequent phrase (see Example No.
14) as the basis for a transition to the bridge theme which appears in
the clarinet (see Example No. 16), and is supported by flutes and
pizzicato strings. The violins repeat this theme and continue to
provide an extension to the introduction of the secondary theme. The
Piu tvanquillo provides the descriptive markings for the introduction
of the secondary theme in the violin accompanied by the strings and
upper woodwinds (see Example No. 17). For the bridge material following
-61-
Example No. 16
Bridge Theme (measures 55-59)
ciA/iLji,rz
J^U 't/ ii/Piiiil/O
Example No. 17
Secondary Theme (measures 74-83)
//CUaJX
3lU riAU&JlLLC - MCiTS UPfUiit/D
this theme. Mason recycles bridge material he used previously, except
this time he inverts it (see Example No. 18). Instead of an ascending
melody, therefore, this theme descends.
At the LaTgcanente^ sostenuto. Mason introduces new material which
functions as a bridge to the recapitulation of the principal theme
(see Example No. 19). Although the listener anticipates further
development of the new theme, they are denied, and it is dropped just
prior to a restatement of the principal theme. At Tempo J, rehearsal
■62-
Example No. 18
Inverted Bridge Material (measures 86-87 compared with 26-27)
Measures 86-87
s^iui/t lim^
Measures 26-27
VISUJ I
Example No. 19
New Thematic Bridge Material (measures 93-97)
WU i
-63-
mark sixty-three. Mason recalls the first six measures of the third
movement and repeats them here; however, he superimposes the secondary
theme with some scoring changes to disguise the straight duplication.
At Tempo Ij non troppo allegro, the bassoon is called upon to re-
state the antecedent phrase of the theme. The consequent phrase is not
repeated with it, but is used as a bridge and not a part of the main
theme. The bassoon repeats the theme again with trewzoZondi -strings
accompanying. A bridge prepares a fully scored recapitulation of the
principal theme at rehearsal mark sixty-nine {Tempo un pooo maestoso) ,
and this time the entire principal theme, antecedent and consequent
phrases, are recalled. When the secondary theme is recalled, however,
the rhythm is modified, but the integrity of the melodic line is pre-
served (see Example No. 20).
At rehearsal mark seventy-three. Mason also recalls the third
theme with its original descriptive Largamente^ sostenuto. After a
short bridge using motifs of the third theme in stretto. Mason recalls
the introduction once more with the timpani rhythm dominating. The
scoring following this thins out to primarily woodwinds as they recall
the bridge theme used in the first section of the movement. This then
leads to a fully scored principal theme section (see Example No. 16).
The brass initiate a syncopated rhythm (see Example No. 21) which
signifies the beginning of the aoda. It is exchanged between brass
and woodwind sections until the Allargando section recalls a more fully
scored syncopated melody (see Example No. 22) which is based on a motif
of the principal theme (compare Example Nos. 22 with 14). The symphony
is concluded with the consequent phrase of the principal theme (see
Example No. 15) scored very thinly at a piano-pianissimo dynamic.
-64-
Example No. 20
Modified Secondary Theme (measures 181-184 compared with
Example No. 17)
Measures 181-184
Example No. 17
mu I
7itJ rZM&ilLLO ■ A*DLTe £S(^LSit/^
-65-
Example No. 21
Syncopated Rhythm of Coda (measures 220-225)
^9' 9
Example No. 22
Fully Scored Syncopated Coda Melody (measures 233-234)
FLrii It 2.
22 iJ3/n5 CAiiL. MOLTS
Instead of a major grandiose finale. Mason finishes in a subdued
manner.
Because of the numerous themes and developments, it was expected
that a more definitive and conclusive ending be executed; however.
Mason chose to finish with a whimper instead of a bang.
From the descriptive analyses it was revealed that Mason did pre-
fer to write in primarily both a neo-romantic and neo-classical style.
With inclusions of whole-tone scales, planing chords, and flute and
harp scoring, impressionistic style was also identified, perhaps from
-66-
his visit to France to study with d'Indy. He further utilized many
unsophisticated techniques such as cyclism and numerous repetitions.
From Mason's literary works and philosophical writings, it was concluded
that perhaps he intended to include these accessible techniques so the
untrained listener of music could relate to the symphony.
Other characteristics included chromatic harmonies in a tonal
center; lyrical and expressive melodies with a wide tessitura; the
employment of several main and subordinate themes, as well as new themes
as bridge material; a preference for scoring the main themes for either
the woodwinds or strings and the brass functions as a supporting en-
semble; and the compositional technique of stretto. For a measure by
measure synopsis see Appendix A.
Matrix Tables
From the style-critical and theoretical descriptive analyses,
elements relating to the first hypothesis, classical themes, forms,
harmony and key relationships, and orchestrations, were quantified into
a component analysis table (see Table 2). Here, each of the positive
and negative components were presented in relationship to the total com-
ponents being analyzed for each movement of the symphony. A correspond-
ing positive ratio percentage was also included in the table. Looking
at the "Total Average for Symphony" row of Table 2, the researcher found
a total of thirty-six positive classical components, thirty-nine nega-
tive components, and a total of seventy-five components. This yielded
a positive ratio percentage of 48%. Since the previously established
criterion needed to accept the hypothesis for this symphony was 75%,
■67-
the hypothesis was rejected for this symphony due to the insufficient
number of positive classical elements.
Table 2
Component Analysis of Symphony No. 1 in Relationship to
Hypothesis No. 1
Positive and
(+)
Negative Elements
(-)
Totals
Ratio {%)
Themes
Mov't I
Mov't II
Mov't III
2
2
1
2
5
3
5
7
4
40
28.5
25
Forms
Mov't I
Mov't II
Mov't III
3
4
8
2
3
3
5
7
11
60
57.1
72.7
Harmony/ Key
Relations
Mov't I
Mov't II
Mov't III
1
1
2
4
3
3
5
4
5
20
25
40
Orchestration
Mov't I
Mov't II
Mov't III
4
3
5
2
3
5
6
6
10
66.7
50
50
Ratio Totals
Mov't I
Mov't II
Mov't III
10
10
16
11
14
14
21
24
30
47.6
41.7
53.3
Total Average
for Symphony
Mov'ts I-III
36
39
75
48
From the descriptive analyses. Table 3 was constructed which iden-
tified the total number of neo-baroque, neo-classical, neo-romantic,
nationalistic, impressionistic, and expressionistic styles within each
-68-
of the three movements of the First Symphony. Referring to the row
marked "Number of Different Styles within One Movement," it was deter-
mined that two of the three movements, according to the previously
stated criterion, qualified as eclectic in nature, and subsequently,
the entire symphony was identified as eclectic. In testing hypothesis
number two on the data from the First Symphony, it was concluded that
the hypothesis was accepted due to the data meeting the criterion.
Table 3
Component Analysis of Symphony No. 1 in Relationship to
Hypothesis No. 2
Neo-Baroque
Neo Classical
Neo- Roman tic
Nationalism
Impressionism
Expressionism
Totals
Mov't I
Mov't II
Mov't III Totals
0
8
14
0
2
0
24
Number of Dif-
ferent Styles
within One Movement
Gathering the positive and negative elements in relationship to the
elements of hypothesis three— repetition, cyclism, form, and orchestra-
tion—evidence was presented in Table 4 for the accepting or rejecting
of the hypothesis. Column one provided the positive components, column
-69-
two provided the negative components, column three presented the total
components, and column four contained the positive ratio percentages.
Looking at the "Total Averages for Symphony" section of the table, it
was discovered that forty-six positive components were identified,
twenty-seven negative components were cited, and a total of seventy-
three components were counted. This yielded an overall symphony ratio
of 63% in favor of the utilization of unsophisticated techniques. Since
the overall ratio for the symphony exceeded the criterion of 60%,
hypothesis three was accepted, and it was concluded that Mason was
writing in an unsophisticated manner as far as the First Symphony was
concerned.
Although hypothesis four really did not apply to the First and
Second Symphonies, it was employed to establish a comparative relation-
ship to the Third Symphony. For example. Table 5 yielded evidence which
identified the First Symphony as having almost no nationalistic ele-
ments. Although no acceptance or rejection applied to this symphony,
the lack of nationalistic elements supported, indirectly, the acceptance
of hypothesis four for Symphony Three. Therefore, the absence of
nationalistic elements in the first two symphonies supported the
accepting of the fourth hypothesis as much as the inclusion of the
same nationalistic elements in the Third Symphony.
■70-
Table 4
Component Analysis of Symphony No. 1 in Relationship to
Hypothesis No. 3
Positive and
(+)
Negative Components
(-)
Totals
Ratio {%)
Repetition
Mov't I
Mov't II
Mov't III
3
7
5
3
2
5
6
9
10
50.0 '
77.8
50.0
Cyclism
Mov't I
Mov't II
Mov't III
0
4
7
0
2
1
0
6
8
00.0
66.7
87.5
Form
Mov't I
Mov't II
Mov't III
2
2
3
1
1
1
3
3
4
66.7
66.7
75.0
Orchestration
Mov't I
Mov't II
Mov't III
5
5
3
5
2
4
10
7
7
50.0
71.4
42.9
Ratio Totals
Mov't I
Mov't II
Mov't III
10
18
18
9
7
11
19
25
29
52.6
72.0
62.1
Total Average
for Symphony
56
27
73
63.0
■71-
Table 5
Component Analysis of Symphony No. 1 in Relationship to
Hypothesis No. 4
Mov't I Mov't II Mov't III Totals
Rhythms
(dance or ethnic)
Melodies
(folk or ethnic)
Instrumentation
(folk instruments)
Descriptions
(musical descriptions]
0
0
1
1
0
0
0
0
0
0
0
0
Orchestrations
(emulating folk or
ethnic sonorities)
Totals
Number of Different
Folk Elements within
Each Movement
Summary
The first section of this chapter presented the style-critical and
theoretical analyses and the accompanying musical examples. From these
analyses the second section of the chapter provided the data supporting
or not supporting the four hypotheses.
Of the seventy-five different components dealing with classical
themes, forms, harmony and key relationships, and orchestration, thirty-
six, or 48%, were supportive of hypothesis one (see Table 2). Since
-72-
the criterion for accepting the first hypothesis was established at
75%, the hypothesis was rejected for this symphony.
Of the six different eclectic styles of composition--neo-baroque,
neo-classicism, neo-romanticism, nationalism, impressionism, and ex-
pressionism—the first two, neo-baroque and neo-classicism, were identi-
fied as the most frequent throughout the symphony (see Table 3). Since
enough different eclectic styles appeared within two of the three move-
ments, the entire symphony qualified as eclectic, and hypothesis two
was accepted for this symphony.
In identifying unsophisticated compositional techniques in regard
to repetition, cyclism, form, and orchestration, of the seventy-three
components identified, forty-six were positive and in support of
hypothesis three by a 63% ratio (see Table 4). Because this ratio
exceeded the criterion of 60%, hypothesis three was accepted for this
symphony, and it provided evidence to support that Mason was writing
in an unsophisticated manner for his First Symphony.
As mentioned previously, the fourth hypothesis did not apply to
the First Symphony. Because the research identified the lack of
nationalistic components in this symphony, it indirectly supported the
acceptance of hypothesis four for the Third Symphony.
CHAPTER FIVE
SYMPHONY NO. 2 IN A MAJOR^ OPUS 30 (1928)
Before component musical items could be identified as either a
positive or negative element with regard to each of the four hypotheses,
style-critical and theoretical descriptive analyses were completed.
In accordance with the previously described research design (see Chapter
Two), the musical analyses involved numerous perusals of the score
identifying items such as form, tonality, modality, consonance, dis-
sonance, melody, rhythm, meter, counterpoint, ornamentation, and ex-
pression. Theoretical analyses yielded knowledge of the construction,
classification, and organization of these same components. Only after
both the style-critical and theoretical components were extracted could
they be tabulated into matrix tables quantifying these component parts
as either a positive value supporting a particular hypothesis or a
negative value.
As a result, the following chapter is divided into two sections.
The first division is a descriptive analysis of the style-critical and
theoretical components which form the bases of the symphony. These
components relate directly to all the elements of the four hypotheses:
themes, forms, harmonies and key relationships, and orchestration for
the first hypothesis; neo-baroque, neo-classicism, neo-romanticism,
nationalism, impressionism, and expressionism for the second hypothesis;
repetition, cyclism, form, and orchestration for the third hypothesis;
-73-
-74-
and rhythms, melodies, instrumentation, descriptions, and orchestra-
tion for the fourth hypothesis.
The musical examples provided illustrative evidence of these com-
ponents which have a direct bearing on one or more of the hypotheses.
From this descriptive analysis, matrix tables were provided to quantify
the components which yielded either a supporting or non-supporting role
to the particular hypothesis involved.
The second division of the chapter includes the component musical
analyses in matrix form with brief discussions of the findings. These
matrices are presented in table form, and each corresponds to the four
hypotheses. Each table contains the total number of elements analyzed,
the total number of supporting elements, and the total number of non-
supporting elements. The numerical ratios are presented with a brief
discussion of the criteria, conclusions, and implications for accepting
or rejecting each of the four hypotheses.
Style-Critical and Theoretical Descriptive Analyses
With the exception of the double bassoon, clarinet in A, tuba,
and extra percussion. Mason does not deviate from the instrumentation
he used in his first symphony (see Chapter Four). Perhaps this is evi-
dence of his choosing not to experiment or deploy innovation. The work
is dedicated to Mary Lord Mason (Taintor was her former name), the
composer's wife since October 8, 1904.
In response to Lawrence Gilman, a music writer for the New York
Herald Tmlbune in the 1920' s and 1930' s. Mason provided a brief synopsis
of his symphony prior to its New York premiere by Bruno Walter on
■75-
February 18, 1932. The original premiere was by Fritz Reiner and the
Cincinnati Symphony on November 7, 1930. Mason's overview was pub-
lished in the New York Herald Tribune on January 31, 1932, and pro-
vided some of the composer's insights of the thematic material of the
symphony. It is in this article where Mason admits he is a romantic at
heart, and felt that expression was the supreme quality of music. He
further states his preferences for tonality. Apparently Mason was
criticized for having too much repetition and cyclism in his First
Symphony because in the article he utilizes defensive language to state
that this symphony was less cyclic and more innovative with fresh themes.
He treats the entire symphony as if it were a one movement sonata
allegro form. The first movement is the exposition, the second and
third movements are the development, and the fourth movement is the
recapitulation. Although he defends this technique as a new form, the
present writer felt that he was rationalizing his wholesale duplica-
tion of the first movement for the fourth.
Apparently Mason underwent quite a deviation in philosophy between
the time he wrote his Second Symphony and his Third, because in this
article he says:
Finally, I prefer my music without program, and
find that stories distract my attention from the
emotional expression and the plastic beauty which
are for me the essential values in musical art.
> (Mason, 1932, p. M13)
This is taken up in more detail in Chapter Six.
The following is a detailed analysis of Mason's Second Symphony
with identifying components which support or deny the four stated
hypotheses.
-76-
First Movement, Allegvo maestoso
After a two measure introduction of sustained chords, a grandiose
Qvesoendo with timpani roll preempts the principal theme which is
scored for full brass, violins, and woodwinds with counterpoint pro-
vided by the basses and trombones (see Example No. 23). After twenty
Example No. 23
Principal Theme (measures 3-6)
i^ioijAir
Auj^-Ai ^ALirs^ (^ i^'i,J)
>. >
measures of vigorous brass scoring, the bass clarinet and first clarinet
introduce the secondary theme in stretto (see Example No. 24). It is
Example No. 24
Secondary Theme (measures 21-24)
HAriMPo^-ntMojiu} '/'^
2Aii CiMlNiT
-77-
characterized by ascending quavers followed by descending semi-quavers.
A \/ery lengthy, tense, and restless bridge, based on the secondary
theme and accompanied by tremotandi strings, builds to a fully scored
inversion of the principal theme (see Example No. 23 and compare to
Example No. 25). Also, this time a whole tone scale is employed in-
stead of the chromatic line in the original main theme.
Example No. 25
Inversion of Principal Theme (measures 51-55)
rum I'l
I S^Jtirs
The next section is a duplicate of the previous bridge between the
main theme and the secondary theme. At the Voco Piu Mosso (measure 72)
Mason scores a rich sonority made up of strings with clarinet embellish-
ment. Although this is new thematic material (see Example No. 26), it
is used as a transition to introduce what Mason calls his fourth main
theme in the horn (see Example No. 27). Throughout this section Mason
introduces entirely fresh themes, but he employs no development of
them. This section is similar to a through-composed German lied.
Immediately following the horn solo (see Example No. 27), flutes and
harp state a connotative triplet figure reminiscent of impressionistic
■78-
Example No. 26
Third Theme, Transitional (measures 71-79)
20^ iiU MSSiO
MU d
YlSLlM I
YlSLA
J^i^
-79-
Example No. 27
Fourth Theme, Horn (measures 86-94)
.HOU 1
>4 r
OLiL
writing (see Example No. 28). As soon as the flutes conclude and com-
plete an eight measure phrase. Mason again recalls new material at the
Example No. 28
Fifth Theme, Flutes and Harp (measures 94-97)
^^ItP
(3!
ieu i*^r~r3
poao con moto (see Example No. 29). The horn theme (see Example No. 27)
is also recalled in duet fashion between the first violin and oboe, and
the repeat of theme six (see Example No. 29) follows in the strings.
-80-
Example No. 29
Sixth Theme in Violin (measures 102-105)
2ciC-CiJ -^d-oTh^^
This leads directly into a recapitulation of the pesante- scored main
theme (see Example No. 23). Throughout this section, the running,
tvemolandi eighth-notes in the strings maintain unity while still
providing climax. As the scoring thins out and the tempo reduced by
a rallentando , Mason recalls the main theme in the flute; however,
the key is E major. This tonality is retained until the conclusion
of the first movement. In addition, the bassoon provides the ascending
chromatic counterline to the flute (see Example No. 30). Imnediately
following the flute and bassoon duet the tuba and harp imitate the
opening motif of the bassoon (Example No. 30), as if another repeat
was ensuing; however, it is soon identified as a false entry. Five
measures after the false entry, the flute and bassoon theme repeats;
this time the strings replace what had been the flute line, and the
bassoon theme is picked up by the clarinet and viola. The next few
measures contain an inverted recall of the main theme; however, this
time the violoncello restates the counterline (see Example No. 30).
-81-
Example No. 30
Rescored Principal Theme, Flute and Bassoon
(measures 167-174)
At rehearsal mark eighteen (measure 181) Mason commences the coda
by presenting a motif of the bassoon counterline (Example No. 30) in
stretto fashion to accomplish a type of harmonic pyramid in E major.
At the Piu mosso (measure 200) the horn intones a long-short-long
funeral -like rhythm on the major third of the chord while the solo
violin ccrpeggiates downward on the E major triad. Sparce scoring allows
the movement to dissipate until the A clarinet is sustaining a single
note on the tonic E. This provides the bridge to segue to the second
movement, attacoa.
Second Movement, Andante sostenuto
The second movement is connected to the first by the clarinet,
and the principal theme of this movement begins promptly at measure one
•82-
in the strings (see Example No. 31). The inner voices of the string
section, with their chromatic, contrasting motion, provide the rich
Example No. 31
Principal Theme, Strings (measures 1-8)
±'^ .t,
viouj I
*■ vicU scuJiii ijieuxi z
support of the almost sacred, lyrical melody of the first violin.
This section is truly a harmonic and scoring masterpiece for the
composer. Only twenty measures later. Mason introduces a second theme
(see Example No. 32), animated in tempo, in the English horn and
bassoon. Because of similar intervals, countour of line, and rhythm
similarities, this second theme seems to be a derivative of the main
-83-
Example No. 32
Secondary Theme (measures 20-24)
iifilii
lUnSSAisi.
theme (compare Example Nos. 32 with 31). With the conclusion of the
English horn and bassoon theme. Mason incorporates a contrapuntal duet
among flutes, clarinet, and strings. In the original version of the
score, the flutes and violins were synonomous (see Example No. 33), but
Example No. 33
Contrapuntal Duet and Obliggato (measures 34-39]
CMC
uiic
in his 1944 revision he offset the flute theme as an obliggato with the
string theme, and varied the rhythm. The results are similar to a
canon with other thematic material embellishing the section. This
theme repeats an octave higher in the strings, and the flute and clari-
net obliggati are technically more embellished.
-84-
At the risolutOj aon moto the brass take up the secondary theme
(Example No. 32) as the violins frantically ascend and descend in a
frenzy of sixteenth-note runs. This connects a long transition section
based on motifs of the secondary theme, as the tempo stringendos to
bridge to the recall of the main theme.
The tempo primoj sostenuto carries a restatement of the main string
theme, in the original key; however, it is scored an octave lower.
With the exception of minor woodwind obliggati, the next twenty measures
are almost a duplicate of the first twenty measures. Directly after the
complete recall of the main theme. Mason recalls neo-baroque techniques,
and provides an exposition of a four-voice fugue. Although primarily
scored for strings, the woodwinds contribute to the counterpoint with
embellishments. The four measure subject is rhythmically lively, as
it uses dotted eighth- and sixteenth-notes in a chromatic ascending
line (see Example No. 34). Mason employs a regular, syncopated
Example No. 34
Fugue Subject (measures 91-94)
countersubject which is rhythmically derived from the subject (see
Example No. 35). The exposition only lasts sixteen measures, however.
-85-
Example No. 35
Fugue Counters ubject (measures 95-98)
mLA
then dissolves into a quasi development section with highly contrapuntal
writing. The motifs from the subject, countersubject, and syncopated
bass line (see Example No. 36) are employed as the thematic bases for
the section. Mason creates tension with the aid of heavy percussion.
Example No. 36
Syncopated Bass Line in Fugue (measures 110-114)
CilLO
5a^s
CAiiC.
glissandi runs in the strings, and supporting woodwinds until the brass
recall the main theme (Example No. 31) at the Andante Maestoso section.
The strings continue to state the rhythm of the fugue while embellish-
ing the rest of the main theme with thirty-second-note runs. The heavy
brass and quick runs of the strings are silenced at the subito piano
some twenty measures later. Here, a brass choir embellishes the main
theme with suspensions, passing tones, and anticipation tones to convey
-86-
a sense of reverence. Afterwards, the violins and flutes, in the ex-
treme high registers of their instruments, repeat the principal theme.
This is interrupted by the return of the reverently subdued brass choir
which creates tension with an ascending chromatic line until it is re-
solved to a blossoming C major chord in the strings, brass, and bassoons,
The movement concludes with sustained C major triads scored in
different inversion positions at a pianissimo dynamic. The composer's
original score had a fully orchestrated ending at a fortissimo level.
Third Movement, Vivaoe saherzando
Mason chooses a fast paced, hemiola rhythm as the principal theme
(see Example No. 37) for the scherzo movement. Though it is presented
Example No. 37
Principal Theme (measures 1-7)
viflj/4 r
McL SoiUA'sj-ic fJ-'^n-^^)
in the context of C-sharp minor, it is highly chromatic and syncopated.
Mason focuses the theme around the dominant chord of C-sharp minor to
create greater harmonic tension. When the main theme is repeated some
thirty-nine measures later, and up an augmented fourth, the harp pizzi-
oatos four notes which reinforce the clarinet, bassoon, and oboe, and
■87-
are a derivative of the main theme of the first movement except in
augmentation (see Example No. 38 and compare to Example No. 23). With
Example No. 38
Harp Pizzioato (measures 41-47)
\^h-€>
derivations of the main theme in the strings and embellished in the
woodwinds, the first section concludes in pizziaato style, and is set
off by a grand pause.
After the first grand pause, the horn states an aggressive second
theme (see Example No. 39) which is taken up by the woodwinds. As soon
Example No. 39
Secondary Theme, Horn (measures 92-98)
1^.
as the theme begins to develop Mason discvontinues it and cordons it
off with another grand pause. The material between the second and
third grand pauses is an exact duplicate, except for minor scoring
■88-
changes, of the material between the first and second grand pauses.
Each time a grand pause is employed, there are only twenty measures
used, and the secondary theme is involved each time. Not until after
the third grand pause does the secondary theme go through a develop-
mental section. Only the main motif of the theme, however, is recog-
nizable throughout this section. By using this motif in stretto fashion
in conjunction with the initial motif of the main theme (see Example
No. 23), a codetta is created to close out this main section. Before
the double bar is reached, however, a modulation to Db major occurs to
prepare the next section.
At the Db major key change. Allegretto quasi pastorale, the oboes
present a folk-like melody, harmonized in thirds and sixths in a six-
eight meter context (see Example Nos. 40 and 41). Both the antecedent
Example No. 40
Antecedent Phrase of "Trio" Theme (measures 228-232)
C3ai hi
and consequent phrases are well balanced in both the number of measures
and the cadences. The pizzicato violoncello on the second beat sup-
ports the folk-like nature of this melody. Mason, himself, identified
this section as being based upon folk songs. After a six measure bridge
in the strings, the antecedent phrase of the theme is repeated by the
-89-
Example No. 41
Consequent Phrase of "Trio" Theme (measures 233-237)
02',
«^. r^^^\[i}f^%^m^
^r Li-i'^r'p i_--|;
flutes, and the consequent phrase is continued by the clarinets. Using
the same bridge material to connect the two theme statements, the full
orchestra provides another more intense bridge leading up to yet a
third repeat of the "trio" theme. Here, it is scored for full orchestra
at a fortissimo dynamic and marked pesante.
With the horns providing the modulation and transition to the
original key, C-sharp minor, the trio section classically comes to a
close at the double bar. With the return to C-sharp minor one would
expect to find the principal theme return as well; however, Mason re-
calls bridge material which is only representative of a return to the
main theme. Not until forty-five measures later does the main motif
of the principal theme occur; however, no full phrase or statement of
the theme is presented. As the listener is expecting the main theme to
arrive. Mason deviates again by recalling the "trio" theme, in the tonic,
scored for the flutes and celesta. After only nine measures of the
"trio" theme, does Mason recall the fourth theme (see Example No. 27)
of the first movement, except it is now in C-sharp minor, and has under-
gone rhythmic metamorphosis (see Example No. 42 and compare to Example
No. 27). This is a surprising deviation because thus far the movement
has progressed very classical in form, adhering to basic soherzo form.
-90-
Example No. 42
Violin Theme (measures 382-387) Compared with Example No. 27
Violin Theme
Example No. 27
*•/ SsPillii
A bridge, based on the previous bridge between the main theme and its
repeat of the first section, gives way to the aoda, which is identified
by the A Tempo at rehearsal mark sixty- three (measure 400). Other than
the rhythm in the timpani (see Example No. 43), the aoda is made up of
chords on beat two resolved to beat one of the next measure. The move-
ment concludes on an Ab major triad in the strings, with some reinforcing
piszioatos from the harp.
Example No. 43
Timpani Rhythm of Coda (measures 400-402)
TMMi
-91-
Final Movement, Lento, Largamente
Although a fermata is written over the last measure of the third
movement, it does connect the third and fourth movements, attaooa. The
first ten measures are a repeat of the introduction of the first move-
ment; however, the rhythm is augmented (see Example No. 44 and compare -
to Example No. 23). This begins what turns out to be a wholesale
Example No. 44
Principal Theme (measures 1-4)
22 /^nniLoso
Z £iM£ii*
duplication of the first movement. After twelve measures of Allegretto
interlude, based on the trombone counterline of the main theme (see
trombone line of Example No. 24), the movement essentially begins again
repeating the first ten measures of the theme followed by the Allegretto
section once again. It is not until measure forty-one, Maestoso, do
we have a full statement, in its original rhythm (see Example No. 23),
of the first movement principal theme. The bridge leading to the rich
chromatic string soli is left intact; however, the repeat of the clarinet
and bass clarinet theme (see Example No. 24), and the inversion of the
main theme (Example No. 25), are omitted. At the Poao piu mosso (same
as Example No. 26), the third theme is also recalled in its entirety.
-92-
Remaining constant. Mason repeats the horn theme (Example No. 27) in
full; however, he rescores it for clarinet. The next theme, originally
for flutes and harp, is recalled but this time only by the flutes, and
clarinet (see Example No. 28). Mason also duplicates the theme which
the violins took up (see Example No. 29) immediately following the flute
and harp theme. The violins continue with the mass duplication by re-
calling the theme which the oboe presented (Example No. 30). Theme
seven from the first movement is also recalled and is continued in the
strings and flutes (Example No. 29).
The Maestoso at measure 139 recalls not the first movement theme
but the principal theme of the second movement (Example No. 31). Here,
however, it is rescored for brass at a fortissimo level. The embellish-
ments and runs in the woodwinds and strings are borrowed from the
Maestoso just following the fugue of the second movement (Example Nos.
34 and 35). The characteristic rhythm (see Example No. 45) of that
Example No. 45
Recycled Maestoso Rhythm (measures 139-140)
v/oLiJ r
Sj /^/HSrsjiC, Ma i:}!j M^
fugue is permeated throughout this next lengthy section. Some forty
measures later the score thins out and the main theme is recalled once
more by the flutes with the violoncello providing the counter line. Th«
■93-
only difference between this statement and the original of the first
movement (Example No. 30) is that the violoncello replaces the bassoon.
After twelve measures, this section repeats; however, this time the
strings take the flute part as the solo violoncello continues its counter
line. Shortly thereafter. Mason provides a harmonic pyramid which sets
up the final chord of the work. The main motif of the bassoon counter
line (Example No. 30) is employed in stretto fashion to implement the
pyramid (see Example No. 46). On completion of the pyramid in the
Example No. 46
Harmonic Pyramid in Coda, (measures 201-203)
minor mode. Mason employs a Picardy third for a definitive resolution.
The movement and symphony closes with sustained A major triads of dif-
ferent position and scoring and concludes at a pianissimo dynamic.
■94-
Although Mason expresses some outstanding themes and sonorities,
his choice of totally duplicating the first movement for the fourth
diminishes the strength of the symphony. Notwithstanding Mason's attempt
to have the first and fourth movements function as exposition and re-
capitulation, respectively, it does reflect unfavorably on the lack of
innovation and freshness of ideas on the composer's part. Duplicating
the first movement for the fourth, is, however, consistent with Mason's
philosophy that cyclism be used to assist the untrained listener of
music. The present writer, although supportive of Mason's symphonies,
would have enjoyed seeing the recycled themes play a subordinate and
subliminal role to new themes rather than functioning as dominant
material. This recycling showed up in the matrix tables to support
hypothesis number three (see Table 8).
Mason's choice of using the same instrumentation, with minor
additions, as his First Symphony was indicative of the composer's lack
of experimentation and innovation. The numerous themes of the first
movement, however, revealed Mason's philosophy for lyrical and expres-
sive melodies, for a great majority were of this nature. Although he
used the entire symphony as if it were a one movement in sonata allegro
form— the first movement acting as the exposition, the middle two move-
ments as the development, and the final movement as the recapitulation—
his preference for neo-romantic characteristics seemed to have over-
whelmed the neo-classical tendency.
His prowess for superior scoring and the achievement of rich
sonorities was revealed in the second movement when he employed the
strings to present the principal theme. He also proved his technical
mastery of counterpoint by incorporating a four voice fugue which was
-95-
reminiscent of neo-baroque writing. The use of basic scherzo form,
well balanced phrases, and grand pauses for clarity, further revealed
Mason's preoccupation with the masters of the eighteenth century.
Again the composer showed a preference for ending a full scale composi-
tion with reduced dynamics and thin scoring.
The Second Symphony was perhaps the most representative of the
composer's three because of its lyrical melodies, expressive qualities,
superior scoring, achievement of rich sonorities, incorporating tech-
nical writing such as the fugue, use of neo-classicism and neo-baroque
features, and the high frequency of cyclism for the untrained listener
of music. For a measure by measure synopsis refer to Appendix B.
Matrix Tables
From the style-critical and theoretical analyses of the first part
of this chapter, four matrix tables were constructed providing the data
for accepting or rejecting the hypotheses. These component analysis
tables contained the total number of components analyzed and the number
of supporting elements in relationship to each of the four hypotheses.
In focusing on the themes, forms, harmony and key relationships,
and orchestration for hypothesis one, the number of positive elements,
those supporting the hypothesis (see Table 6), were found in the first
column, the negative elements, those not supporting the hypothesis,
were in the second column, the total elements were in the third column,
and the positive ratios were in the fourth column. Each row provided a
breakdown by movement of all four movements of the symphony. At the
bottom row, the "Total Average for Symphony," there were seventy-one
•96-
positive elements, fifty-three negative elements, and 124 total elements
with an overall symphony positive ratio of 57.3%. Comparing this value
to the criterion needed to accept hypothesis one, that being 75%, it
was ascertained that hypothesis one was rejected for the Second Symphony
due to a lack of evidence.
Table 6
Component Analysis of Symphony No. 2 in Relationship to
Hypothesis No. 1
Positive and Negative Elements
(+) (-)
Themes
Mov't I
Mov't II
Mov't III
Mov't IV
2
2
3
2
Forms
Mov't I
Mov't II
Mov't III
Mov't IV
3
3
6
3
Harmony/ Key
Relationships
Mov't I
Mov't II
Mov't III
Mov't IV
9
2
3
9
Orchestration
Mov't I
Mov't II
Mov't III
Mov't IV
9
3
3
9
Ratio Totals
Mov't I
Mov't II
Mov't III
Mov't IV
23
10
15
23
Total Average
for Symphony
71
17
12
7
17
53
Ota Is
Ratio (%)
7
28.6
5
40.0
5
60.0
7
28.6
7
42.9
5
60.0
6
100.0
7
42.9
14
64.3
6
33.3
4
75.0
14
64.3
12
75.0
6
50.0
7
42,9
12
75.0
40
57.5
22
45.5
22
68.2
40
57.5
124
57.3
•97-
For the second hypothesis, the six different eclectic styles of
neo-baroque, neo-classicism, neo-romanticism, nationalism, impression-
ism, and expressionism were identified from the four movements of this
symphony. These eclectic components were presented on the left hand
portion of Table 7, and the first through fourth columns identified
the number of eclectic styles within each respective movement. The
fifth column provided the totals of each movement. The "Number of
Different Eclectic Styles within One Movement" row yielded that three
of the four movements contained at least three different eclectic styles.
Since this met the criterion, hypothesis two was accepted for the
Second Symphony.
For the third hypothesis, the Second Symphony was perused for un-
sophisticated compositional techniques dealing with repetition, cyclism,
form, and orchestration. From the style-critical and theoretical
analyses a table was constructed identifying the applicable components
(see Table 8). On the left side of the table the components being
analyzed were listed. The first column contained the positive components
supporting the hypothesis, the second column contained the negative
components not supporting the hypothesis, the third column provided
the total components analyzed, and the fourth column contained the posi-
tive component percentage ratios. At the bottom of the table the "Total
Average for Symphony" contained sixty-five positive components, thirty-
four negative components, and ninety-nine total components. The posi-
tive ratio percentage, therefore, was 65.7%. Since this exceeded the
criterion established (60%), the third hypothesis was accepted for the
Second Symphony, and it was concluded that for this symphony Mason was
including unsophisticated techniques in his writing.
■98-
Table 7
Component Analysis of Symphony No. 2 in Relationship to
Hypothesis No. 2
Mov't I
Mov't II
Mov't
III
Mov't
IV
Totals
Neo-Baroque
0
1
0
0
1
Neo-Classical
6
2
4
3
15
Neo-Romantic
5
4
3
6
18
Nationalism
0
0
0
0
0
Impressionism
1
0
0
1
2
Expressionism
0
0
0
0
0
Totals
12
7
7
10
36
Number of Different
Eclectic Styles
within One Movement
3
3
2
3
-99-
Table 8
Component Analysis of Symphony No. 2 in Relationship to
Hypothesis No. 3
Repetit
ion
Mov
't
I
Mov
't
II
Mov
't
III
Mov
't
IV
Cyclism
Mov
't
I
Mov
't
II
Mov
t
III
Mov
t
IV
Form
Mov
t
I
Mov
t
II
Mov
t
III
Mov
t
IV
Orchestration
Mov
t
I
Mov
t
II
Mov
t
III
Mov
t
IV
Ratio
Totals
Mov
t
I
Mov
t
II
Mov
t
III
Mov'
t
IV
Total
Average
for Symphony
Positive and Negative Components
(+) (-) Totals Ratio {%)
6
2
4
12
1
1
3
13
9
5
12
39
65
10
9
15
10
34
11
54.5
6
33.3
7
57.1
14
85.7
3
33.3
2
50.0
5
60.0
14
92.9
2
50.0
3
33.3
2
100.0
7
85.7
3
33.3
3
33.3
3
100.0
14
57.1
19
47.4
14
35.7
17
70.6
49
79.6
99
65.7
When applying the fourth hypothesis to the Seaond Symphony it was
ascertained (see Table 9) that only three separate nationalistic ele-
ments were identified. Since it was established previously (see Chapter
Four) that the fourth hypothesis did not apply to this symphony, the
analytical results of this symphony supported hypothesis four for the
Third Symphony.
•100-
Table 9
Component Analysis of Symphony No. 2 in Relationship to
Hypothesis No. 4
Mov
't I
Mov
't II
Mov
't
III
Mov
't
III
Totals
Rhythms
(dance or ethnic)
0
0
1
0
1
Melodies
(folk or ethnic)
0
0
1
0
1
Instrumentation
(folk instruments)
0
0
0
0
0
Descriptions
0
0
0
0
0
(musical
descriptions)
Orchestration
(emulating folk or
ethnic sonorities)
0
0
1
0
1
Totals
0
0
3
0
3
Number of Different
Folk Elements within
Each Movement
0
0
3
0
Summary
The first section of this chapter presented the style-critical
and theoretical analyses and accompanying musical examples. From these
components, the second section presented the supporting or non-supporting
elements relating to the four hypotheses, and subsequently identified
those components in matrix tables for data collection.
Of the 124 components analyzed under hypothesis one (see Table 6),
seventy-one were identified as supporting classical style and the
hypothesis. The resulting positive percentage ratio was 57.3% which
•101-
was insufficient to accept the hypothesis. Although the researcher
acknowledged that Mason used a high percentage of classical elements
in his Second Symphony, the usage was not extensive enough to accept
the hypothesis.
Several of the six different eclectic styles for hypothesis two
were identified in three of the four movements of the Second Symphony
(see Table 7). Because of this, the hypothesis was accepted, and it
was concluded that Mason was writing in a radically eclectic style which
perhaps caused disunity.
From Table 8 it was revealed that of the ninety-nine total com-
ponents relating to repetition, cyclism, form, and orchestration for
hypothesis three, sixty-five were identified as supporting the hypothesis,
Since this 65.7% ratio exceeded the criterion, the hypothesis was ac-
cepted for this symphony, and it was further concluded that Mason was
including unsophisticated compositional techniques in this symphony.
Just as the First Symphony yielded a lack of nationalistic elements,
so too did the Second Symphony (see Table 9). Because both of these
symphonies failed to show any significant use of nationalistic elements,
they indirectly supported the acceptance of the fourth hypothesis for
the Third Symphony.
CHAPTER SIX
SYMPHONY NO. 2 "LINCOLN" IN Bb MAJOR, OPUS 35 (1935)
Before component musical items could be identified as either a
positive or negative element with regard to each of the four hypotheses,
style-critical and theoretical descriptive analyses were completed. In
accordance with the previously described research design (see Chapter
Two), the musical analyses involved numerous perusals of the score
identifying items such as form, tonality, modality, consonance, dis-
sonance, melody, rhythm, meter, counterpoint, ornamentation, and expres-
sion. Theoretical analyses yielded knowledge of the construction,
classification, and organization of these same components. Only after
both the style-critical and theoretical components were extracted could
they be tabulated into matrix tables quantifying these component parts
as either a positive value supporting a particular hypothesis or a nega-
tive value.
As a result, the following chapter is divided into two sections.
The first division is a descriptive analysis of the style-critical and
theoretical components which form the bases of the symphony. These com-
ponents relate directly to all the elements of the four hypotheses:
themes, forms, harmonies and key relationships, and orchestration for
the first hypothesis; neo-baroque, neo-classicism, neo-romanticism,
nationalism, impressionism, and expressionism for the second hypothesis;
repetition, cyclism, form, and orchestration for the third hypothesis;
■102-
•103-
and rhythms, melodies, instrumentation, descriptions, and orchestrations
for the fourth hypothesis.
The musical examples provided illustrative evidence of these com-
ponents which have a direct bearing on one or more of the hypotheses.
From this descriptive analysis, matrix tables were provided to quantify
the components which yielded either a supporting or non-supporting role
to the particular hypothesis involved.
The second division of the chapter includes the component musical
analyses in matrix form with brief discussions of the findings. These
matrices are presented in table form, and each corresponds to the four
hypotheses. Each table contains the total number of elements analyzed,
the total number of supporting elements, and the total number of non-
supporting elements. The numerical ratios are presented with a brief
discussion of the criteria, conclusions, and implications for accepting
or rejecting each of the four hypotheses.
Style-Critical and Theoretical Descriptive Analyses
Mason's Third Symphony, "Linaoln^" is a four movement programmatic
work based upon the nineteenth century president's life. It is scored
with traditional instrumentation: piccolo, three flutes, two oboes,
English horn, two clarinets in Bb, bass clarinet in Bb, two bassoons,
contra-bassoon, four horns in F, three trumpets in Bb, three trombones,
tuba, timpani, side drum, bass drum, triangle, cymbals, gong, glocken-
spiel, celesta, xylophone, harp, and strings. The composer guides the
listener through the depiction of the president's life by using de-
scriptive titles for movements: The Candidate from Springfield, Massa
Linkum, Old Abe's Yarns, and 1865.
■104-
The following section analyzes the symphony by breaking it down
into its major component parts from which the data for the four hypotheses
were gathered.
First Movement, Lento serioso, "The Candidate from Springfield"
The slow introduction, reminiscent of many classical symphonies of
Haydn, immediately contains the Lincoln mott/ which is stated in the
trumpet and is repeated in stvetto fashion in the horn, violoncello,
basses, and viola. The motif is characterized by a descending perfect
fifth followed by an ascending major tenth (see Example No. 47). The
Example No. 47
Opening Lincoln Motif (measures 1-4)
S\OLA
CLLLO
J, iikO
4t4ia4r0
second entry of the motif in the horn, however, fails to meet this
interval criterion by employing a minor tenth ascension instead of the
major tenth to create dissonance for a floating tonality until the
■105-
molto vivace. The entire Lincoln theme is not introduced until measure
186, but it is presented here to show how the motif is extracted (see
Example No. 48). The present writer concluded that Mason extracted the
Example No. 48
Full Lincoln Theme (measures 186-191'
CiU.0
S AaISMTI SidiOiO ^'SC
Lincoln motif from the opening measures of the United States' National
Anthem because of three supportive elements. The first is the Lincoln
theme utilizes essentially the same degrees of the scale (opening on
the fifth degree) as does the opening of the anthem, especially in the
third measure utilizing the descending major arpeggio. Secondly, both
employ the key of two flats major, and third the programmatic idea of
America and Lincoln are bonded, thereby achieving a subliminal portray-
ing of the historical elements into music (see Example No. 49 and com-
pare to Example No. 50). The fermata over the C-seven chord with flat
fifth, just before the double bar, signifies the end of the introduction
and creates the tension needed to* resolve to an established key of Bb
major.
■106-
Example No. 49
star -Spangled Barmev (measures 1-4'
\^\ £3 vfi^-^i^^^f^m^mm
Example No. 50
Lincoln Motif
auo
(OJ A^PA^TL HHiiHiO )t 80
2 liCZtSi.
The principal theme (see Example No. 51) is expressed in a motto
vivace description, and is scored for strings and oboes. To give it a
Example No. 51
Principal Theme (measures 13-20)
Wliil
dance-like and folk-like quality, the composer uses dotted eighth- and
sixteenth-note rhythms within a regular four-measure phrase. The raised
•107-
fourth degree of the scale disguises the true tonality of Bb major.
The principal theme, itself, is regular with balanced antecedent and
consequent phrases. When the principal theme is repeated, the bassoons
and violas share the theme in a rapid exchange with the clarinet and
bassoon. The next fourteen measures are a modulation from Bb major to
G minor in preparation for the secondary theme. This is accomplished
by utilizing the rhythm and melody fragments of the principal theme in
alternating style between woodwinds and strings.
The secondary theme (see Example No. 52) is presented by the solo
clarinet accompanied by pizzicato strings in an alia hveve meter. The
oormodo marking enhances the ascending syncopated rhythm which emulates
a hoedown atmosphere. The submediant relationship between the principal
Example No. 52
Secondary Theme (measures 72-80)
doM^ow ^'3i
OARUtT I
theme and the secondary theme reveals Mason's imitation of Schubert.
For the latter composer used many submediant relations in his works.
This secondary theme is bridged (see Example No. 53) by lyrical motifs
in the bassoon, followed by the clarinet, and returning to the bassoon.
Rather than a full repeat of the secondary theme, the composer only
•108-
Example No. 53
Bridge Theme (measures 80-851
recalls the first four measures which act as a bridge to a recapitula-
tion of the principal theme in the tonic. This recapitulation carries
its original Tempo pvimo, motto vivace marking, and is scored for full
orchestra. Pointilistic treatment of fragments of the principal theme
is used to accomplish the bridge to a new third theme.
At the piu sostenuto the strings present a lyrical and expressive
third theme (see Example No. 54) based on the Lincoln motif. The key
of C minor is employed, and, therefore, is a supertonic relationship to
the principal theme. Because of the expressiveness this section is per-
haps one of Mason's outstanding compositional and scoring achievements
of the symphony. The supportive ascending violas, violoncellos, and
bass theme, coupled with the pastoral theme of the first violins, pro-
vide the listener with a substantive number of musical elements to follow
for a unique musical experience. Instead of continuing the third full
phrase of the C minor melody. Mason inserts a three measure animato
section reiterating the principal theme before continuing the third
-109-
Example No. 54
Third Theme Derived from Lincoln Theme (measures 142-149]
0 ?iu£0iTi,i^T0 )'S6
I.
VlCLl^i
I.
£^<i£JS.
phrase. The climax of this section occurs at the poao largamente where
the strings are reinforced by the woodwinds and horns. With the
assistance of a ritardando. Mason accomplishes a modulation from C
minor to G major. By using a French augmented sixth-chord directly
preceding the double bar, the resolution to one sharp major is com-
pleted.
At the double bar Mason introduces new material in the solo oboe.
This theme subsequently is passed to the flute and later to the clarinet
and horns. This entire seventeen -measure section is used to solidify
■110-
the modulation from C minor to G major. To accomplish this effectively.
Mason introduces a new theme (see Example No. 55) which dominates until
the next double bar. This transitionary theme also concludes the first
large section of the first movement.
Example No. 55
Modulation Theme (measures 168-172)
Oli£iI
icLO J^ A TiMfO d'll
^^*P
At the beginning of the next section Mason employs an exposition
of a five-voice fugue in the strings. The complete Lincoln theme,
introduced for the first time at the Andante sert-oso, is chosen as the
subject for the fugue (see Example No. 56). It commences in G major
and oscillates to B minor. The fugue has no regular countersubject,
and the answer is of the tonal variety. The fugue is well balanced,
and does not attempt to utilize variations of the subject.
At the next double bar Mason produces the exposition of yet another
fugue; this time he uses the eight-measure secondary theme (see Example
No. 57) as the subject. All the ensuing real answers and subjects only
use the first four measures, however. At the conclusion of this second
fugue, some thirty-four measures later, the present writer concluded
that both fugues are a programmatic depiction of the great political
-Ill-
Example No. 56
Subject of First Fugue, "Lincoln" (measures 186-200)
EH 4^/fiA^/'^L i^«iOiO ^'
CLLO
-112-
Example No. 57
Subject of Second Fugue, "Douglas" (measures 225-232)
•miMferz
debate for the Senate seat of Illinois between Lincoln and Douglas.
This is supported by the use of the Lincoln motif as the subject of the
first fugue, and simply the choice of the fugue, with complex contra-
puntal writing, as a medium with which to portray a political debate.
Each separate fugal exposition represents the opening arguments of each
of the candidates. At the middle of the "Douglas" fugue the Lincoln
motif appears and reappears to again portray the banter of rhetoric
being exchanged. The countersubject of the "Douglas" fugue, itself,
is rhythmically supportive of the programmatic idea of a debate (see
Example No. 58). The heavy brass scoring (see Example No. 59) at the
Example No. 58
Countersubject of Second Fugue (measures 231-234)
sm>^ I
■113-
Example No. 59
MaestosOj Tempo Di Maroia Theme (measures 260-264]
Tempo di maroia, maestoso highlights the contrapuntal section by intro-
ducing new material in Bb minor intermingled with Lincoln motifs. This,
however, is interrupted with a five measure animato section which recalls
the rhythm and contour of the principal theme. This yields to a repeat
of the Tempo di maraia^ maestoso theme in a C minor mode. In a con-
sistent manner, the animato is also recalled and functions as the ooda
theme. The movement concludes with a five measure allopgando section.
Second Movement, Andante dolente, "Massa Linkum'
The second movement begins with a contemplative English horn solo
accompanied by harp and strings (see Example No. 60). It is here that
Mason employs impressionistic writing which influenced him during his
visit to Paris to study with Vincent d'Indy (1851-1931). Using the
harp in a capacity of both solo and supporting roles, the D minor theme
is set to an andante dolente in four-four meter. Again Mason reveals
his preference for chromatic harmonies by employing both the German and
French varieties of augmented sixth-chords in the cadence of the first
■114-
Example No. 60
Principal Theme (measures 1-6)
£v4t^ ka^
a
2 iiftiii.
f n.M^i^nstmUUi.ir' 1^ — d- li, — _-^ — — - — '
phrase. When the theme is repeated, however, the use of a flat fifth
degree and raised third degree embellishes the D minor tonality. The
clarinet entry accompanies the English horn in duet style presenting a
theme that parallels the principal theme. When the English horn con-
tinues in solo fashion, the harmonies employed in the strings are iden-
tifiably of the impressionistic style. The chords move chromatically
with parallel motion while utilizing a form of planing (see Example
No. 61). Afterwards the principal theme is recalled in full by a flute
Example No. 61
Impressionistic String Harmonies (measures 28-33)
VIOLA
Ci\LO
ypco iiauu-mf^Sio
■115-
and bassoon duet with harp and strings accompaniment and the first main
section is concluded at the double bar. With the statement of the
secondary theme. Mason employs cyclic treatment, for this theme is
synonomous with the Lincoln theme of the first movement. It is pre-
sented here by the violoncello in D minor, but in a slightly quicker
tempo than the previous section.
In the new mode of A minor, Mason uses the Lincoln theme in a
sacred, reverent style reminiscent of sixteenth century sacred works.
The ascending bass line acts as a oontinuo as tension is created by
harmonies being suspended then resolved by traditional cadences. This
is truly one of Mason's outstanding accomplishments, to emulate six-
teenth century style with a contemporary melody. This climaxes at
measure eighty-four when the strings are assisted, in contrapuntal
fashion, by divisi horns, trumpets, and finally fully scored orchestra.
In addition, the upper woodwinds intone the principal theme of the
English horn as an obliggato to the strings.
At the Tempo prima ^ Maestoso ed inergioo, the principal theme is
restated in F minor for full orchestra. Afterwards a modulation based
on the principal theme leads to the Tempo pvimo^ Andante dolente. The
first violin provides another transition to D minor to prepare for a
repeat of the principal theme by the flute and bassoon duet with harp
accompaniment.
The aoda begins at the conclusion of the flute and bassoon duet.
Fragments of the principal theme and first movement Lincoln theme,
accompanied by ascending harmonic progressions in the strings, are re-
called for cohesion. During the aoda. Mason employs whole tone scales
and chromatic planing of chords to achieve a vague tonal center before
■116-
concluding the movement on a D major chord thinly scored for strings,
horn, and oboe.
Third Movement, Allegvo non troppo e pesante, "Old Abe's Yarns"
Although cyclism is a compositional technique which provides co-
hesiveness to a work. Mason's extreme use of it resembles theme and
variation form. For example the principal theme (see Example No. 62)
of the saherzo movement is a variation of the Lincoln theme from the
first movement. The eight measure antecedent phrase in G minor is
Example No. 62
Principal Theme, Antecedent Phrase (measures 1-8)
^/OU^ I ©
i^l
accented with heavy maraato markings on the second beat of the measure
to provide a syncopated rhythm. On the repeat of the theme, the basses
emphasize the flat fifth (Db) of the scale to make the theme sound
diminished from the previous minor mode. The consequent phrase of the
principal theme does not occur until measure eighteen (see Example No.
63), and is introduced in stvetto fashion by the flutes and oboes and
continuing in the violoncello, clarinet, and violins. The antecedent
phrase subsequently returns in a modified version with pizzicato markings
-117-
Example No. 63
Principal Theme, Consequent Phrase (measures 18-20)
fwTLZ
ieuj
.^M^ ^-^,
^^^
mmm-
in the strings. At rehearsal mark forty-one (measure 35), a full and
complete repeat of the principal theme occurs. It is followed by a
twelve measure bridge to the secondary theme.
At the double bar, ^ooo mosso, and key change to C major — a sub-
mediant relationship to the principal theme— Mason provides harmonic
open fifths in the woodwinds and strings as an introduction for the
running eighth-note secondary theme (see Example No. 64) in the violon-
cello. The open fifths, heavy triple meter, and running eighth-notes
Example No. 64
Secondary Theme (measures 62-69)
CLlo
VIOLA
2Sia MCJiJiC ^■' 1^^-^^
MA/t:.
all combine to portray folk-like dances. Mason transfers the theme in
quick succession from the violoncello to the violas, bassoon, and
■118-
clarinet. Following the clarinet entry, the transition— based on frag-
ments of the running eighth-note theme--is scored for the first violin.
A false entry of the second theme in the flute, oboe, and clarinet ex-
tends the transition until a bona fide return of the theme is executed
in the strings at rehearsal mark forty-six (measure 98). Oscillating
eighth-notes a minor second apart in the strings and upper woodwinds
provide the material for a close of this section at the grand pause.
Instead of following traditional scherzo form. Mason utilizes bar
form, and, therefore, the next sixty-one measures are a duplicate of
the first sixty-one measures of the third movement. There are slight
modifications of scoring, but they are insignificant.
The next section is also a duplicate of the exposition of the
secondary theme; however, it is harmonized in the key of G major in-
stead of C major. The grand pause for clarity and the recapitulation
of the secondary theme in the tonic are both traditionally classic.
The aoda is based on the oscillating minor second treatment which
was previously employed at the close of the secondary theme section.
Mason temporarily suspends the movement by incorporating a false ending
(see Example No. 65), but the two measure grand pause is followed by a
slow five measure sostenuto violoncello solo which segues to the bona
fide conclusion accompanied by pizzicato strings. The scherzo movement
turns but not to be in scherzo form but rather a simple binary form.
■119-
Example No. 65
Strings from Coda (measures 217-229)
Final Movement, Lento serioso, "1865"
The first seven measures are a duplicate of the introduction of
the first movement (see Example No. 47), except: the tonality is a
minor second higher, the meter is two-two rather than four-four, and
the tempo is slightly increased. Measures fourteen through twenty
function as a transition to the funeral march. The timpani, with its
long-short-long rhythm, dominates the transition. Again Mason uses
chromatic German, augmented sixth-chords to prepare the key change to
Bb minor.
At the double bar [Tempo di marcia fimebre) Mason uses a four
measure introduction scored for bass, snare, and timpani drums to ac-
centuate the dirge-like rhythm which is sounded by the strings and
answered by the brass (see Example No. 66). Perhaps it is no coinci-
dence that Mason chooses the same key which Chopin utilized in the
funeral march of his piano sonata. At measure twenty-five the oboes,
English horn, and bassoons present the funeral march theme in thirds
-120-
Example No. 66
Introduction of Funeral March (measures 21-24)
r^t^icfliii H
rjZA
VlOU/J I
and sixths (see Example No. 67). This is repeated in the strings with
one-half the section bowing while the other half pisziaatos. A seven
measure extension prepares a repeat of the fully scored theme at a
fortissimo level. At rehearsal mark sixty-one (measure 63) the violon-
cello introduces the Lincoln motif, and the string section accompanies
in a harmonic and rhythmic fashion similar to the first movement (see
Example No. 53). The strings are assisted by the solo horn which re-
states the Lincoln motif while the strings answer in stvetto. The
strings further provide the bridge by using sixteenth-note triplet
rhythms on ascending and descending scaler lines. This eventually
accelerates to a mosso section at rehearsal mark sixty-six (measure 114)
•121-
Example No. 67
Theme of Funeral March (measures 25-29)
^Li
0&31 WL
This mosso section introduces new material, but it only functions as a
bridge to the next treatment of the Lincoln theme (see Example No. 68).
Example No. 68
Bridge Material (measures 114-115)
O H^iifl
UUL.
The key change to G minor at the double bar (rehearsal mark 68)
brings with it the duplication of the first fugue of the first movement
(Example No. 55). Although it is embellished in stvetto fashion by the
clarinet, these next measures correspond exactly with measures 186-216
of the first movement. This wholesale repetition of a section supports
hypothesis number three, for although it may be economical from a com-
position point of view, it is unsophisticated to rely on repetition
-122-
rather than innovation or freshness. The next Maestoso and tvanquillo
sections are also a duplication of measures 160-185 from the first
movement, except with minor scoring changes.
At rehearsal mark seventy-three (measure 199), the beginning of
the aoda, the Lincoln motif appears in canon and stretto form in the
trombones, violoncello, solo violin, bassoons, and second violin. On
occasion the theme appears in augmented form to add harmonic and
thematic contrast. The scoring thins out to strings, trumpet, and horn
at a pianissimo level and the symphony concludes on a G major chord
reinforced by -gizzioato chords from the low strings.
Again Mason chooses to use cyclism and repetition to its extremes
to complete the final symphony of his career. His preference for ending
works at a reduced dynamic with thinly scored instrumentation is also
confirmed.
Perhaps the most outstanding characteristic of the symphony was
the identification of a change in philosophy of Mason. Formerly he
felt that programmatic works interferred with the expression of the
music, and that he preferred his works without a program. It was con-
cluded that he changed his philosophy to gain more acceptance of his
work. The fugues in the first movement, representing the debate between
Lincoln and Douglas, were extremely depicting. The descriptive titles
of each movement assisted in the programmatic story as well. It was
shown once again that Mason preferred the chromatic augmented sixth-
chord for modulation purposes. The use of English horn and oboe as
pastorale instruments in the second and fourth movements was reminiscent
of Beethoven's usage. Also the composer chose to emulate Chopin by
using the Bb minor key which Chopin used in his funeral march. The
-123-
numerous impressionistic scorings showed the influence other composers
had on Mason when he travelled to Paris to study d'Indy.
The overabundance of cyclism and recyclism in the fourth movement
detracted from an otherwise fresh and vigorating finale. The matrix
and summation tables revealed much use of the unsophisticated techniques
which led to the acceptance of hypothesis three. Of course the permea-
tion of national elements, including the hoedown theme representing
Douglas, were most successful in this composition. For a measure by
measure synopsis see Appendix C.
Matrix Tables
From the style-critical and theoretical analyses of the first sec-
tion of this chapter, four matrix tables were constructed, and provided
the data for accepting or rejecting the hypotheses. The component
analysis tables provided evidence of the number of positive components
supporting the hypothesis in relationship to the total components
analyzed.
In perusing the Third Symphony score for classical components
dealing with themes, forms, harmony and key relationships, and orches-
tration, a matrix table was provided showing the data collected (see
Table 10). On the left hand side of the table the hypothesis one
elements were listed. The first column of the table contained the
positive classical components, the second column identified the nega-
tive components, the third column provided the total number of components
analyzed, and the fourth column represented the positive ratio per-
centages supporting the hypothesis. At the bottom of the table, there
-124-
were fifty-eight positive components, forty-five negative components,
and 103 total components. The overall positive ratio, therefore, was
56.3%. Since this ratio did not exceed the criterion of 75%, the
hypothesis was rejected for all three symphonies; therefore, the hypothesis
was totally rejected for the entire study.
Table 10
Component Analysis of Symphony No. 3 in Relationship to
Hypothesis No. 1
Positive and Negative Elements
(+) (-)
Totals Ratio (%)
Themes
Mov't I
Mov't II
Mov't III
Mov't IV
4
1
1
2
Forms
Mov't I
Mov't II
Mov't III
Mov't IV
5
7
7
3
Harmony/ Key
Relationships
Mov't I
Mov't II
Mov't III
Mov't IV
4
3
2
2
Orchestration
Mov't I
Mov't II
Mov't III
Mov't IV
8
5
1
3
Ratio Totals
Mov't I
Mov't II
Mov't III
Mov't IV
21
16
11
10
Total Average
for Symphony
58
12
8
6
19
45
7
57.1
3
33.3
4
25.0
5
40.0
9
55.6
7
100.0
8
87.5
7
42.9
7
57.1
6
50.0
2
100.0
6
33.3
10
80.0
8
62.5
3
33.3
11
27.3
33
63.6
24
66.7
17
64.7
29
34.5
103
56.3
•125-
Table 11 listed the six different eclectic components for hypothesis
two. Columns one through four provided the number of eclectic styles
within the first through fourth movements, respectively, of the symphony.
The fifth column provided the total eclectic styles for each movement.
Referring to the bottom of the table, it was identified that all four
movements contained at least three different eclectic styles; therefore,
the entire symphony met the criterion for being considered eclectic.
Because of this, the hypothesis was accepted for this symphony. Since
this same hypothesis was accepted for the first two symphonies, it was
concluded that the second hypothesis was totally accepted for this study.
Table 11
Component Analysis of Symphony No. 3 in Relationship to
Hypothesis No. 2
Mov't I
Mov't II
Mov't III
Mov't IV
Totals
Neo-Baroque
1
0
0
2
4
Neo-classical
2
4
3
2
11
Neo-Romantic
6
4
2
9
21
Nationalism
5
2
2
3
12
Impressionism
0
3
0
0
3
Expressionism
0
0
0
0
0
Totals'
15
13
7
16
51
Number of Different
Styles within
Each Movement
4
4
3
4
In gathering the data for hypothesis three, the individual com-
ponents of repetition, cyclism, form, and orchestration were identified.
■126-
In the first column of Table 12, the positive elements supporting the
hypothesis were listed, the second column provided the negative com-
ponents not supporting the hypothesis, the third column contained the
total number of components analyzed, and the fourth column contained
the positive ratio percentages. At the bottom of the table it was re-
vealed that sixty-six positive components were identified, thirty nega-
tive components were cited, and a total of 102 components were analyzed.
The fourth column presented a 64.7% positive ratio which exceeded the
criterion of 60% for accepting hypothesis three. Therefore, hypothesis
three was accepted for the Th-Lvd Symphony. Because this same hypothesis
was accepted for the first two symphonies, the hypothesis was totally
accepted for the study.
Hypothesis four dealt with identifying musical components such as
dance or ethnic rhythms, folk or ethnic melodies, folk instruments,
musical descriptions, orchestrations emulating folk or ethnic sonori-
ties. From the descriptive analyses of the first section of this chapter
these components were identified and incorporated into a matrix table
(see Table 13). Columns one through four contained the number of
nationalistic elements within movements one through four, respectively.
The fifth column provided the totals of those components by movement.
Referring to the bottom of the table, it was revealed that all four of
the movements contained at least two identifiable nationalistic ele-
ments. Because this met the criterion, the hypothesis was accepted
for the Third Symphony. In addition, since the first two symphonies
lacked any significant nationalistic elements, the hypothesis was
totally accepted for this study.
-127-
Table 12
Component Analysis of Symphony No.
Hypothesis No.
3 in Relationship to
Positive and Negative Elements
(+) (-)
Totals Ratio {%)
Repetition
Mov't
I
Mov't
II
Mov't
III
Mov't
IV
Cyclism
Mov't
I
Mov't
II
Mov't
III
Mov't
IV
Form
Mov't
I
Mov't
II
Mov't
III
Mov't
IV
Orchestration
Mov't
I
Mov't
II
Mov't
III
Mov't
IV
Ratio Totals
Mov't
I
Mov't
II
Mov't
III
Mov't
IV
Total Averages
for Symphony
11
18
16
21
66
13
8
2
7
20
10
50.0
8
75.0
7
85.7
9
66.7
1
100.0
6
66.7
3
100.0
7
100.0
9
22.2
4
100.0
4
100.0
5
60.0
10
40.0
8
50.0
4
75.0
7
71.4
34
32.4
26
69.2
18
88.9
28
75.0
102
64.7
-128-
Table 13
Component Analysis of Symphony No. 3 in Relationship to
Hypothesis No. 4
Mov't I
Mov't II
Mov't III
Mov't IV
Totals
Rhythms
(dance or ethnic)
3
0
4
0
7
Melodies
(folk or ethnic)
2
1
0
2
5
Instrumentation
(folk instruments)
0
0
0
0
0
Descriptions
(musical descrip-
tions)
1
1
1
1
4
Orchestration
(emulating folk or
ethnic sonorities)
0
0
2
0
2
Totals
6
2
7
3
18
Number of Different
Folk Elements within
Each Movement
3
2
3
2
Summary
The first section of this chapter presented the style-critical and
theoretical analyses and accompanying musical examples. From these
analyses, the second section of the chapter presented the specific data
relating to the four hypotheses, and subsequently incorporated them into
component analysis matrices for review.
Of the 103 musical components analyzed under hypothesis one (see
Table 10), fifty-eight were identified as positive components resulting
in only a 56. 3X ratio. Because this failed to meet the criterion, as
■129-
did the first two symphonies, hypothesis one was rejected for all three
symphonies for the entire study. The resulting conclusion, therefore,
was that although Mason did use a rather high percentage of themes,
forms, harmony and key relationships, and orchestrations which were
classical, he did not use them extensively enough to warrant the
symphonies being classified as antiquated.
Since all of the four movements of the Third Symphony contained at
least three different eclectic styles for hypothesis two (see Table 11),
the hypothesis was accepted. Because the hypothesis was also accepted
for the first two symphonies, it was totally accepted for the entire
study. This led to the conclusion that Mason was writing in a radically
eclectic style which seemed to cause disunity within and among movements
of all three symphonies.
Of the 102 total elements identified as relating to hypothesis
three (see Table 12), sixty-six were identified as positive components
which resulted in a 64.7% overall positive ratio in favor of the
hypothesis. Since this exceeded the threshold for the criterion, the
hypothesis was accepted, as it was for the first two symphonies. Be-
cause of this, hypothesis three was accepted totally for this study.
The resulting conclusion was that Mason was incorporating unsophisticated
compositional techniques into his three symphonies to the degree where
the listener was perhaps absorbing most of the complexity on a first
or second performance, thereby, eliminating the desire for repeat
listenings.
In regard to the fourth hypothesis (see Table 13), each of the
four movements of the Third Symphony contained at least two nationalistic
elements. This qualified the entire symphony as nationalistic in nature.
-130-
This evidence, coupled with the lack of nationalistic elements in the
first two symphonies, led to a total acceptance of hypothesis four.
The resulting conclusion was that the Third Symphony gained wider
popularity than the first two symphonies because Mason employed selected
nationalistic elements and subject matter into the symphony.
CHAPTER SEVEN
SUMMARY, FINDINGS, IMPLICATIONS, AND RECOMMENDATIONS
Summary
Restatement of Problem and Purpose
Since Mason's literary articles and lectures were better known
than his symphonies, there has been little analysis, prior to this
study, of his works. The problem of this study was that heretofore
undergraduates, graduates, and other advanced students of music did
not have a complete, systematic analysis of the works of Mason by which
to determine why the symphonies did not gain acceptance into the per-
forming marketplace. The purpose of the study, therefore, was to ascer-
tain, through detailed analyses, why the three symphonies of Mason were
not artistically considered to be great works worthy of acceptance into
the standard repertory of the major symphony orchestras of America.
The three symphonies studied were Symphony No. 1 in C minor, opus 11
(1913), Symphony No. 2 in A major, opus 30 (1928) with the 1944 re-
visions, and Symphony No. 3 "Lincoln" in Bb major, opus 35 (1935).
Restatement of Methodology
The style-critical method chosen was an amalgamation of several
styles developed by theoreticians such as LaRue (1970), Meyer (1973),
Siegmeister (1965), Hutcheson (1972), Sessions (1951), White (1968),
-131-
-132-
and Piston (1941 and 1950). The style-critical method was then used to
identify component musical parts of the symphonies such as form,
tonality, modality, consonance, dissonance, melody, rhythm, meter,
counterpoint, ornamentation, expression, and the relationship of these
components to the four hypotheses. Three hypotheses were tested to
determine why the symphonies did not attain greatness, while the fourth
hypothesis served as a basis for testing why Mason's Third Symphony in
particular did gain the limited popularity exemplified by its modest
repeat performances and notable treatment in literary articles. The
theoretical analyses, based on the same theoreticians as discussed
above, were a means by which the style-critical analysis could be deter-
mined, and, therefore, knowledge of the construction, classification,
and organization of these same components (form, tonality, modality,
etc.) was also employed. The analyses were of the entire eleven move-
ments of Mason's three symphonies. Once the component parts were
extracted, using techniques described above, the data were separated
into four matrix tables corresponding to the four hypotheses. By using
both the detailed style-critical and theoretical analyses, and the data
from the matrix tables of the symphonies, adequate information was ob-
tained from numerous perusals of the scores for accepting or rejecting
the four hypotheses. In addition, the style characteristics of the
symphonies for historical purposes were also secured.
The following sections present the major findings, implications,
and recommendations from the previous style-critical and theoretical
analyses relating to the four hypotheses tested.
-133-
Findings
Hypothesis Number One
Restatement of hypothesis. The symphonies failed to gain acceptance
and popularity because the composer relied on once popular but antiquated
eighteenth century classical style and forms (neo-classicism) rather
than utilizing contemporary structures and procedures.
Criterion for acceptance of the hypothesis. If a positive ratio
of 75% (musical components supporting the hypothesis compared to the
total number of components analyzed) was attained, then the hypothesis
was accepted for that particular symphony.
Results. In order to accumulate the findings of style-critical
and theoretical analyses and the previous component analysis tables,
four summation tables (see Tables 14, 15, 17, and 18) were synthesized
from the previous component tables of Chapters Four through Six corres-
ponding to each of the four hypotheses.
Table 14 provided the total number of positive musical components
which supported the hypothesis concerning classical themes, forms, har-
monies and key relationships, and orchestration. It also provided the
total number of components analyzed. Both of these were expressed as a
fraction in the table; the numerator was the positive musical components
supporting the hypothesis, and the denominator was the total number of
musical components analyzed. Accompanying these fractions were the
positive percentage ratios corresponding to each of the fractions dis-
cussed above. Although the table provided a summary by movement of all
three symphonies, the totals column on the right and the aggregate total
for all symphonies at the bottom are the focus of this discussion.
•134-
Locating the totals for each symphony, it was identified that Symphony
One had a 48% ratio. Symphony Two had a 57.2% ratio, and Symphony Three
had a 56.3% ratio. Each of these values did not exceed the above cri-
terion of 75% established prior to data collection; therefore, hypothesis
one was rejected for all three symphonies. When averaging the ratio
totals from all three symphonies, a 54.6% value, the rejection of the
hypothesis was further verified. Although the data showed an overall
ratio of 54.6% of classical elements, it was not excessive, and could
not be identified as a basis for judging the three symphonies as being
unpopular or not gaining acceptance because of their classical elements.
The Third Symphony exhibited the higher percentage of classical com-
ponents (63.6% in the first movement, 66.7% in the second, 64.7% in the
third, and to a lesser degree 34.5% in the fourth) than any other sym-
phonies, but yet this work was the most popular. Two possible explana-
tions for this development were that 1) the patriotism of the national
elements overcame the classical elements or 2) the higher use of classical
components made the work even more desirable. It was believed by this
writer that the former conclusion had a higher degree of viability, and
that the patriotism negated the overusage of classical elements in
Mason ' s Third Symphony.
•135-
Table 14
Summation of Classical Components of All Symphonies in
Relationship to Hypothesis No. 1
Mov't I
Mov't II
Mov't III
Mov't IV
Totals
Ratios
(%)
Symphony
No. 1
10/21
47.6%
10/24
41.7%
16/30
53.3%
-
36/75
48%
48
Symphony
No. 2
23/40
57.5%
10/22
45.5%
15/22
68.2%
23/40
57.5%
71/124
57.2%
57.2
Symphony
No. 3
21/33
63.6%
16/24
66.7%
11/17
64.7%
10/29
34.5%
58/103
56.3%
56.3
Totals
54/94
57.4%
36/70
51.4%
28/69
40.6%
33/69
47.8%
165/302
54.6%
54.6
In reviewing the summation table by individual movements of the
symphonies, it was found that Mason used a higher percentage of classical
elements in the first movements of his symphonies than in the latter
movements. For example, the classical ratio percentages for all first
movements was 57.4% as opposed to 51.4% for the second movements, 40.6%
for the third movements, and 47.8% for all fourth movements. In addi-
tion, it appeared that Mason used higher percentages of classical ele-
ments in his latter two symphonies than the first. Many other observa-
tions were ascertained from the descriptive analyses and matrix tables
for implications in music curriculum; however, these are discussed in
the Implications section later in this chapter.
Hypothesis Number Two
Restatement of hypothesis. The symphonies were unpopular because
they were written in a radically eclectic manner using a multitude of
■136-
sources within one symphony which caused disunity within and among
movements. These eclectic sources were neo-baroque, neo-classicism,
neo-romanticism, nationalism, impressionism, and expressionism.
Criterion for acceptance of hypothesis. If three of the six
eclectic elements were identified to exist within each of the movements
of a particular symphony, then the researcher concluded that the move-
ment was eclectic. If a majority of movements of a particular symphony
were eclectic, two movements of the three for the First Symphony or
three movements of the four for the Second and Third Symphonies, then
the entire symphony was identified as eclectic, and the hypothesis was
accepted.
Results. Based on the data in Table 15, hypothesis number two was
accepted for all three symphonies, and it was concluded that utilizing
numerous eclectic styles within one symphony may have contributed to
the symphonies not gaining wide acceptance. The table contained the
total number of different eclectic styles occurring in each movement of
the three symphonies (see columns one through four). The fifth column
presented the number of movements, in relationship to the total number
of movements of that particular symphony, that qualified as eclectic
which subsequently qualified the entire symphony as eclectic or not.
In each symphony there existed a high degree of eclecticism. For ex-
ample, ^z/mp^zony One had two of its three movements eclectic. Symphony
Two had three of its four movements eclectic, and Symphony Three had
four of its four movements eclectic.
•137-
Table 15
Summation of Eclectic Sources Utilized in All Symphonies in
Relationship to Hypothesis No. 2
Mov't I
Mov't II
Mov't III Mov't IV
Totals
Symphony
No. 1
NC 2
NR 6
IM 1
NC 1
NR 5
IM 1
NC 5
NR 3
-
2/3 Mov'ts
Eclectic
Symphony
No. 2
NC 6
NR 5
IM 1
NB 1
NC 2
NR 4
NC 4
NR 3
NC 3
NR 6
IM 1
3/4 Mov'ts
Eclectic
Symphony
No. 3
NB 2
NC 2
NR 6
NT 5
NC 4
NR 4
NT 2
IM 3
NC 3
NR 2
NT 2
NB 2
NC 2
NR 9
NT 3
4/4 Mov'ts
Eclectic
Totals
3/3
3/3
1/3
2/2
Key: NB =
NC =
NR =
neo
neo
neo
-baroque
-classical
-romantic
NT
IM
EX
= nationalism
= impressionism
= expressionism
In breaking down the eclectic elements into a frequency table (see
Table 16), the leading eclectic indicators were identified. In all three
symphonies the neo-romantic was the highest, with neo-classicism second,
and neo-baroque and impressionism used to a lesser extent. The national-
istic elements were reserved almost exclusively for the Third Symphony.
This hypothesis truly identified the style of the composer, and how his
music was characterized for historical purposes. Not only was it estab-
lished that Mason was a champion of eclecticism, but the study pinpointed
the elements which made up his style. Although the advanced musician
would rather focus on the descriptive analyses and musical examples of
the symphonies, themselves, the matrices and summation tables may be
used as a mnemonic device for better retention of the characteristics
■138-
of the symphonies. Another conclusion established from Table 15 was
that Mason's symphonic writing style was indeed a part of the mainstream
of symphonic writing during the time period aivoa 1910-1949. As it was
established previously in the section dealing with "Symphonic Writing
of the Time aivoa 1910-1949," neo-classicism and neo-romanticism had
a major influence on American composers. These two components were the
most frequently used styles in the Mason symphonies.
Table 16
Frequency of Eclectic Styles of All Symphonies
Symphony No. 1
Symphony No. 2
Symphony No. 3
NB
NC
8
15
11
NR
Key: NB = neo-baroque
NC = neo-classical
NR = neo-romantic
NT = nationalism
14
18
21
NT
12
IM
IM = impressionism
Hypothesis Number Three
Restatement of hypothesis. The symphonies did not achieve repeat
performances because the composer utilized unsophisticated compositional
techniques catered to the untrained listener of music. The refined
concert-goer, therefore, absorbed the simplistic techniques on a first
or second listening, and the audiences' interests were not captivated
on subsequent performances.
Criterion. If a positive ratio of 60/o or more was attained on each
symphony, then hypothesis number three was accepted. The purpose of
■139-
having the threshold at 60% was that in order to be a "great work" a
composition had to have had sufficient complexity. It was concluded
that 40% complexity was deemed insufficient.
Results. As summation Table 17 revealed, hypothesis number three
was accepted, for each symphony exceeded the 60% criterion. It was,
therefore, concluded that Mason was writing in an unsophisticated manner.
The table provided the total number of positive musical components which
supported the hypothesis concerning repetition, cyclism, form, and
orchestration. It also provided the total number of components analyzed.
Both of these were expressed as a fraction in the table; the numerator
was the positive musical components supporting the hypothesis, and the
denominator was the total number of musical components analyzed.
Accompanying these fractions were the positive percentage ratios cor-
responding to each of the fractions discussed above.
Table 17
Summation of Unsophisticated Compositional Techniques of All
Symphonies in Relationship to Hypothesis No. 3
Mov't I
Mov't II
Mov't III
Mov't IV
Totals
Symphony No.
1
10/19
52.6%
18/35
72%
18/29
62.1%
-
46/73
63%
Symphony No.
2
9/19
47.4%
5/14
35.7%
12/17
70.6%
39/49
79.6%
65/99
65.7%
Symphony No.
3
11/30
36.7%
18/26
69.2%
16/18
88.9%
21/28
75%
66/102
64.7%
Totals
30/67
44.8%
41/65
63.1%
46/64
71.9%
60/77
77.9%
177/273
64.8%
-140-
Each symphony contained a high degree of unsophisticated elements.
For example. Symphony One contained a positive ratio of 63%, Symphony
Tqo had a 65.7% ratio, and Symphony Thvee had a 65.3% ratio. These
high frequencies in all the symphonies contributed to the reliable
acceptance of the hypothesis.
In addition, looking at column four, the highest percentage of un-
sophisticated elements was found in the finale of each symphony. Since
the listener would normally be anticipating a conclusion in grandiose
fashion, using cyclism and repetition— and too simple of form— in the
last movements may have had a greater adverse impact on the audience
than if these techniques were employed in the middle movements. Since
the definition of great works was a musical work which contains elements
of sufficient complexity in detail or implication which results in the
listener not tiring upon repeat listenings. Mason's philosophy of writing
music for the uninitiated or layman of music was perhaps the basis for
his including so many unsophisticated techniques into his works. As a
result he may have purposely written symphonies which employed an over-
abundance of repetition, cyclism, simple forms, and orchestration.
Because of his fugal writing in both the Second and Third Symphonies,
it was concluded that he did have the training and ability to write
complex works worthy of greatness; however, he simply chose the untrained
listener of music as his audience. His philosophy of education and com-
position, therefore, must be fully understood before conclusions can be
surmised about his stylistic characteristics. Since he incorporated
his philosophy of music into his music compositions, more credibility
existed to use his works in curricula dealing with philosophy of music
education. This is discussed in the Implication section later in this
chapter.
•141-
Hypothesis Number Four
Restatement of hypothesis. The composer relied on nationalistic
elements in his Third Symphony more than in the other two symphonies,
which may account for its somewhat greater popularity than the first
two symphonies.
Criterion used to accept hypothesis. If two or more elements in
the areas of folk songs, ethnic dance rhythms, folk song instrumenta-
tion, and descriptive nationalistic elements were identified within one
symphonic movement then that movement was labelled nationalistic. If a
majority of movements in any given symphony, two out of the three move-
ments for Symphony One, and three out of the four movements for Sym-
phonies Two and Three, then the symphony was classified as nationalistic,
and the fourth hypothesis was accepted.
Results. Table 18 supported the position that only one of the
three movements of Symphony One were nationalistic, and only one of
four movements of Symphony Two were nationalistic. The table provided
the total number of positive musical components which supported the
hypothesis concerning dance or ethnic rhythms, folk or ethnic melodies,
folk instruments incorporated into the symphony, musical descriptions,
and orchestrations emulating folk or ethnic sonorities. It also pro-
vided the total number of components analyzed. Both of these were ex-
pressed as a fraction in the table; the numerator was the positive
musical components supporting the hypothesis, and the denominator was
the total number of musical components analyzed. Accompanying these
fractions were the positive percentage ratios corresponding to each of
the fractions discussed above. Although no acceptance or rejection
applied to the first two symphonies for this hypothesis, the lack of
■142-
nationalistic elements supported, indirectly, the acceptance of the
fourth hypothesis for Symphony Three. The absence of nationalistic
elements in the first two symphonies provided as much support to the
accepting of the fourth hypothesis as did the inclusion of the same
nationalistic elements in the Third Symphony. As the data show, the
final symphony had four of the four movements classified as nationalistic.
Based on the data hypothesis four was accepted. It was further con-
cluded that another viable explanation for the Third Symphony gaining
limited popularity, in comparison with the First and Second Symphonies,
was perhaps due to the fact that Mason incorporated nationalistic ele-
ments in each of the four movements. Table 18 showed that there existed
a high incidence of nationalistic elements which provided more credi-
bility to the conclusions.
Table 18
Summation of Nationalistic Components of All Symphonies in
Relationship to Hypothesis No. 4
Mov't I
Mov't
II
Mov't
III
Mov't
IV
Totals
Symphony
No. 1
-
-
M 1
R 1
-
2
1/3 Mov'ts
Nationalistic
Symphony
No. 2
-
:
M 1
R 1
I 1
-
3
1/4 Mov'ts
Nationalistic
Symphony
No. 3
R 3
M 2
D 1
M 1
D 1
R 4
D 1
0 2
M 2
D 1
18
4/4 Mov'ts
Nationalistic
Totals
1/3
1/3
3/3
1/2
Key: M = ethnic or folk melodies 0 = orchestrations emulating ethnic
R = ethnic or dance rhythms or folk sonorities
D = musical descriptions I = instrumentation emulating folk
instruments
■143-
In the January 31, 1932, issue of the Neij York Herald Trihvne^
Mason provided the readership with insights regarding his Seaond Symphony.
However, in this article Mason stated
Finally, I prefer my music without program, and find
that stories distract my attention from the emotional
expression and the plastic beauty which are for me the
essential values in musical art. (Mason, 1932, p. M13)
Up until the time of this article. Mason practiced his philosophy, and
did not include programmatic elements in any of the first two symphonies.
Perhaps his philosophy changed when the former two symphonies did not
achieve the acclaim he desired, and, therefore, included a program into
his final symphonic work in hopes that it would assist him in the
attainment of his goal. It was concluded that this contributed even
greater credibility to the conclusion associated with the fourth
hypothesis.
In reviewing column three of Table 18 it was found that Mason in-
corporated more nationalistic elements in his third movements of all
the symphonies than the other movements. This could be a neo-classical
trait. Since the minuet was incorporated into the symphony in the
eighteenth century, it was introduced as the third movement of the
symphony, and was originally a French country dance which Louis XIV
(1638-1715) adopted as court entertainment. Historically, therefore,
the third movement has always had a tendency for nationalistic dances
or folk material. It would have been appropriate, then, for Mason to
purposely choose the traditional third movement as the position for
numerous folk songs and rhythms in a nationalistic manner.
-144-
Impli cat ions
Procedure and Methodology
Although the employment of hypotheses, ratios, matrices, and sum-
mation tables in musical analysis was perhaps unprecedented, it was felt
that such use here was not as avant-garde as it first may have seemed.
For example, when thematic material was analyzed in a traditional manner,
one identified four major themes of one movement, and one of those
themes may have been observed as being classical in nature. Expressing
this same observation in ratio form, the conclusion would be that 25% of
the first movement themes were written in a classical fashion. This
manner of quantifying musical descriptive analysis, therefore, into
tabular form was merely an extension of traditional practice, and has
viable implications for future usage in form and analysis courses on
the undergraduate levels.
Summation tables can be used to categorize more stylistic and com-
positional traits, and present them as a mnemonic aid for instruction
purposes. By using summation tables for each musical composition being
discussed, for example symphonies, opera, cantata, Uedev, piano aon-
aerti, and others, one could have available more specific information
about the work compressed into a synthesized form for review. The
tables also can provide the layman of music greater understanding of a
musical composition without first having to obtain the necessary pre-
requisites to decipher the complexities of technical, analytical de-
scriptive and artistic musical examples. For example a layman could
peruse the summation or matrix tables for a particular musical work and
cognitively recognize that 69% of the themes of a particular work are
■145-
identified as classical or that 29% of the major scoring sections are
impressionistic in style. Assuming the layman had a prior listening
experience of a classical or impressionistic work, the layman could then
comprehend this new work more readily than having to decipher complex
descriptive analyses and sight sing or perform musical examples. So as
not to eliminate the analyses and musical examples for the musician
with advanced requisites then, it was recommended in this research to
have both a traditional analysis with appropriate illustrative material,
and a summation table for the layman. Perhaps each, the layman and
musician, would benefit from each technique of reporting on the elements
of musical compositions. Had it not been for the summation tables and
some detailed observations, the conclusions, for this particular investi-
gation, could not have been ascertained. For example, the high incidence
of folk elements of the third movements of each of Mason's symphonies
would have gone unobserved without the focusing of the matrix tables.
This observation was made via the summation table. Looking at summation
tables can also lead to other minor but important conclusions and
extractions.
The use of both traditional analyses with musical examples and
matrix tables could be appropriately used on the community college level
where there would be a wide divergence of musical expertise. Implementing
a strategy such as this could appeal to the variety of cognitive learning
styles and variations in abilities within the one music class.
Hypotheses and Findings
Although Mason's symphonies did not attain greatness, the study
showed that he was writing in a style consistent with his contemporaries,
-146-
and his three symphonies, therefore, can still be used as representa-
tive of American music in this time period, 1910 to 1949. Hypotheses
numbers two and four especially revealed the styles which were permeating
the mainstream of American symphonists. The inclusion of his three
symphonies in courses such as American literature, symphonic literature,
nationalism in music, and other history and literature courses would,
therefore, be appropriate. Also, philosophy of music education courses
could include many observations and conclusions of the study, especially
since Mason both formulated a philosophy of music education and prac-
ticed it in his musical works. It was cited earlier that Mason's
philosophy of music was to write compositions in a manner which the
untrained listener of music could be assisted through the complexities
of artistic musical works.
Since it was established that the matrices and summation tables
could assist the layman and non-music major, both the procedure used
and findings on Mason's symphonies could be implemented in music listen-
ing courses at the community college as well as university level. In
addition, the analyses and musical examples could be employed in music
curricula dealing with theory, form and analysis, composition, and
orchestration at the community college level.
From the matrices and tables it was also recognizable what particu-
lar compositional styles exerted an influence on Mason's writing. For
example, the identifiable use of chord planing, whole tone scales, and
harp and flute combinations in the scores suggested that Mason's visit
to Paris, and especially his training with d'Indy, was not superficial,
but was absorbed by Mason, and subsequently he incorporated this style
into his symphonic writing. Mason's use of fugue, as a neo-baroque
-147-
element, is perhaps attributable to the influence of Harris' popular
use of that form in the latter' s 1910 Fotwth Symphony.
Recommendations
The following items summarize the recommendations of the study: '
1. Actual live performances of the three Mason symphonies should
be conducted in order to promote the true worth of the composer's works.
2. Transcriptions of all three symphonies are desirable to in-
crease the accessibility of the works to the public.
3. Recordings of the three symphonies would provide the listening
public an opportunity to adjudicate the works.
4. Research studies and performances of Mason's other orchestral
compositions are desirable for further promotion of his overall symphonic
and orchestral styles.
5. The formation of a Mason Society to maintain the promotion of
the composer's music would enhance other research studies dealing with
Mason.
Although further studies are planned and desired by other researchers
at the University of Florida, what would really enhance Mason's works
would be actual performances of his works. Because of this, proposals
need to be made to various directors of orchestras to encourage the
performance of these three symphonies. Also, a further study could be
the transcriptions of the symphonies for symphonic band or other media.
If the symphonies received transcriptions to other media then the public
would have greater access to the works, which would perhaps create
enough demand that symphony orchestras would initiate performances as
•148-
well. If such a transcription were to be undertaken, it is suggested
that the Second Symphony in A Major would transcribe most readily with
minimal integrity problems.
In addition to performances of the orchestral works of Mason, other
studies could be the recording of the symphonies for public consumption.
Since the existing recordings are limited and are not accessible to the
public, new recordings would also assist in promoting Mason's music.
With the symphonies newly recorded, as well as the other orchestral
works, further research could be planned so as to incorporate the re-
sults into music curricula courses dealing with history and literature.
This, then, could provide the necessary impetus to promote Mason's
orchestral works, especially his symphonies, into the professional and
public music sectors.
The formation of a Mason Society is desirable so that the Society
could function as a vehicle for presenting the results of new research
on the composer. Since J.S. Bach's music really did not receive ac-
colades and notoriety until the nineteenth century, so too could
Mason's symphonies receive a posthumous renaissance. Although no com-
parison is intended between the two, a parallel in how the works can
gain fresh, new performances after a composer's death is analogous.
Annual meetings of the Society could consist of seminars, lectures, and
performances of perhaps not only Daniel Gregory's works, but the entire
musical Mason family. Through such a Society, numerous colleagues
could take up the challenge to promote the music literature of the
Mason family, especially Daniel Gregory Mason.
APPENDIX A
SYh'FHOf^Y NO. 1 IN C MINOR (2912) OPUS 11:
SYNOPSIS BY MEASURE
First Movement, Largo sostenuto
Measure Number
1-13 flute, clarinet, and English horn introduction.
14-21 main theme introduced by flute and violins.
22-31 continuation of modified main theme in oboe and violin,
and violoncello.
32-43 bridge and transition material in oboe, English horn,
accompanied by violins.
44-47 introduction of secondary theme in strings and woodwinds.
48-55 extension material based on triplet rhythm in horns
accompanied by strings.
56-78 third theme introduced by strings in quick allegro, many
repeats of the theme in various orchestrations.
79-97 fourth theme introduced by oboe, English horn, continued
in the horns, much modification of thematic material
with transition.
98-136 extended section based on secondary theme, alternating
themes throughout horns, strings, clarinet in stretto
fashion.
137-156 close of first section of movement with secondary theme
in strings, and horn solo close is signified with double
bar.
157-194 beginning of second section of movement based on main
theme in trumpet, violoncello, woodwinds; leading to
secondary theme in clarinet and strings in stretto
fashion.
195-213 repeat of third theme in low brass and strings
Largamente section.
•149-
-150-
Measure Number
214-221 repeat of measures 56-60.
222-332 long extended development section based on motifs of
third theme, much stvetto in woodwinds.
333-361 Motto sostenuto section, strings lead repeat of measures
44-47 with extension, much repetition of main theme in
strings, trumpet, and trombone.
362-380 close of second section of movement with many solos in
clarinet, bassoon, and strings; section closes at double
bar.
381-420 introduction of new fourth theme {Presto) in bassoon,
much repetition with extension to aoda.
421-431 Coda in Maestoso section concludes with stretto in horns.
Second Movement, Larghetto tranquitto
1-10 introduction in woodwinds.
11-33 main theme in English horn and repeated in clarinet,
flute, and horns.
34-42 secondary theme in trumpet and repeated in oboe,
English horn, and clarinet.
43-47 repeat measures 18-20.
48-58 extension to conclude first section of movement.
59-97 Andantino aommodo section, third theme in trumpet,
motifs from third theme, full theme introduced by oboe
at measure 69-75, F-sharp minor tonality.
98-133 repeat of main theme, repeat of measures 90-96, much
stvetto with third theme and main theme, aodetta-Mke
ending to section.
134-140 recapitulation of main theme in Db major.
141-154 repeat of theme from measures 11-20.
155-162 modified antecedent phrase to main theme, in allar-
gando.
163-177 violin, flute, and upper woodwind solos based on intro-
duction (measures 1-10), and antecedent phrase of main
theme.
-151-
Measure Number
178-191
aoda based on theme three with flute, English horn, and
horn solos concluding movement.
Final Movement
Allegro molto maroato
1-6
introduction: rhythmic timpani solo with brass
accompaniment.
7-54
main theme introduced by horn in five-four meter, many
repeats of theme in violin, bassoon, clarinet; fully
orchestrated repeat.
55-73
bridge to secondary theme based on extension in measure
19 and new thematic material, acts as false entry to
secondary theme.
74-100
secondary theme in violin at Piu tvanquillo, much
stretto in oboe, bassoon, horn, and English horn; has
codetta to close section.
101-112
repeat measures 1-6 (introduction).
113-125
transition based on syncopated rhythm in trumpet, horn,
and trombone and fully scored strings.
126-139
repeat of main theme in allegro non troppo same as
measures 7-10, with tremolo strings embellishing.
140-151
main theme repeated but modified, uses stretto transi-
tion to new thematic material.
152-159
new thematic material used as bridge to return to fully
scored main theme.
160-180
fully scored main theme at un poao maestoso.
181-190
sostenuto repeat of secondary theme (measures 74-77),
but modified; inversion also.
191-199
inversion and stretto of measures 25-30.
200-207
codetta to close section based on third theme.
208-232
Tempo primo un poco sostenuto clarinet, timpani solo,
trumpet and trombone similar to introduction.
233-236
Allargando based on whole tone scale and modified rhythm
of secondary theme.
237-253
coda, A tempo maestoso sustained ending at reduced
dynamic level .
APPENDIX B
SYMPHONY NO. 2 IN A MAJOR (1928) OPUS 30:
SYNOPSIS BY MEASURE
First Movement, Allegro maestoso
Measure Number
1-20 introduction: full brass and drums contain main theme
in chromatic descending sustained values.
21-50 repeat of main theme with extension in oboe and flute,
much dissonance and tension.
51-70 repeat of main theme in inversion and whole tone scale
instead of chromatically.
71-85 secondary theme in strings, chromatic line ascending
with stretto, canon style employed also.
86-101 horn solo, presents theme three, later accompanied by
harp.
102-126 third theme in strings with repeats.
127-166 development based on motif of introduction with exten-
sion between the four sections of introduction material
167-186 new material which acts as bridge to coda primarily in
bassoon.
187-216 aoda with violin solo closing movement.
Second Movement, Andante sostenuto
1-20 main theme in strings.
21-34 secondary theme in English horn and bassoon, with re-
peats.
35-41 extension of main theme with flute obliggato.
42-45 repeat of main theme in strings.
46-65 Risoluto con moto section, third theme in trumpets.
■152-
■153-
Measure Number
66-90 repeat of main theme almost same as measures 1-20.
91-106 exposition of four voice fugue at Piu mosso.
107-122 extension and quasi development of fugue.
123-141 Andante maestoso, main theme repeated in horns.
142-159 coda based on main theme to conclude movement.
Third Movement, Vivace soherzando
1-91 main theme introduced and repeated four times, many ex-
tensions, and quasi development sections of theme.
92-112 introduction of secondary theme and extension, section
concluded at grand pause.
113 grand pause.
114-125 repeat of secondary theme and closes with grand pause.
126-227 repeat of secondary theme and development follows, small
codetta at end of section.
228-308 "trio" section of saherzando; third theme introduced in
upper woodwinds, numerous repeats with extensions and
obliggati, concluded with a fully orchestrated repeat
of third theme with horn codetta (measure 228), Alle-
gvetto quasi pastorale.
309-372 repeat of main theme, vivace scherzando, with transition
to double bar.
373-382 repeat of Allegretto quasi pastorale theme ("trio").
383-399 violin and viola duet as coda material (transitional).
400-421 A tempo {coda proper), movement is connected to fourth
movement, attacca.
Final Movement, Lento, Largamente misterioso
1-10 introduction: repeat of introduction from first move-
ment, cyclical .
11-22 Allegretto section acts as interlude, timpani solo
rhythm is dominant scoring.
-154-
Measure Number
23-32
repeat of Lento, same as measures 1-10.
33-40
repeat of Allegretto, interlude material.
41-63
main theme introduced in Maestoso context.
64-77
secondary theme, repeat of measures 71-85 from movement
one.
78-93
third theme repeated from measures 86-93 from first
movement.
94-97
fourth theme repeated from third theme of first movement
(measures 102-105, first movement).
98-117
repeat measures 106-111 from first movement.
118-123
repeat measures 120-126 from first movement.
124-134
syncopated new material in strings acts as extension to
previous section.
135-138
bridge to Maestoso section.
139-146
recycled from Maestoso of second movement, see measure
123 of second movement.
147-166
motifs from main theme of first movement, quasi develop-
ment section with stretto of motifs in horns, trumpets,
trombones, and strings, flute solo as obliggato over
first movement string theme.
167-172
repeat measures 167-175 from first movement; bassoon
theme .
173-180
bridge material in violoncello and English horn ascending,
chromatic line.
181-184
augmented main theme from first movement.
185-193
violoncello inversion at measures 173-176.
193-200
motif of introduction from first movement.
201-221
coda, modified from measures 201-216 from first move-
ment; symphony concludes on A major chord.
APPENDIX C
SYI'ilPHONY NO. 3 "LINCOLN" IN Bb MAJOR (1935) OFUS 35:
SYNOPSIS BY MEASURE
First Movement, Lento serioso, "The Candidate from Springfield"
Measure Number
1-12 introduces Lincoln motif in trumpet, concludes with
ferrmta.
13-71 main theme, molto vivaae, numerous repeats in upper
woodwinds, strings, and bassoons, measures 57-71 modua-
tion to G minor based on main theme.
72-95 secondary theme in submediant, syncopated theme pre-
sented in clarinet, theme represents Douglas in pro-
gram, transition to main theme.
96-141 recapitulation of theme main in Bb with repeats, and
bridge to next section.
142-152 third theme, Piu sostenuto, based on augmentation of
Lincoln motif.
153-155 interlude, vivace molto, main theme.
156-168 return to third theme Piu sostenuto, lyrical theme,
much romanticism, modulation to G major using chromatic
augmented French sixth-chord.
169-185 codetta based on motif of third theme, also functions
as bridge to fugue, closes at double bar.
186-224 exposition of five voice fugue, based on Lincoln theme,
tonal answer and no regular countersubject.
225-259 exposition of second fugue, based on secondary theme or
Doublas theme, much contrapuntal writing after exposi-
tion with Lincoln motif incorporated.
260-268 Maestoso, Tempo di marcia trumpet line augments Lincoln
motif, functions as bridge to recapiulation.
269-273 recapitulation of main theme in Bb major, only repre-
sentative of recapitulation not full repeat.
■155-
•156-
Measure Number
274-281 repeat of Maestoso (measures 260-268); however, this
time in minor mode instead of major.
282-283 transition to lyrical theme.
284-294 aoda based on main theme with anirmto, abrupt ending,
however, with exciting animato section, movement con-
cludes with fevmata.
Second Movement, Andante dolente, "Massa Linkum"
1-17 main theme presented in English horn and harp in duet
fashion, many repeats and minor mode changes.
18-33 oboe solo repeats previous duet, subsequently English
horn repeats main theme.
34-46 impressionistic style, repeat of main theme in piccolo
and bassoon duet section, concludes with double bar and
fevmata.
47 open measure.
48-96 introduction of secondary theme in violoncello based on
Lincoln motif, key change to A minor, many repeats in
solo capacity such as strings, oboe, and violin, fully
orchestrated repeat of secondary theme with upper wood-
winds providing countermelody with main theme.
97-109 fully orchestrated recapitulation of main theme in F
minor repeat of main theme then repeat of English horn
theme from measure 33.
110-115 codetta based on main theme to also bridge key change
(without modulation) at double bar.
116-124 violin solo functions as transition to another repeat
of main theme.
125-131 repeat of main theme in piccolo and bassoon duet with
harp accompaniment in D minor.
132-153 ooda, free material, much stretto, impressionistic
writing similar to material in measure 34, movement
concludes in major mode (D major).
Third movement. Allegro non troppo, "Old Abe's Yarns"
1-18 main saherso theme based on Lincoln theme in G minor,
repeat uses flat fifth for diminished quality.
-157-
Measure Number
18-26 antecedent phrase of main theme in stretto and synco-
pated fashion.
27-34 repeat of main theme with obliggato in upper woodwinds.
35-45 repeat of main theme in minor.
46-57 aodetta based on antecedent phrase of main theme, use
of augmentation and syncopation, last measure also
functions as a bridge to secondary theme.
58-61 introduction to secondary theme, open fifths dance- like
quality.
62-87 secondary theme, dance-like rhythm and harmony, running
eighth-notes with transition.
88-97 false entry as repeat of secondary theme.
98-125 true repeat of secondary theme, uses syncopation and
acts as a bridge to recapitulation of main theme, section
concludes with grand pause.
126-190 entire repeat of first section, measures 1-61 main
theme section repeated.
191-192 open measure grand pause.
193-220 entire repeat of secondary theme section, measures 62-87
plus hemiola section in flutes, oboe, and clarinet con-
cludes with grand pause.
221-225 bridge to aoda, slow violoncello solo based on augmented
secondary theme.
226-229 four measure tag based on main theme, movement con-
cludes with fermata in sparce scoring.
Final Movement, Lento serioso, "1865"
1-7 ,-^y, introduction, same as introduction to first movement
except up minor second, in two-two rather than four-four
meter and quicker tempo.
8-19 transition to funeral march, timpani and low brass
dominating, ends with grand pause.
21-24 introduction to funeral march in Bb minor. Tempo di
mca'aia Ficnebre.
25-51 main theme in upper woodwinds, repeated many times,
with transition to fully scored repeat of theme.
•158-
Measure Number
52-63 fully scored repeat of main theme (funeral theme) with
transition to secondary theme.
63-68 elision with previous section, introduction of secondary
theme based on Lincoln theme recycled.
69-79 horn solo continues secondary theme but augmented, with
violoncello and basses supporting.
80-97 transition to repeat of Lincoln theme based on main
theme of this movement.
98-114 pesante section based on antecedent of main theme.
114-125 elision, mosso, section based on Lincoln motif.
126-133 oalando poao a pooo transition to Lincoln theme in
violoncello.
134-165 repeat of five voice fugue from first movement, see
measures 186-216 of first movement.
166-170 Maestoso same as measures 160-164 from first movement.
171-177 transition to oboe solo.
178-185 trccnqu-illo oboe solo followed by high registered violin
solo.
186-189 modulation to Bb major.
190-198 transition to Lincoln theme.
199-212 Lincoln theme presented in stretto, canon between many
instruments.
213-217 extension with timpani solo.
218-237 ooda: pizziaato and sustained chords with timpani
,.;-'. rhythm, concludes movement and symphony.
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BIOGRAPHICAL SKETCH
David Neal Kapec, son of Andrew Joseph Kapec and Loraine Joyce
Goode Kapec, of Stafford, Virginia, was born on September 15, 1954, in
Heidelberg, Germany. He graduated from Fort Hunt High School in
Alexandria, Virginia, in 1972, and performed in various ensembles under
the direction of Frank Wickes. During this time he received private
saxophone instruction in performance from Stephen Evans of the United
States Marine Band and George Etheridge, Associate Professor of Music
at the University of Maryland at College Park.
Under the advisement of Gene "Chief" Witherspoon (deceased),
Music Department Chairman of Arkansas Tech University at Russellville,
Mr. Kapec matriculated at the university in 1972. He studied with
Dr. William Nichols and Dr. Richard Fletcher and earned a Bachelor of
Arts degree in music education in May, 1976. During his tenure at
Arkansas Tech he participated in ensembles which performed numerous
world premieres of works by notable composers such as Francis MacBeth,
William Schuman, and others.
During his graduate studies at the University of Florida at Gaines-
ville he held a graduate teaching assistantship for three consecutive
years and was invited back for a fourth year as Interim Saxophone
Instructor. At the university he achieved the Master of Fine Arts (1978;
in music with specializations in performance and music history and
literature and subsequently earned the Doctor of Philosophy (1982) in
■165-
•166-
curriculum and instruction with a concentration in college teaching of
music history and literature. While at the university he presented
numerous lectures, performed as soloist on several occasions, and
participated as both performer and conductor with various ensembles.
Mr. Kapec, his wife, Leslie Gayle, and daughter, Rayna Gayle, all
reside in Gainesville.
I certify that I have read this study and that in my opinion it
conforms to acceptable standards of scholarly presentation and is fully
adequate, in scope and quality, as a dissertation for the degree of
Doctor of Philosophy.
^^mA
Albert B. Smith, III, Chairman
Professor of Instructional Leadership
and Support
I certify that I have read this study and that in my opinion it
conforms to acceptable standards of scholarly presentation and is fully
adequate, in scope and quality, as a dissertation for the degree of
Doctor of Philosophy.
./k^ ^ nZ'^^-Lv^^yxy^
David Z.'^Kushner, Cochairman
Professor of Music
I certify that I have read this study and that in my opinion it
conforms to acceptable standards of scholarly presentation and is fully
adequate, in scope and quality, as a dissertation for the degree of
Doctor of Philosophy.
Gordon D. Lawrence
Professor of Instructional Leadership
and Support
I certify that I have read this study and that in my opinion it
conforms to acceptable standards of scholarly presentation and is fully
adequate, in scope and quality, as a dissertation for the degree of
Doctor of Philosophy.
'^..<^^^
C^
S. Philip Kn^^le/ /^
Professor of Music
I certify that I have read this study and that in my opinion it
conforms to acceptable standards of scholarly presentation and is fully
adequate, in scope and quality, as a dissertation for the degree of
Doctor of Philosophy,
Phyllis E. Dorman
Professor of Music
This dissertation was submitted to the Graduate Faculty of the Division
of Curriculum and Instruction in the College of Education and to the
Graduate Council, and was accepted as partial fulfillment of the require-
ments for the degree of Doctor of Philosophy.
December, 1982
Dean for Graduate Studies and Research
9 68Z 99980 3931- €
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