A Fresh Take: Understanding and Evaluating Fischer Tull's Sketches on a Tudor Psalm, 50 Years Later –Joseph Leites

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associated with any peripheral nerve disorder (Toy and Healy, 2009).

When a peripheral nerve disorder affects a skeletal muscle, at times the involved muscle begins to contract involuntarily. Otherwise known as a focal dystonia, and commonly referred to as a “muscle cramp” (Lim and Altenmuller, 2003), when this happens a musician loses the ability to voluntary control the muscle(s) needed to play an instrument (Altenmuller, 2010; Ostwald et al., 1994). For example, a focal dystonia of the upper extremity can affect the muscles located in the forearm, wrist and hand. Thus, in these instances the trumpet player may lose fine motor control when attempting to depress a valve during play while the string instrumentalist may not be able to finger notes accurately (Ostwald et al., 1994). Furthermore, a focal dystonia can also affect the muscles that control the lips, jaw, and tongue. In these cases, the wind instrumentalist, such as the flutist, may struggle to produce the necessary sounds associated with a specific piece of music (White, 2017). Interestingly, male musicians seem to be at a fourtimes greater risk of developing a focal dystonia as compared to females (Lim and Altenmuller, 2003). As with the tendons of skeletal muscles, peripheral nerves can become entrapped within small spaces in which they travel. Peripheral nerves can also become damaged, or bruised, by positioning large, heavy objects, such as musical instrument, on over an unprotected peripheral nerve for an extended period. Regardless of whether a peripheral nerve is entrapped or bruised, the body regions supplied by that nerve are affected. Such conditions can damage either the nerves going to skeletal muscles, the skin, or both. This can lead to a numbing of the skin, tingling sensations distal to the site of injury, feelings of coldness to the affected region, and a weakness of the affected muscles (Toy and Healy, 2009). When an entrapment occurs at the wrist the outcome is often carpal tunnel syndrome, the most common peripheral nerve disorder in musicians (Dawson, 2006; Knishkowy and Lederman, 1986). Ultimately affecting hand function, carpal tunnel syndrome is very prevalent in string and keyboard instrumentalists (Dawson, 1999; Lederman, 1995). Still other conditions, such as motor control disorders and muscle cramps, can be classified as either a muscle injury or peripheral nerve disorder depending on the damaged tissue that is causing the condition (AbréuRamos and Micheo, 2007).

Though not as common as muscle and nerve injuries, overuse also affects ligaments, tissues that hold joints together, and bones. Injuries to ligaments result in sprains whereas overuse conditions of the bone result in the bone weakening and cracking, otherwise known as a fracture (Knishkowy and Lederman, 1986, Shoup, 1995).

SIGNS AND SYMPTOMS OF REPETITIVE STRESS SYNDROMES Repetitive stress syndromes often produce a variety of signs and symptoms that alert a person to a developing medical condition. Whereas signs are visible, objective evidence that an abnormality is present, a symptom is subjective, meaning that only the person suffering from the condition can report that bodily harm has occurred. For example, obvious bruising on the skin and swelling of a body part are signs since these are visible abnormalities whereas pain and numbness are symptoms since only the person affected by these feelings can relate that they are occurring (Toy and Healy, 2009). Nevertheless, recognizing signs and symptoms that result from bodily harm are critical in

Dr. Thomas Parchman holds the rank of Professor at the University of Southern Maine Osher School of Music. He has held that position and has been the Principal Clarinetist with the Portland Symphony Orchestra since his arrival in Maine in 1984. Dr. Parchman holds the Doctor of Musical Arts degree from the University of Southern California, the Master of Music degree from Northwestern University, and Bachelor’s degrees in both Music Education and Performance from Southern Methodist University. Dr. Parchman regularly performs as a member of the Portland Symphony Orchestra and the Rhode Island Philharmonic and performs recitals throughout New England.

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addressing the health care needs of musicians.

Regardless of the cause, common signs and symptoms of physical bodily harm include the following: pain and warmth (Dawson, 2006); aching, burning, tiredness, fatigue, and a feeling of fullness (Ostwald et al., 1994); swelling, weakness, tenderness, muscle cramping, muscle stiffness, muscle spasm, tingling, numbness, and a loss of function and dexterity (Knishkowy and Lederman, 1986). Although many signs and symptoms of a RSS exist, all do not have to be present to indicate a problem has occurred. For example, pain may be the only indicator that something is wrong and, unfortunately, many musicians report that “playing through pain” is a perfectly acceptable way to address the onset of a musculoskeletal or neurological condition (Lockwood, 1988; Shoup, 1995). Unfortunately, in some cases this philosophy results in the musician not seeking medical help until the person’s performance is affected (Frederickson, 2002). Furthermore, recognize that the symptom of pain can differ between and among affected individuals and is usually based on factors such as the severity of the person’s injury, the type of tissue injured, and the nature of the injury itself. For example, one person might describe pain as a dull, throbbing ache whereas another person might use the terms sharp and burning to describe the pain caused by a RSS (Dawson, 2006).

RISK FACTORS AND PREVENTION STRATEGIES FOR REPETITIVE STRESS SYNDROMES Risk factors are those aspects that increase the potential for a person to develop a medical condition. Intrinsic risk factors include aspects specific to an individual that the person may or may not have the ability to change (Chong et al., 1989). For example, age, gender, body size and joint hypermobility, or joint laxity, are risk factors over which a person has little control. In contrast, extrinsic risk factors are those things a musician can control. These include playing technique such as holding the instrument incorrectly, using an instrument that is either too big or too small, and not using or incorrectly using instrument straps, harnesses and other supports (Dawson, 2006; Horvath, 2008; Lederman and Calabrese,1986). For example, since the majority of the weight of wind instruments is typically concentrated on the right hand (Hochberg and Newmark, 1987), alleviating this pressure may help prevent injuries in this region. Indeed, Fry (1988) states that using supporting structures to decrease the weight of instruments such as the clarinet and oboe aides in preventing and treating right thumb injuries to those who play these instruments. Thus, sound individual practice techniques are needed to decrease the chance that a musician will develop a RSS (Dawson, 2006; Horvath, 2008). Furthermore, increases in playing time and intensity, often associated with ensemble rehearsals or individual practice sessions, poor seated or standing posture, and the specific dexterity associated with playing a difficult piece of music are also associated with the development of RSSs (Knishkowy and Lederman, 1986). Fortunately, by implementing various injury reducing intervention strategies, these factors can be controlled to some extent (Chong et al., 1989). According to Dawson (2006) and Horvath (2008), this can be accomplished by assuring good posture while playing, avoiding undue long rehearsal sessions, taking periodic breaks from playing, and decreasing the intensity of rehearsal sessions. In addition, properly warming up, stretching and strengthening the body parts used while playing can also decrease the chance of developing a RSS (AbréuRamos and Micheo 2007; Chong et al., 1989).

ADDRESSING REPETITIVE STRESS SYNDROMES Though preventing RSSs from occurring should be a primary goal of all musicians, these conditions still occur even to those who use good prevention techniques. Thus, though incurring a RSS may seem like an unavoidable disaster to some, there are some simple things musicians can do to assure a developing RSS does not become a major issue. Indeed, employing early recognition and management strategies to address RSSs that do occur is important for the musician’s general and performance health (Lederman, 1995). Furthermore, properly addressing RSSs when they occur decreases both recovery time and the chance that the RSS will affect the musician’s performance for extended periods (Guptill and Azara, 2010).

Typically, the first indication that a RSS is developing occurs during a rehearsal session with pain in the affected body region being the initial telltale symptom that something is

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not right. At times, this initial phase of injury is associated with a feeling of muscle tightness and/or fatigue of the affected area as such injuries are commonly in response to overusing the body part. At this point, the musician should immediately stop performing and ask a few questions to access the situation with the goal of determining the root cause of the problem (Table 1).

Table 1. Questions to Determine Potential Repetitive Stress Related Challenges

Did I warm-up my muscles sufficiently prior to rehearsal? Am I holding my instrument correctly? Am I using my instrument’s harness or strap properly or do I need to add a harness or a strap to support my instrument? Is my posture correct or do I need to change position? Am I playing a piece of music that exceeds my current physical capabilities? Is my rehearsal too long? Is the rehearsal too intense? Have I taken adequate breaks during my rehearsal? Is it time to retire for the day?

Simply put, this is called “listening to your body” which allows the musician to make needed adjustments to rehearsal sessions to assure a burgeoning RSS does not become a major issue.

If modifying the activity or ending a rehearsal altogether does not address the pain and discomfort caused by playing, the musician should seek immediate medical attention from a qualified health care provider regardless of severity or type of tissue injured, as doing so will directly affect how well the condition heals. Thus, all musicians should become knowledgeable about available health care services where they live and work so proper medical treatment is assessable when needed. Certainly, this includes securing access to a primary health care provider prior to the need arising as it can take days, if not weeks, to get an appointment with a health care provider with whom a patient has no relationship (Guptill and Zaza 2010; Guptill, et al., 2005). Furthermore, a musician who seeks medical attention from a health care provider who has expertise in the field and who is knowledgeable about the physical and emotional demands of the musician would greatly benefit the performing artist (Guptill et al., 2005; Lederman and Calabrese, 1986).

CONCLUSION Musicians are at an increased risk of developing any number of RSSs that result from playing a musical instrument. Thus, musicians should become educated on those factors that place them at greater risk for developing such conditions. Furthermore, musicians should become familiar with the signs and symptoms associated with the most common RSSs that are connected to performance. Finally, musicians should understand and implement specific strategies to prevent RSSs from occurring and should not hesitate to seek early medical attention from a proper health care provider when experiencing the pain and disability associated with the onset of a RSS.

REFERENCES

Abréu-Ramos, A. M., & Micheo, W. F. (2007). Lifetime prevalence of upper-body musculoskeletal problems in a professional- level symphony orchestra. Medical Problems of Performing Artists, 22(3), 97-104. https://doi org/10.21091/mppa.2007.3022 Altenmuller, E., & Jabusch, H. C. (2010). Focal dystonia in musicians: Phenomenology, pathophysiology, triggering factors, and treatment. Medical Problems of Performing Artists, 25(1), 3-9. https://doi.org/10.21091 mppa.2010.1002 Chong, J., Lynden, M., Harvey, D., & Peebles M. (1989). Occupational health problems of musicians. Canadian Family Physician 35, 2341-2348. https://www.ncbi.nlm.nih.gov pmc/articles/PMC2280293/ Dawson, W. J. (1999). Carpal tunnel syndrome in instrumentalists: A review of 15 years’ clinical experience. Medical Problems of Performing Artists, 14(1): 25-29. Dawson, W. J. (2006). Playing without pain: Strategies for the developing instrumentalist

Music Educators Journal, 93(2), 36-41. https: doi.org/10.1177/002743210609300218 Frederickson, K. B. (2002). Fit to play: Musicians’ health tips. Music Educators Journal, 88(6), 38-44. https://doi.org/ 10.2307/3399804 Fry, H. J. (1988). The treatment of overuse syndrome in musicians: Results in 175 patients. Journal of the Royal Society of Medicine, 81(10), 572-575. https://doi.org/ 10.1177/014107688808101007 Guptill, C., & Zaza, C. (2010). Injury prevention: What music teachers can do. Music Educators Journal, 96(4), 28-34. https://doi.org/ 10.1177/0027432110370736 Guptil, C., Paul, S., & Zara, C. (2005). Treatment preferences of injured college student musicians. OTJR: Occupation, Participation and Health, 25(1), 4-8. https://doi.org/ 10.1177/153944920502500102

Repetitive Stress Syndromes ..., Toy, Owens, and Parchman, cont.

Hochberg, F. H., & Newmark J. (1987) Doctor, it hurts when I play: Painful disorders among instrumental musicians. Medical Problems of Performing Artists, 2(3), 93-97. Horvath, K. A. (2008). Adopting a healthy approach to instrumental music making.

Music Educators Journal, 94(3), 30-34. https://doi.org/10.1177/002743210809400307 Knishkowy, B., & Lederman, R. J. (1986). Instrumental musicians with upper extremity disorders: A follow-up study. Medical Problems of Performing Artists, 1(3), 85-89. Lederman, R. J. (1995). Treatment outcome in instrumentalists: A long-term follow-up study. Medical Problems of Performing Artists, 10(5), 115-120. Lederman, R. J., & Calabrese, L. H. (1986). Overuse syndromes in instrumentalists.

Medical Problems of Performing Artists, 1(1), 7-11. Lim, V., & Altenmuller, E. (2003). Musicians’ cramp: Instrumental and gender differences.

Medical Problems of Performing Artists, 18(1), 21-26. https://doi.org/10.21091/ mppa.2003.1005 Lockwood, A. H. (1988). Medical problems in secondary school-aged musicians. Medical Problems of Performing Artists, 3(4), 129-132. Ostwald, P. F., Baron, B. C., Byl, N. M., & Wilson, R. R. (1994). Performing arts medicine.

Western Journal of Medicine, 160(1), 48-52. https://www.ncbi.nlm.nih.gov/pmc/articles PMC1022254/ Shoup, D. (1995). Survey of performance-related problems among high school and junior high school musicians. Medical Problems of Performing Artists, 10(3), 100-105. Toy, B. J., & Healy, P. F. (2009). Primary Care for Sports and Fitness: A Lifespan Approach. F. A. Davis. White, J. (2017) Musician’s focal dystonia: Strategies, resources and hope. The Flutist Quarterly, 42(2), 26-35.

A FRESH TAKE: UNDERSTANDING AND EVALUATING FISHER TULL’S SKETCHES ON A TUDOR PSALM, 50 YEARS LATER BY JOSEPH LEITES

Fisher Tull (1934-1994) was an American composer from Waco, Texas. Tull earned all three of his degrees from the University of North Texas: a B. M. in music education (1956), a M. M. in music theory (1957), and a Ph.D in music composition (1965). Tull held faculty positions at Sam Houston State University in Huntsville, Texas beginning in 1957, including time as the chair of the music department from 1965 to 1982. His catalog of over 80 compositions includes works for orchestra, band, and chamber ensemble, but he is mostly known for his band works.

Though his body of work is heavily influenced by Medieval and Renaissance music, Tull used a wide range of rhythmic and harmonic exploration to foster a unique and intriguing compositional sound, which causes 78% of his still-printed repertoire to be considered a grade V or higher in the wind band repertoire1. Some of Tull’s other most popular works include Toccata (1969)2 , The Final Covenant (1979), and A Passing Fantasy (1992).

HISTORICAL CONTEXT As is alluded to in the title of this work, Tull’s Sketches on a Tudor Psalm draws inspiration from a sixteenthcentury setting of the Second Psalm by Thomas Tallis. In particular, the main melodic material comes from Tallis’ “Why fum’th in Sight”, a fourpart setting for SATB choir. This was made popular previously in Ralph Vaughan Williams’ Fantasia on a Theme by Thomas Tallis for Double String Orchestra (1910). Tull revisited the setting of this psalm found in the Episcopal Hymnal, which is the same version used by Vaughan Williams. He discovered some differences between this and the original setting done by Tallis, but the two settings largely contained the same harmonic content as shown in Figure 13 .

A point of intrigue, as discussed by the composer in his own personal recollection of the piece in 19774 ,

Figure 1

Joseph Leites is a Graduate Teaching Assistant at the University of Louisville, where he assists with direction of the university athletic and concert bands. He is currently pursuing an M. M. in instrumental conducting at UofL, where his primary supervisors and conducting teachers include Frederick Speck, Amy Acklin, and Jason Cumberledge. Prior to graduate studies, he earned a B. M. in Music Education from the University of Florida, where his primary supervisors and conducting teachers included Barry Hartz, Jay Watkins, and Chip Birkner.

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is Tallis’ frequent switch between resolving cadences in both minor and major instances. The concept of altering between tonalities even within the same phrase contradicts the late Renaissance and early Baroque practice of the Picardy third to resolve works of music that began in minor modes5. Transcribed up a semitone into the key of F, Tull’s realization reflects the inner voice movement from the minor tonality to the major tonality in the first measure of Sketches as depicted in Figure 26 , adding the major seventh scale degree in the lower voices.

Figure 2

STRUCTURE

Sketches on a Tudor Psalm is a singlemovement work, but stills has plenty of content due to its length of nearly twelve minutes. In order to determine the overarching thematic ideas of the work, it should be broken into sections: • Introduction, mm. 1-10 • Theme, mm. 11-87 • Variations, mm. 88-266 • Restatement and coda, mm. 267335 An important set of building blocks for the foundation of this structure is a grouping of motifs derived from the original hymn. These motifs are shown above center in Figure 37:

Figure 3 a minor third. An ostinato begins in the first clarinet, alto clarinet, bassoon and celesta; all have different

These motifs serve as the source material presented largely unaltered in opening thematic passages, and are then molded into multiple sets of variations during the middle section, weaving together into the closing statement of the piece.

INTRODUCTION The work begins with the brass and percussion performing the harmonic statement shown in Figure 2. This occupies the first three full measures, followed by an embellishment on motif 2 in the low woodwind (bass/ contrabass clarinet and bassoon) and low brass (baritone and basses). The motif as it appears in this instance is shown in Figure 48:

Figure 4 rhythms, with the aim to be a murky background to the first statement of the theme in m. 12 in a solo alto saxophone.

THEME The first main theme for Sketches is the first four motifs played in succession by a solo alto saxophone, in an attempt to mimic the unmetered nature of the source material. Tull achieved this by continuously switching time signatures between 5/4, 4/4, and 3/4. Following this solo, the next portion of the theme is presented in the horns, the melody of which comes from motifs 3 and 4. This dark, brooding moment is followed briskly by a more inviting sound as the final statement of this first theme subsection is rounded out by the

Woodwinds enter in m. 6, echoing the brass harmonic movement and followed by another iteration of motif 2, this time transposed down oboes and horns playing the melody found in motifs 5 and 6.

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33, in a fanfare shared by trumpets, trombones and percussion. This intermission portion from mm. 33-41 leads into a broader, more grandiose statement of the motifs in order. It is characterized by dense chordal construction in the brass with a new harmonic addition to the material in the woodwinds, and the theme reaches its peak in m. 56. The closing statement of the theme in its more elegant presentation decays into the sixth phrase, which is further decorated by a horn obligato statement that adds to the gentle nature of this moment.

The final subsection of the theme statement is a striking difference from the first 71 measures, a quasi-scherzo based on the fifth and sixth motifs in the upper woodwinds. With a marking of stesso tempo, Tull shifted to using rhythms more commonly found in 6/8 time, similar to techniques used by composers like Gustav Holst in his Hammersmith or Second Suite in F. This switch allows for the scherzando sensation to continue from mm. 72-80, with one measure of unison eighth notes that breaks this feeling in m. 78.

VARIATIONS The first allegro subsection of the variations is a hard departure from anything performed to this point. The percussion section plays jagged rhythmic interjections, which lay the foundation for the trombone section that presents similar content. A thematic variation is performed by the horns and echoed by the trumpets, in which Tull and modifies motif 1 using a 6/8 bar followed by a 5/8 bar, returning back to 3/4 time and expanding on the trombone figure by adding double tongue figures in the middle and high brass. This ostinato serves as a reflection of the accompaniment material found in the woodwind voices in the early statements of the piece. In m. 111, all B-flat and bass clarinets enter the texture and sustain in their low register, ultimately leading to a melodic statement that sounds as a retrograde inversion of motif 3, which is shown in Figure 59 .

Figure 5 dense harmonic texture across the ensemble into another fermata in m. 188. Another percussion interlude leads to a similar statement to the previous, this time with the melodic material transposed up a fourth. The thick, indistinguishable harmonic texture across the ensemble is further accentuated this time not with a fermata, but with a rhythmic accelerando leading into the downbeat of m. 200.

These thematic variations continue through to m. 150, the point in which the 6/8 - 5/8 alternation returns. The horns, baritone, trombone, cornet, and trumpet present variations on motifs 1, 1a, and 2, which are supported by the bass and contrabass clarinet, bassoon, and baritone saxophones in an extended version of the closing cadence in motif 1. This first set of variations from mm. 151-159 is followed by a pronounced woodwind feature. This cycle is almost directly replicated, and then the woodwinds once again take charge with another rhythmically motivated moment, moving into another percussion heavy transition section beginning in m. 177.

In the next variation, the main melodic idea performed by the cornets, horns and trumpets who present a triumphant statement into a fermata in m. 186, followed by a This downbeat begins the next set of variations, this time including material from motifs 2, 2a, and 6. Tull once again used 5/8 and 6/8, but without switching back and forth this time. The phrase begins with a two measure statement in 3/4 time of material from motif 6, followed by three measures of 5/8 with the same material being rhythmically diminished and passed up through the brass and saxophones until the downbeat of a 4/4 measure at m. 206. This variation is closed at mm. 210-211 with a final statement in the brass. The angular rhythmic material that is presented throughout the ensemble from mm. 212-238 is pulled from all of the different motifs, and leads back into a quasi-scherzo section imitative of the beginning at m. 239. Tull utilizes a similar technique of rhythmic diminution to begin the section after in a shorter span of time

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as the brass section plays the motif 6 material over the course of five quarter note pulses, which is followed by the upper woodwinds playing the same material in a single 5/8 measure. This figure is then repeated in an alteration of 5/8 and 2/4 measures, returning to the sporadic accents this time played in the upper woodwinds. Tull then transitioned out of this final variation by using the chimes to ring out material from motif 6 into the downbeat of m. 267.

RESTATEMENT AND CODA The final section of this carefully crafted work begins with the harmonic motif from the beginning of the piece from mm. 267-269, at which point a rhythmically augmented version of the whole theme is performed. This theme is not presented in its entirety right away; rather, it is broken into bite-sized motif statements. This material builds through a major rallentando into m. 298, where the mixed-meter chorale returns in a more dramatic iteration of itself. This thematic material continues through to m. 310.

The coda, based on material from motifs 1 and 3, begins at m. 311 with another scherzo that is even more reminiscent of the beginning of the work. It is characterized mostly by upper woodwinds and trumpets until m. 327, at which time the low brass returns with the opening motif 1 statement, driving to a percussion heavy ending in which a timpani solo drives into the final chord of the piece, a widely scored A major chord to finish this large-scale master work.

ARTISTIC MERIT Researchers have created a process, using ten criteria, by which to determine whether or not a piece has serious artistic merit10. Each study defines each part of this three word phrase: serious is described inasmuch “…as demanding earnest application, requiring considerable care and thought, sincerely motivated, important and significant,”; artistic is explained as “...conformable to the standards of art, characterized by taste, discrimination, judgment and skill in execution, satisfying requirements–modern dictionaries still giving the preferred definition of aesthetic as relating to a sense of the beautiful,”; and merit defined as “...a claim to commendation, excellence in quality, and deserving esteem.”11 The ten criteria presented for music to be judged against are (1) form, reflecting balance between repetition and contrast, (2) shape and design, with the impression of conscious choice, (3) craftsmanship in orchestration, (4) sufficiently unpredictable, (5) not direct and obvious, (6) consistent in quality, (7) consistent in style, (8) ingenuity in development, (9) genuine in idiom, and (10) transcendence of historical importance. Conductors can use these three ideas and ten criteria to evaluate whether or not potential literature is pedagogically fulfilling.

According to the most recent evaluative study completed, “...a composition must attain a score… of 80.0% and be rated by at least ten members of the rating panel.”12 In this context, Sketches on a Tudor Psalm received a score of 73.3%. This composite score was attained through a rating process designed in the first evaluative study in which 20 reviewers used a 5-point Likert type scale. These reviewers used a slightly altered version of the scale that read as such: “…0—The composition is not familiar, 1—strongly disagree that the composition meets the criteria of serious artistic merit, 2—disagree that the composition meets the criteria of serious artistic merit, 3—undecided as to the serious artistic merit of this composition, 4—agree that the composition meets the criteria of serious artistic merit, and 5—strongly agree that the composition meets the criteria of serious artistic merit.”13 For the sake of pedagogical validity there is reason to present an argument in support of Sketches on a Tudor Psalm in its standing as a work of serious artistic merit.

The subject of musical form in this context does not refer to a predetermined compositional process (i.e sonata allegro, rondo); rather, this concept of form implies a proper balance of contrasting ideas in the piece. For a single movement piece of this length, Sketches has a wide variety of content balanced throughout each section. The chorale style sections, the scherzando feel at varying points in the work, and the variations on each set of motivic material ensure that no one idea is repeated too frequently. It seems reasonable, then, to agree that Sketches would meet this criterion of serious artistic merit.

The next criteria in the list is the concept of conscious shape and design. Tull previously composed works using a theme-and-variations concept, so he took advantage of his skills in this area to develop his sketches on Thomas Tallis’ Tudor psalm. As the breakdown of the work in the “Structure” section shows, Tull’s purposeful distribution of motivic

material throughout the multiple sections is indicative of his conscious development of the musical content. The composer recounted in his own analysis of the piece: "In conclusion, I reassert my respect for all conductors who approach the score with the proper balance of scholarly intellect and musical instinct. In my opinion, there is no such thing as a single, definitive interpretation of any work; there is, rather, an ongoing collaboration between composer and conductor, both seeking a common goal. It is my hope that these comments encourage this objective."14

Through both his compositional actions and his words in prose, Tull shows his explicit intent for shape and design of his music. His in-depth description of this piece of music provides a direct connection to the composer and his original intent for the content of this work. For these reasons, Sketches meets this criterion of serious artistic merit.

For the sake of this kind of study, determining the level of craftsmanship in orchestration demands a further understanding of that phrase. For this instance, the evaluative studies define this criteria as “...the composer’s control over texture and color.”15 As is described in the “Structure” section, Tull makes use of so many different variations of ensemble sizes and groupings, and rarely uses the entirety of the score throughout the work. In fact, when looking through the score, a conductor can find exactly six pages that have full ensemble engagement: • Page 13: mm. 55-60, first full ensemble statement of motif 3 • Page 35: Large impact moment on fermata • Page 36: Another large impact moment on fermata, leading into next phrase • Page 54-55: Final chorale statement before the end • Page 59: Final chord of the piece

Throughout the rest of the work, there is a skillful dispersion of tutti and ensemble scoring in combination with smaller, chamber-like groups of players, even invoking the typical woodwind quintet scoring with the horn obligato in m. 62. So then, this work meets the orchestration criterion of serious artistic merit.

In order to contextualize the content of Sketches, it is important to dive into the background of the composers writing music at the same time as Tull. Works of this era, the late-1950s through the mid-1970s, “… resemble[d] a cubist painting more than a canvas from the 18th century: background and foreground simply run into each other willy-nilly, and tonal “progress” is hardly to be traced.”16 There is certainly a similar influence between Persichetti and Tull; Persichetti’s main influences as a composer were those of Igor Stravinsky, Bela Bartók, Aaron Copland and Paul Hindemith.17 Consequently, Fisher Tull’s primary composition teacher at the University of North Texas was Samuel Adler, whose own primary composition teachers included, at different points, Hindemith and Copland.18 This tonal unpredictability is clearly passed down over time through these different giants of the wind band compositional tradition. On top of the constantly shifting tonality, Tull uses a wide array of changes in time signature and varying rhythmic schemes to augment the sense of unpredictability over the course of this work. The unpredictability factor in tonality and rhythm certainly support the argument that Sketches meets this criterion.

The fifth tenet of serious artistic merit, “not direct and obvious”, could benefit from a little bit more background. In the each study, this concept is derived from another music scholar’s work, Leonard B. Meyer’s Music, the Arts and Ideas: Patterns and Predictions in Twentieth-Century Culture. To paraphrase, Meyer’s ideas strived to ensure that musical works of value that establishes tendencies and does not meet the most probable goals in the most direct ways.19 In the ways of establishing tendencies, Tull’s use of the theme-and-variations style lends itself in support. As the motifs drawn from the source material are performed in their entirety at the beginning and dispersed throughout, they become more legitimized through their different variations. In a more condensed version of this thought process, YouTube music educator and theorist Adam Neely popularized the idea that “… repetition legitimizes,”20 referencing the repeated rhythmic patterns in the first movement of Beethoven’s Symphony No. 5. With the repetition of motivic material and the previously mentioned unpredictability in tonality driving the musical content away from the most probable goals in their most predictable ways, this work meets this criterion of serious artistic merit.

The next two criteria deal with consistency as a central factor. This

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sixth criteria, consistency in quality, strives to ensure that no sections of a piece serve as trivial or harmful to the end goal of that work. This can be applied to symphonies or suites with multiple movements, as well as one movement works like Sketches. For this work, conductors can use the division of sections as delineated earlier to evaluate its consistency in quality. The musical content, as it has been described over the course of this analysis, does not appear at any point to truly dip in quality neither vertically or horizontally in the score, supporting the argument that this work meets the quality criterion of serious artistic merit.

The consistency of another aspectstyle-is next. This criterion aims to ensure that the composer avoids moving into passages in their work that serve as “…trivial, futile, or unsuitable…”21 Rather, the consistency of style ensures that the composer remains true to their original goals and treats their work with a sense of practicality moving from section to section over musical time. In this case, the theme-and-variations style is key. The purposeful use of different motivic materials to develop themes and concepts over time and eventually weave them together supports the argument for this particular criterion.

The eighth criterion of serious artistic merit, deals with ingenuity in development. This does not require a composer to invent new ways to write music. It instead asks evaluators to ensure that this work does not copy or closely imitate the works of other composers sharing similar styles. One comparable work to Sketches would be W. Francis McBeth’s Chant and Jubilo (1963). These works both draw inspiration from ideas in early music, with McBeth’s channeling even earlier ideas of early church organum than Tull’s use of psalmody. The difference between the two is the complex harmonic language and altering temporal sensations for the audience members. Another key concept to Sketches is the frequently-mentioned theme-and-variations style. However, this is a much different appearance of theme-and-variations than most would expect due to the extensive selection of motivic material Tull drew from. For this reason, Sketches has an argument to meet this criterion.

The penultimate criterion seeks to ensure that a work of the repertoire is genuine in its idiom. The definition provided by the authors of each study suggests: “There is much wind-band music which is permeated with melodic, and particularly, harmonic clichés, exuding the sound of commercial music while attempting to parage under the banner of artistic respectability…”.22 As the title suggests, Sketches on a Tudor Psalm is a collection of the composers ideas of “sketches” on the titular psalm, the source material being Tallis’ hymn that had later been used in the Episcopal Hymnal. Logic then suggests that with in harmonic and melodic ingenuity and Tull’s truth to his word in the title, this piece meets this criterion.

The final step in evaluation of serious artistic merit deals with the historical transcendence of the work. The evaluation of the first nine criteria should serve as an indicator of this work’s importance in the repertoire; the problem is that this is where the evaluation becomes somewhat complicated. The largest force working against Sketches on a Tudor Psalm in regards to its standing in the field of serious artistic merit is the wide body of material that encapsulates the rest of the wind band repertoire. In the twenty short years prior to the publication of Sketches, these are some of the pieces the entered the repertoire23:

• Paul Hindemith, Symphony in

B-flat (1951) -99.9, 99.0, 98.9 • Vincent Persichetti, Symphony no. 6, Op. 69 (1956) -92.6, 93.0, 88.9 • Ingolf Dahl, Sinfonietta for

Concert Band (1964) -98.9, 99.0, 97.8 • Aaron Copland, Emblems (1964) -80.0, 95.0, 93.3 • Karel Husa, Music for Prague 1968 (1968) -94.0, 100.0, 98.9 These works and their respective scores between the three studies present a challenge to a work like Sketches on a Tudor Psalm. This argument is also in no way an effort to disparage the knowledge and thought processes taken by the evaluators in each aforementioned study; rather, this serves as an individual case study on one piece in the repertoire. That being said, the consort of material that is musically gratifying for both conductor and student support the argument for Sketches as a work with valuable artistic merit. This work is certainly worth keeping in or adding to the library of a high school or college level wind band group and would greatly benefit all parties involved in its preparation and performance.

REFERENCE LIST

WRP Admins, “Fisher Tull”. windrep.org, last edited 20 July 2021. Tull, Fisher. “Analysis of Sketches on a Tudor Psalm.” In Journal of Band Research, 13(1) (1977). 20-27. Edited by James Neilson. Troy, Alabama. Dunnett, Ben. “Picardy Thirds.” Music Theory Academy. 20 June 2022. https://www.musictheoryacademy.com understanding-music/harmony/picardy third/#:~:text=What%20is%20a%2 Picardy%20Third,to%20create%20a%2 major%203rd. Tull, Fisher. Sketches on a Tudor Psalm. New York, NY: Boosey & Hawkes, 1972. Ostling Jr., Acton. An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit, Ph.D. diss., The University of Iowa, 1978. Gilbert, Jay. An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit: A Replication and Update, Ph.D. diss., Northwestern University, 1993. Towner, Clifford. An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit: A Second Update, Ph.D. diss., University of Nebraska, 2011. Goza, David. Coming to Terms with Persichetti’s Pageant. Arkansas Band and School Orchestra Association. https://www.asboa.org Resources/GozaComing_to_Terms.pdf Walker, Wayne. Vincent Persichetti. Walker Home School Blog. 1 December 2020. https://walkerhomeschoolblog.wordpress com/2020/12/01/vincent-persichetti/ Eastman School of Music. Samuel Adler. https:// www.esm.rochester.edu/about/portraits/ adler/ Neely, Adam. “Repetition Legitimizes – How not to suck at music #2”. YouTube. 7 August 2017. https://www.youtube.com\ watch?v=LlmTWlaWs_o. A Fresh Take ..., Joseph Leites, cont.

END NOTES

1WRP Admins, Fisher Tull, Wind Repertory Project. 2 Winner of the NBA Ostwald Award 3Fisher Tull, “Analysis of Sketches on a Tudor Psalm”, Journal of Band Research (re-engraved for publication) 4Ibid. 5Ben Dunnett, Picardy Thirds, www. musictheoryacademy.com 6Ibid. 7Fisher Tull, “Analysis of Sketches on a Tudor Psalm”, Journal of Band Research (re-engraved for publication) 8Fisher Tull, Sketches on a Tudor Psalm. New York, NY: Boosey & Hawkes, 1972. 9Fisher Tull, “Analysis of Sketches on a Tudor Psalm”, Journal of Band Research (re-engraved for publication) 10Acton Ostling, Jr, An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit, Ph.D. diss., The University of Iowa, 1978, 12. 11Ibid. 12Towner, 142. 13Ostling, 34 14Tull, 7 15Towner, 238 16David Goza, Coming to Terms with Persichetti’s Pageant. ASBOA Resources. 17Wayne S. Walker, Vincent Persichetti. walkerhomeschoolblog.com 18University of Rochester, Samuel Adler. esm. rochester.edu/about/portaits/adler 19Towner, 16 20Adam Neely, “Repetition Legitimizes” https:// www.youtube.com/watch?v=LlmTWlaWs_o. Aug 7, 2017. 21Towner, 17 22Towner, 19 23Each work is accompanied by its three respective scores, listed in chronological order, from the three evaluative studies (Ostling in 1978, Gilbert in 1993, and Towner in 2011)