Professional Documents
Culture Documents
The Influence of The Robert SH
The Influence of The Robert SH
This manuscript has been reproduced from the microfilm master. UMI
films the text directly from the original or copy submitted. Thus, some
thesis and dissertation copies are in typewriter face, while others may
be from any type of computer printer.
In the unlikely event that the author did not send UMI a complete
manuscript and there are missing pages, these will be noted. Also, if
unauthorized copyright material had to be removed, a note will indicate
the deletion.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
O rd e r N u m b e r 9324762
UMI
300 N. Zeeb Rd.
Ann Arbor, MI 48106
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
THE INFLUENCE OF THE ROBERT SHAW CHORALE, THE ROGER
A Dissertation
Presented to
the Faculty of
In Partial Fulfillment
by
May 1993
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
© Copyright by
1993
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPROVAL SHEET
(Chairperson)
A
/>
Date M f
mi
rmts
/fo v ;.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
To Susan
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE OF CONTENTS
Page
PREFACE....................................................................................................................... xi
Chapter
1. INTRODUCTION.............................................................................................. 1
Purpose of Study.................................................................................... 1
Subproblems .............................................................................. 3
Delimitations..................................................................................... 4
Basic Hypotheses.............................................................................. 5
Similar Studies.................................................................................. 7
Related Literature............................................................................. 9
Methodology .......................................................................................... 12
Collection of D a ta ............................................................................ 12
Treatment of D ata............................................................................. 15
Report of D a ta .................................................................................. 16
iv
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Chapter Page
Recordings ........................................................................................ 44
Sum m ary............................................................................................ 45
International Recognition............................................................. 53
Auditions and Rehearsals................................................................ 56
Distinctive Features.......................................................................... 59
Recordings ......................................................................................... 61
Sum m ary........................................................................................... 63
Vocal/Choral C onsiderations......................................................... 80
In n o v atio n s....................................................................................... 82
Recordings ........................................................................................ 84
Reviews................................................................................................ 85
Sum m ary............................................................................................ 86
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
vi
Chapter Page
Conclusion............................................................................................... 87
Mediums of Influence...................................................................... 99
Recordings ....................................................................................... 99
C oncerts............................................................................................. 102
Mediums of Influence.......................................................................119
Mediums of Influence.......................................................................138
C oncerts............................................................................................. 141
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
vii
Chapter Page
Perceived Influence........................................................................150
Conclusion......................................................................................... 155
Conclusions .............................................................................................158
Influence of the Robert Shaw C horale.......................................... 159
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
LIST OF TABLES
Table Page
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
ix
Table Page
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Table Page
38. Rl-Score Categories for the Gregg Smith Singers Compared
to Key Questions........................................................................................149
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
PREFACE
providing direction and careful scrutiny for the work. The guidance and
overseeing this project, but also for inspiration provided the author
and job pressures, these individuals took time to participate in the study. Their
input and insight served as the basis for the entire project.
Dr. David Cassady. Assistance in compiling accurate data for the discographies
the Gregg Smith Singers, and Dr. William Belan of the Roger Wagner Center
xi
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Finally, much love and humble appreciation are expressed to Susan,
Christopher, and Hilary-devoted supporters and tireless cheerleaders of the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Chapter 1
INTRODUCTION
during the twentieth century has been a major development in this country’s
musical life. Yet, there have been few in-depth studies of this phenomenon.
Many factors have helped define, shape, and mold the American professional
recording industry have had substantial impact upon the professional choirs
of today. However, the current status of professional choirs in this country
around the middle of the century. The influence of three such groups is the
Purpose of Study
choir development in the United States. The three groups around which this
project centers are the Robert Shaw Chorale, the Roger Wagner Chorale, and
the Gregg Smith Singers. Each of these organizations has an esteemed history
and is widely known for having made significant musical contributions. The
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2
Robert Shaw Chorale was active from 1948-1967 and received worldwide
acclaim for its concerts, including national and international tours, its RCA
Victor Red Seal recordings, and the level of perfection which the group
brought to each of these activities. Bom out of Shaw’s association with the
Collegiate Chorale of New York City in the early 1940s, it ceased to function in
1967 when Shaw found his new position as conductor of the Atlanta Symphony
Orchestra to be the sole focus of his energies.1 Roger Wagner founded his
chorale in the late 1940s, and the group remained active for more than four
decades. The Roger Wagner Chorale was also very productive as a recording
Smith in 1955, have, like the Shaw and Wagner choirs, toured extensively on
the national and international levels. In addition, the group has earned the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Subproblems
Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers. The
First, historical data for each of the three groups was sought in order
choirs) information which became the basis for assessing the influence of the
in this country.
interpreted.
the Robert Shaw Chorale, the Roger Wagner Chorale, and the Gregg Smith
Singers upon the American professional choir of the late twentieth century.
Definition of Terms
choruses, has more than one working definition for the te r m . 4 in this study,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
4
Delimitations
Shaw Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers upon
have been discussed in depth, nor have any other areas of activity relative to
professional choirs been addressed, except where such were associated with
This study of influence was based principally upon data solicited from
conductors of professional choirs that are members of Chorus America. 5
Basic Assumptions
Furthermore, this study assumed that the Robert Shaw Chorale, the Roger
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
5
Wagner Chorale, and the Gregg Smith Singers have been important
professional choirs and have been leaders in this medium of musical artistry.
Finally, it is assumed that if the work of the Robert Shaw Chorale, the
Roger Wagner Chorale and the Gregg Smith Singers has influenced the
Basic Hypotheses
This study has sought to provide evidence that the Robert Shaw
Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers have exerted
also has attem pted to identify the means by which any influence may have
Smith, or Wagner groups. Summarily, the goal of this study was to determine
to what degree, if any, the work of professional choirs today is indebted to the
development worthy of exploration and study. In the United States, there have
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
6
and conventions.^
professional choirs in the past sixteen years suggests that this stream of
of three significant groups upon the broader phenomenon. Because little has
been written concerning any aspect of professional choir history or
of Robert Shaw, Roger Wagner, Gregg Smith, or, more specifically, that of the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
7
Similar Studies and Related Literature
parallels to some degree that of this project; (2) published sources dealing
with a much broader scope of music history; and (3) a few sources specifically
Similar-Studies
dissertations that have been completed within the past thirteen years. Edward
Pierce’s “Julius Herford: His Life, Teaching, and Influence on the Choral Art
in the United States”7 is both similar in its conception and related to the
relationship with both Robert Shaw and Roger Wagner. Pierce not only
individual upon a broad discipline (choral art), while the study detailed within
these pages examines the importance and influence of three groups upon a
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
8
Earlene Brasher, deals with Shaw’s work after leaving the Robert Shaw
in Atlanta is not necessarily altogether different from his influence with the
Chorale. However, the present study has attempted to deal only with the latter.
parallels that of the present study. LeRoy Hinkle’s dissertation is the result of
directors and choristers. From the data, Hinkle identified the most meaningful
has discovered and highlighted influence (of three groups) by soliciting input
professional groups.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
9
both employed field study surveys in order to examine certain aspects of the
Related Literature
The New Grove Dictionary o f Music and Musicians,12 within the article
by James Smith and Percy Young on choral music, only briefly discusses the
study within the history of professional choir activity in Western music. The
America.
12James Smith and Percy Young, “Choral Music,” The New Grove
Dictionary o f Music and Musicians, vol. 4, ed. Stanley Sadie (London:
MacMillan Publishers, 1980), p. 357.
13James G. Smith and Thomas Brawley, “Choral Music,” The New Grove
Dictionary o f American Music, vol. 1, ed. H. Wiley Hitchcock and Stanley Sadie
(London: Macmillan Press, 1986), pp. 433-434.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
10
background for the proposed research. Hitchcock deals not just with so-called
art music, but also with those streams considered to be in the popular and folk
styles; e.g. jazz, rock, Broadway, and their mutations. In so doing, he affords a
developments and trends through the late 1980s. Practicality prevents the
inclusion of a comprehensive list of the many scholarly texts that treat the
history of music in America, but one more deserves attention because of its
Ray Robinson and Allen Winold, and Four Decades o f Choral T raining,^ by
Gerald Darrow. The Robinson and Winold volume is a standard choral music
choral art, including history, choral technique, score study, and performance
Ray Robinson and Allen Winold, The Choral Experience (New York:
Harper’s College Press, 1976).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
11
discussed, and certain specific groups (including the three that are the focus
of this research) are set forth in the “Rehearsal and Performance” chapter as
that not only were prominent during this era, but many of which also have
been im portant shaping forces for choral art in the late twentieth century.
choirs, including several by Shaw, Smith, Fred Waring, and Norman Luboff.
although dated (the most recent source is 1970), was valuable to this study as a
Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers were
considered primary data (and will therefore be cited in chapter 3), there is a
choruses in general or some specific aspect thereof. Paul Hill’s article for the
Choral Journal in April 1980 contains historical vignettes of twelve of the most
“An Interview with Vance George, Michael Korn, and Dale Warland:
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
12
many such articles in American Choral Review, Musical America, Etude, and
professional choruses.
The body of literature related to this study is not massive. Neither does
Methodology
Collection of Data
Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers was obtained
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
13
respondents evidence of any influences upon either (1) his or her personal
merit of professional choirs, current problems and concerns, and outlook for
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
14
Appendix A contains a copy of the instrument used to gather data for the
present study.
conductors to whom the research instrument was sent was obtained from
Administrative Director for the organization, whose assistance with the above
(more than two per part). Most groups with a membership less than nine do
not utilize a traditional conductor and function more like a chamber ensemble.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
15
persons who had not responded ten weeks after the first mailing.
Treatment of Data
establish a context for the contributions and influence of each of the three
the philosophy, emphases, and activities of each group and the influences that
Data garnered from the questionnaire were the most crucial material
of the project. Using a statistical program for c o m p u t e r , 25 the data were
to the Shaw Chorale, the Wagner Chorale, and the Smith Singers was
organized into tables, which should allow the reader to spot broad responses
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
16
conclusions regarding the overall influence of the Shaw, Wagner, and Smith
groups upon the professional chorus phenomenon. Free responses from the
survey, though not suited for analysis by the computer program, provided
Reporting of Data
Wagner Chorale, and the Gregg Smith Singers. Each is discussed individually,
including a concise history and an account of the work of each group. This
chapter, therefore, is an extension of chapter two with a focus upon the three
today, addresses certain problems of the project, and enumerates other aspects
of professional choir development that are worthy subjects for future studies.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
C hapter 2
United States. 1 The history of choral music has long been closely associated
with the church, and so it was with the early history of choral art in the
United States. In early Colonial times, when New England settlers were
understandably more concerned about survival in the New World than with
developing a musical culture, the singing of psalms and hymns at church was
the strong influence of Calvinistic theology upon the role and place of music
in the worship of the day limited most Protestant groups to the use of these two
appear until around the middle of the eighteenth century, when, as a result of
1James G. Smith and Thomas Brawley, “Choral Music,” The New Grove
Dictionary o f American Music, vol. 1, ed. H. Wiley Hitchcock and Stanley Sadie
(London: Macmillan Press, 1986), pp. 430-434.
17
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
18
around 1720.4 Singing schools, which were typically one to three months in
duration, were successful in developing a basic music literacy among
with an emphasis on singing in parts, but the lessons also included vocal
production, style, and deportment. Eventually, a four-note solfege system
notation taught singers to recognize the solfege syllable (and scale degree) by
the shape of the printed note head rather than by its placement on the staff.
were just as important for their social dimension as for musical education.^
4Ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
19
They provided a worthwhile reason for people to assemble and planted the
seeds for vocal music to move beyond the parameters of the church service.
years, becoming the forerunner of both church and community choirs (often
one and the same), and eventually public school music programs, which
emerged in the 1830s.?
later wrote patriotic songs and a small number of “fuging tunes,” a type of
and generally furthered the interests of church music and choral singing. 10
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
20
promote a more refined and genteel approach to music than was produced by
the singing school. 11 They preferred and fostered musical styles that were
Even in the South, where shape-note singing had become enormously popular,
incorporated music education into the curriculum of the Boston public school
wherein every child was taught to sing and read music. 13 He also founded
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
21
century America reached well beyond choral music to almost every aspect of
music in our society. Hence, scholar Gilbert Chase has called him
" . . . the strongest, the widest, and the most lasting . . . ” influence on the
divergence between the trained choir and the congregation. 16 In the 1830s,
contained dignified and artistic hymns of the day; the other had camp-
twentieth century. While the churches of New England were singing metrical
psalms and hymns, rural southern churches tended to prefer what Hitchcock
the same time, singing school teachers were still using the English-
English anthems, and the American Moravians were composing and singing
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
22
Ephrata Cloister and the Shakers, Moravians influenced the choral art in a
composers of sacred music in America until the end of the nineteenth century.
Their anthems were extended, concerted pieces which exhibited the influence
this country. For example, they were responsible for the first American
Hence, they not only kept a strong connection with music of the European
masters, but also, through compositions of their own, contributed some of the
in the nineteenth century, however, the principal arena for the development
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
23
of choral music shifted from the church to the school and the am ateur choral
society. 2 2
appear in America. The most important of these was arguably the Handel and
Haydn Society of Boston ( 1 8 1 5 ).23 The general purposes of these groups were
(1872), the Oratorio Society of New York (1873), and the Bethlehem
(Pennsylvania) Bach Choir ( 1 9 0 0 ).24
the English, also became popular. Originally all male and principally social in
purpose, glee clubs evolved into large, mixed choruses which performed
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
24
began as a small, all-male glee club in 1872 and developed into a major
(1873), the Mendelssohn Society (Chicago, 1858), and the Mozart Society (Fisk
University, 1880) were among the most significant. Festival choruses also
gained popularity and importance, with the Cincinnati May Festival, the
Handel and Haydn Society Festival (Boston), and the Worchester Festival being
among the most noted.27 As experienced singers, singing societies, and choral
existed primarily for social reasons. They sang at alumni activities and
sometimes went on tour to publicize their s c h o o l . 29 in the second half of the
The University of Michigan and the University of Wisconsin were among the
earliest academic institutions to sponsor choral unions of this type (1860 and
27ibid.
29lbid., p. 20.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
25
black spiritual by touring both in the United States and in Europe.31 The
program m ing.
im portant collegiate choirs: the St. Olaf Lutheran Choir, established in 1912 by
St. Olaf and Westminster groups was so prominent that two specific schools of
32Noble Cain, Choral Music and Its Practice (New York: M. Witmark
and Sons, 1942), pp. v-viii.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
26
for the a cappella movement, a title that has been used by scholars to describe
excellence during this period. Having flourished in the 1930s, the movement,
in its purest form, began to decline after World War II when professional
choirs such as the Pennsylvanians and the Robert Shaw Chorale started
standards and featured a genre of literature and style of singing that had been
professional choirs and professional choral singers in the United States. The
first choir to be called “professional” in this country was the Musical Arts
Society of New York City, a group of seventy expert singers founded by Frank
Damrosch in 1893. By the strictest definition, the Musical Arts Society was
probably not a professional chorus (all personnel paid), but rather a semi-
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
27
included the Choral Art Society of Boston (1902), the Cecilia Choir of Pittsburgh
(1932), the Madrigal Club of Chicago (1900), and the Schola Cantorum of New
York City ( 1 9 1 2 ).38 Two choirs of African-American singers, the Eva Jessye
Choir (1927) and the Hall Johnson Choir (1930), are believed to be among the
first functioning, truly professional choirs in the United S ta te s . 3 9
no chorus was better known for broadcast performances than Fred Waring’s
Chorale and, later, the Gregg Smith Singers, followed the Waring example as
television.
promote the art of choral singing to the general American public. Moreover,
Robert Shaw, founder and conductor of the Robert Shaw Chorale and today
widely regarded as perhaps the foremost choral conductor in the United States,
3 8 lb id .
40ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
28
different types of choruses. Waring and his followers were oriented more
United States have been and are oriented more toward the classical tradition in
choral literature. Examples of this type of group include the choirs of Shaw
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Chapter 3
which form the focus of this study, it is essential to consider the background
and historical context of each group. This project has assumed that the Robert
Shaw Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers have
been im portant and influential professional choirs. Chapter three will address
choirs’ influence.
The Robert Shaw Chorale was founded by Robert Shaw in 1948 using
community chorus that Shaw had established in New York City in 1941.1 The
Collegiate Chorale had developed a reputation for being one of the most
music critics and musicians such as Arturo Toscanini, the Collegiate Chorale
29
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
30
new works. ^ Louis Biancolli of the New York World-Telegram wrote in 1943,
“Given the time, the place, and the music, young Robert Shaw’s Collegiate
Chorale will walk off with top vocal honors anywhere in town these d a y s . ”3
percent, but usually numbered around 200 singers.4 By 1948, however, Shaw
work year round and have more flexibility. The impetus came that year when
from the “small choir” of the Collegiate Chorale, and the Robert Shaw Chorale
was born. 5
Robert Shaw had not intended to be a choral conductor. Bom April 30,
1916, the son of a California minister, he planned to continue the legacy begun
father’s alma mater) in 1934 to study literature and philosophy toward this
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
31
end. As a student at Pomona, Shaw sang with the college glee club and directed
a local church choir. Participation in these groups and one year of music
in the glee club, however, he was asked on one occasion to fill in for the
director of the group, who had become ill. Later, when the glee club director
was scheduled for a year’s leave of absence, the administration asked Shaw to
assume the director’s position for the interim. ^ That year (1937) Warner
Brothers film makers came to Pomona to shoot scenes for its upcoming release,
Varsity Show, and popular chorus master Fred Waring and his Pennsylvanians
attended a banquet for which the Pomona Glee Club, under the direction of
Robert Shaw, provided the entertainment.^ Impressed by both the chorus and
Though he did not accept the offer immediately, in 1938 Shaw went to
New York to work for Waring. He auditioned and prepared a male chorus for a
new weekly radio series, and later reorganized and became director of the Fred
Waring Glee Club. 10 After seven productive years, Shaw stopped working for
Waring in 1945 in order to pursue his own programs, chief among which at
the time was the Collegiate Chorale. H Shaw continued his association with the
6 Yearbook, p. 368.
10Yearbook, p. 368.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
32
Collegiate Chorale until the demands of personal study, touring with the
exceptional group. At that time, there were only a few American choruses that
could be classified as professional. All of these, with the possible exception of
seemed to prefer “group acts” with a distinctive "trademark" that would help
fill the concert halls and thereby be less of a financial risk. 13 Touring
professional groups of the day like the Don Cossack Chorus (Russian music),
the Trapp Family Singers (Austrian folk music), the De Paur Infantry Chorus
Choir all had this type of unusual characteristic feature, which concert
card was its sound and its overall excellence in choral musicianship.
singers. The repertoire included both sacred and secular choral masterworks,
series notwithstanding, the focus of the group’s activity was its tours and
12Ross Parmenter, “The World of Music: Aspen People Pitch In,” The
New York Times, Sunday, September 12, 1954, sec. 2, p. 9.
l^lbid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
necessity and not a lu x u ry . 16 Therefore, he was determined to have the Robert
Shaw Chorale “take the music to the m a s s e s .”! ^ The tours accomplished this
objective forthrightly.
for the newly-formed Robert Shaw Chorale, which was already scheduled to
embark upon its first tour in the Fall. *8 This auspicious beginning of the
as “an exercise in faith and perserverance” on behalf of both Shaw and the
management agency which handled the Chorale. 19 As stated above, the chief
concern was whether or not a tour by the Robert Shaw Chorale would be
it was a success, thanks largely to the way in which Walter Gould of Davidson
Management Agency promoted the Chorale and prepared each location for
their visit. The group battled fatigue to sing thirty-eight concerts in forty-
three days, traveling from the eastern United States through the Midwest, the
South, and then back E a s t.^ O Reviews were inundated with superlatives
17 Yearbook, p. 369.
l^Ibid., p. 87.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
34
describing the group’s tonal quality, dynamic range, balance, attack, diction,
and stylistic sensitivity.^ 1
Also in its first season, the Robert Shaw Chorale presented a six-
concert radio series during Lent of 1949 entitled, “The Music of Penitence.”
programs were sacred classics of the masters from the Renaissance to the
lengthy tour (only four weeks) through the upper East and M i d w e s t . 23
Within two years, the Robert Shaw Chorale was considered “one of the
hottest ensemble attractions in the music b u s i n e s s . ”24 The second season
brought two more tours—a long one in the Fall (sixty-one concerts in seventy
days) and a shorter one in the Spring. Shaw’s programming, because of its
ingenuity and eclecticism, became the topic of much discussion. Most music
critics liked it, but some felt that the lighter pieces detracted from the
effectiveness of the overall p r o g r a m .25 shaw has stated that a good concert
program
23ibid., p. 95.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
35
The next three tours of the Robert Shaw Chorale, in 1951 and 1952,
featured the Mozart Requiem as the first half of the program. Therefore, Shaw
had to augment the chorus with a small orchestra, as was to become his
frequent practice in succeeding y e a r s . 27 These tours were extremely
During the Spring of 1952, Shaw and the Robert Shaw Chorale were
Carnegie Hall. Called the “Choral Masterwork Series,” these concerts were
scheduled for seven Sunday evenings from January through May and were
Josquin to Dello Joio were to be performed, among which was to be the Bach
29ibid., p. 101.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
36
Mass in B Minor and Cantata No. 4 (Christ lag in Todesbanden), the Beethoven
Missa Solemnis, Haydn’s The Creation, and the Mozart Requiem.30 it was to be
the first time that the Robert Shaw Chorale had performed in New York.31 and
the United States premiere of Bartok’s The Enchanted Deer, was hailed as a
success even though the critic for Time Magazine desired more spontaneity in
the Chorale’s p e rfo rm a n c e .3 3 The same critic stated that Shaw has proved “he
now has one of the most highly trained and carefully blended chorus-and-
orchestra combinations in the w o rld . ”3 4 Ticket sales for the series could not
recoup expenditures, however, and only six of the seven planned concerts
and last concert of the series was hailed in Musical America as “perfection . ..
comparable a b il i ty .”3 6 Assessing the import of the series, Music Critics Circle
34jbid.
35“Bob Shaw’s Music,” p. 56.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
37
The choral art has been raised to a more dignified level, where skill and
devotion are more nearly in balance. This gives courage to those who are
composing today as well as to those who make music in the lower reaches
of the amateur endeavor . . . the course of choral practice consistent with
our times has been set. Let’s hope the resources will be available for
another series next year.37
A series was planned for 1953, but it never m a te ria liz e d . 3 8 The Choral
Singers for the Robert Shaw Chorale were selected through a rigorous
audition process. Seeking voices that were “solid, strong, true, and beautiful,”
don’t think the Robert Shaw Chorale could ever have been made except out of
involve the individual’s singing an aria, an art song (lieder, if possible), and
replace singers who would leave the group to further solo, operatic, or
^^This is a quote from a letter to the editor of the New York Times. It is
cited by Mussulman in his monograph, Dear People. . . Robert Shaw, p. 106.
4 1 Ib id .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
38
occasion, the group carried three different concert programs on the same
tour. This was difficult, according to Shaw, not only because it required the
most rehearsal time, but also because it would sometimes be three or four tour
music because of Shaw’s contention that inspiration can be drawn from the
printed p a g e . 43
Believing it to be the fastest way to teach notes and polish, Shaw would
devote about half of the alloted rehearsal time to sectional re h e a r s a ls .4 4 He
was known for working the singers relentlessly. Often, after a cordial
greeting and a few body-limbering exercises, he would delve into a two-hour
rehearsal without a b re a k .4 5
season, its popularity had grown such that every concert was a sellout. The
Fall tour lasted ten weeks, the Spring tour s ix .4 6 The next season included a
seventy-day Fall tour (1 9 5 5 ) and a Spring tour which has been called “one of
42 ibid.
43 ibid.
44ibid.
45Less, Joy To The World.
46“Shaw Chorale Winding Sock Season with 240G Take for 16-Week
Tour,” Variety, (March 30, 1955), 68. Also, Mussulman notes that the Fall tour
included 60 concerts and the Spring tour 30.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
the longest and most difficult tours ever attempted by so large a g r o u p . ”47 it
was part of the State Department’s cultural exchange program, which sent the
Chorale to Europe and the Middle East for ten weeks, including fifty concerts
in fifteen c o u n trie s .4 8 in Germany, the Berliners “would have stayed until
concerts “. . . were of a nature that had no precedent in the musical life” of the
country, and filled the State Opera House despite very high p r ic e s .5 0 in
London, the Chorale “scored great and deserved s u c c e s s . ”51 In Israel, where
surprising then that, following such a frenetic season, and with Shaw’s new
appointment, the Robert Shaw Chorale suspended operations for two years.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
40
Rhapsody. 55 jn i960, the tour program was the Mass in B minor. Performing
the opportunity to take this great work on tour the fulfillment of a personal
winter of 1961, the group conducted a seventy-one day tour of the West Coast.
The following year, the Chorale embarked upon a forty-nine day tour with the
St. John Passion, the first time this work had been sung on a nationwide
to u r. 5 9 Musicologist Paul Henry Lang, in the New York Times, chastised the
One of its most significant tours occurred in 1962, when the Robert
55ibid., p. 144.
56lbid.
59Alfred Mann, “On a First American Tour: Bach’s St. John Passion,”
American Choral Review, 4 (April 1962), 1-2.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
41
program, performed in Yugoslavia, West Berlin, and the Soviet Union. The
group’s sixty professional musicians, which included instrumentalists,
overflowing house, many persons having stood in line for two days just for the
opportunity to stand at the c o n c e r t.6 3 This tour has been interpreted by Shaw
striking a blow for freedom within the Soviet Union, and, because the Mass in
B Minor was broadcast nationwide at the final concert, revealing that the
Soviet people were not the atheistic heathens many Americans had believed
them to be. 6 4 Norman Nadel, in the New York World-Telegram and Sun, wrote,
“The tour (to the Soviet Union) was a musical, diplomatic, and spiritual
him one of the most memorable experiences of his career. During the Moscow
performance of the Mass in B Minor, the applause was extended, even after
several encores. Finally, Shaw bowed out and went to the dressing room. An
hour later, as he walked across the stage to exit, he discovered the audience
66Helen C. Smith, “The Genius and Heart of Robert Shaw,” The Atlanta
Journal/The Atlanta Constitution, Sunday, December 1, 1991, sec. K, pp. 1-3.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
42
There were more tours in 1963 and 1964--one in the eastern United
States, one in the Midwest, and one more for the State Department, this time to
South A m e ric a . 67 Despite worldwide political tensions due in large part to the
The final two tours of the Robert Shaw Chorale were in the Spring of
1966 and the Spring of 1967. The 1966 tour was six weeks in duration and
meaning in the music was heightened by the Civil Rights Movement and its
The 1967 tour was the final one for the Robert Shaw Chorale. The
69lbid., p. 162.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
43
century, and the Chorale was "perhaps the most proficient group of [Shaw’s]
c a r e e r . ”? !. Donal J. Henahan of the American Choral Review wrote, “If this
generally praised such things as the group’s tone, diction, clarity, and power.
The Chorale was said to possess the ability to combine the artistry of a chamber
chorus with the impact of a mammoth singing group.? 3 Not all reviewers had
exclusive praise for Shaw’s group, however. The Choral and Organ Guide, in
April of 1953, characterized his work as “cold, dry and inspired by nothing but
a fiendish sense of pure rhythm. ”?4 Other critics took issue with Shaw over
?2Ibid., p. 56.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
44
inestimable. On tour with the Chorale to numerous small towns in forty of the
the opportunity to choose between bad and good, or good and great, the public
will make the best choice. There is evidence that he was correct. Mussulman
notes that
Recordings
foremost reason for the popularity of the Robert Shaw Chorale.7^ Throughout
its existence, the Chorale was featured on RCA Victor’s Red Seal and operatic
and Carols, Deep River and other Spirituals, Great Sacred Choruses, etc.) were
perhaps more popular, the Robert Shaw Chorale premiere recordings and
those of major choral works probably had the greatest impact. Premieres were
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
45
released of Bach’s Magnificat, Jesu, Meine Freude, several cantatas, the St.
John Passion, Hindemith’s Six Chansons, Poulenc’s Petites Voix and Gloria,
Brahms’ German Requiem, and o t h e r s . 80 Releases of other masterpieces by
Grammy awards were bestowed upon the Chorale for the 1961 release of the
Mass in B Minor, the 1966 recording of Messiah, and the 1964 recording which
contained Stravinsky’s Symphony o f Psalms and Poulenc’s Gloria. 82 jn the
late 1950s, recordings of the Robert Shaw Chorale were among the best-selling
albums in any category of rn u s ic .8 3 Some of these albums are now being re-
format.
Smnmary
The nineteen years of existence for the Robert Shaw Chorale yielded
achievements and accolades that impacted not only the world of music but also
social and political spheres. Called “a national asset in public relations,” the
80Mussulman, Dear People, pp. 164-165. The Brahms Requiem had not
yet been recorded in its entirety. The same year in which the Shaw Chorale
released its recording of the Requiem (1948), a recording by Herbert von
Karajan and the Vienna Philharmonic was released almost simultaneously. It
is unclear from the Mussulman monograph whether the recordings
mentioned above were all world premieres or United States premieres.
81 Yearbook, p. 370.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
46
In an era when the United States was constantly in the world news due to
racial tensions and the Civil Rights Movement, the Russian and South
American people were surprised to discover that the Chorale had African-
American members. 8 5
literature covering five centuries of choral music, the group helped heighten
the interest of the general public in artistic choral singing and worthwhile
choral literature.
The Robert Shaw Chorale served as training ground and vehicle for
leaving the Chorale, have had notable music careers with far-reaching
effects. Kopleff, who was a featured soloist on many Chorale albums (and with
“prescription chorus,” the Shaw Chorale was basically a group that was
84 Yearbook, p. 369.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
47
Shaw’s dream for many years had been to establish a resident professional
chorus, his goals were changed after he accepted the position as conductor of
the Atlanta Symphony O r c h e s tra .8 8 Nonetheless, the Robert Shaw Chorale
founder/conductor Roger Wagner changed the name of the choir to the Roger
Wagner Chorale, but it was not until 1949, according to charter member Paul
chorus. With a membership of about fifty voices, the Roger Wagner Chorale
was employed to record the soundtrack for Joan o f Arc, a motion picture
gain wide recognition in America and worldwide for its virtuosity and
versatility.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
48
training from his father, who was for a time organist at the famed cathedral of
D i j o n . ^2 w hen the younger Wagner was seven years old, his family
immigrated to the United States, settling first in upstate New York and then in
Los Angeles, C a l i f o r n i a . 93 At the age of twelve, Wagner received his first
began to realize his gift for hearing and blending voices. He states:
I realized at that time that my father could not hear voices as I heard them.
There was a tenor in his choir who stuck out like a sore thumb and it
annoyed me terribly, even at my age. I used to ask my father, “Pappa, why
do you keep this tenor? He has a terrible sound!” He would answer, “What
tenor?”96
92w illiam Belan, “An Interview with Roger Wagner,” The Choral
Journal, 32 (August 1991), 7.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
49
temperament and love for music soon compelled him to leave the monastic life.
He returned to France in 1932 to pursue music more intently. Over the next
five years, Wagner studied organ with Marcel Dupre, completed detailed
research in liturgical music at a Benedictine abbey, and finished his
three he was hired by St. Joseph’s Catholic Church. In addition to his duties as
in the church’s grammar school and coaching the basketball and football
and male altos instead of women, and began a series of annual concerts for
Largely because of these concerts, Wagner was asked to become the Supervisor
of Youth Choruses for the city of Los Angeles’ Bureau of M u s ic . 100 w as
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
50
while working in this capacity that he formed the small group that developed
into the Roger Wagner Chorale. 101
Chorale, building on the foundation laid by the Los Angeles Concert Chorale,
group sang a concert that was reviewed in the Los Angeles Examiner two days
later as follows:
With lovely old St. Joseph’s Church as a setting, Roger Wagner last
Sunday night conducted his Chorale of mixed voices, augmented by the St.
Joseph Male Choir, in a program of the most beautiful choral singing I
have heard in many years.
Perhaps I should simply call it the most beautiful choral singing I
have heard; because beyond supreme technical and tonal merits, it had a
mood of exaltation that visits itself rarely upon choruses, or upon
individuals, for that m atter . . .
Wagner has achieved a style and tonal quality that is
depersonalized without being dehumanized. He has avoided the operatic
emotionalism that besets some choral groups, and the prim pallor that
besets still others. There was no tremolo, no shrillness, no rigidity in the
ensemble, and there was a welcome accuracy of pitch, attack and
execution. ..
The church was filled to its limits, and hundreds had to be turned
away. Perhaps means can be found whereby Wagner, who has given new
life to choral singing in Los Angeles, may be enabled to bring this
program to other audiences. 102
Wagner’s Chorale also made its first appearance with the Los Angeles
the direction of Alfred Wallenstein. This concert became the first of many
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
51
active first year as a professional chorus, the Roger Wagner Chorale also
performed for the first time at the Hollywood Bowl, establishing what became
am phitheater featured styles of music with broad appeal, ranging from the
Messiah of Handel to songs by George Gershwin. 104 jn addition, the schedule
embarking upon its first European tour. 106 Wagner took twenty-four singers
to Amsterdam, France, and England, with concert sites that included the Hague
and Paris’ Salle Gaveau. The Chorale was also heard in radio broadcasts over
Radio Paris, Dutch Radio, and the British Broadcasting C om pany. 107 a focal
point of the tour, however, was the coronation festivities of Queen Elizabeth II,
for which the Roger Wagner Chorale had been invited to perform in London’s
Royal Festival H a ll. 108 These events gained international recognition for the
104jhid.
106ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
52
more concertizing, and more recognition. The group was lauded for
Carl Orffs Carolina Burana with an expanded chorus and the Los Angeles
Philharmonic Orchestra, and a performance of the the Bach Mass in B Minor
at UCLA. 1^9 The latter featured a formation in which choral and instrumental
forces were intermingled, forming one large mixed unit of performers on the
The 1955-1956 season marked the tenth season of the Roger Wagner
featuring the Roger Wagner Chorale, the Los Angeles Philharmonic, and
1 lOlbid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
53
Also, in 1956 the Chorale embarked upon its first national tour, which included
Debussy, Brahms, and premieres of works by George Antheil and Lukas Foss,
Those who braved New York’s worst snowstorm since 1948 to hear the first
local concert by the famed Roger Wagner Chorale were amply rewarded.
The Chorale lived up to its reputation as one of the finest singing
aggregations in the country. . . . The Chorale sang throughout the evening
with marvelous precision and balance, with variety and beauty of tone
combined with finely shaded dynamics, and with perfect intonation and
excellent diction.! 15
International Recognition
In 1959, and again in 1964, the Roger Wagner Chorale was selected to
Exchange Program, the Chorale was hailed in the country’s major cities and
H^Ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
54
those of South America for their “inspired tone, diction, and real
m usicianship.”! 17
The first of nine tours to Japan transpired in 1965, and the most recent
Chorale and the Japanese has caused Wagner to say that today the Chorale is
“better known in Japan than . . . here in the United States.”! 19 in 1966,
the Chorale received a very high honor, as it became the first non-Italian
choir in twenty-five years to gain an audience with the Pope. They performed
for Pope Paul II in the famed Saint Peter’s Basilica.!21
British rock music group Pink Floyd on a few of the latter’s concerts in
London and on the West C o a s t. 122 in an interview for The Choral Journal,
Wagner suggested that some of the rock-influenced music has value as an art
H^lbid., p. 14.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
55
and Carnegie Hall in New York, Previn said, “I can say in all honesty that I’ve
world.”125 Later in 1986, the group made its eighth tour of Japan, which
The final Japanese tour for the Chorale was in 1988, during which Wagner led
the group despite serious health problems.127
The Roger Wagner Chorale has been advertised as “one of the best-
known choruses in America, with a repertoire spanning the c e n tu rie s .”1 28
In fact, the group has enjoyed an esteemed existence, for a time purportedly
123ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
56
function on a less active basis into the 1990s, 130 but eventually suspended
The size of the Roger Wagner Chorale typically ranged from twenty-
four to thirty singers. However, the group always maintained the capability to
expand to as many as two hundred fifty-five voices, should the needs of the
music justify it. 131. Singers were auditioned and selected by Wagner based on
vocal quality and the degree to which the conductor believed the voice to be
compatible with others in the e n s e m b le . 132 Wagner once enumerated, in
members. First was musicianship (or reading ability), then the quality and
and “a willingness to accept advice” are examples of the la tte r. 134 Wagner
stated, " . . . I feel that the attitude of the singer is terribly important.
unduly proud and who feels that he or she has done everything. I wouldn’t
130ouring its later years, the Roger Wagner Chorale existed mainly as
a prescription chorus (see Summary of Shaw Chorale discussion, p. 50.) and an
auxiliary of the Los Angeles Master Chorale, another professional chorus
founded in 1964 by Wagner.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
57
use that person at a l l . ”135 L ik e Robert Shaw, Wagner sought only the finest
talent for his chorus, but he seemed a bit more wary than Shaw regarding the
use o f “soloistic” voices. Among its former members, the Roger Wagner
Chorale boasts such outstanding solo vocalists as Marilyn Horne, Carol Neblett,
. . . there are those who can not or will not fit in an ensem ble setting. In
this case, it is necessary to replace them. It is much more important to
keep the entire ensem ble sound than to hold on to one singer. I have
strong feelings about this subject and make no compromises. 136
m y choir,” he once said, and mediocrity was never to le ra te d . 137 His abrasive
dem eanor was the reason for some singers’ departure from the Chorale. In
later years, however, he softened his approach. “There was a time when
intim idation was a regular part o f my behavior. That came from immaturity.
When you can’t get what you want, you get mad at people. But I don’t do that
Wagner’s charisma and com petitive spirit, however, were reflected in Chorale
performances, and his ability to find and emphasize the drama in a piece of
136ibid., p. 35.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
58
Flexibility and Programming
One of the reasons for the endurance and success of the Roger Wagner
Chorale over the past four decades was its flexibility. 140 in addition to
flexibility in size, the group has been recognized for its ability to perform a
wide variety of musical styles with equal skill. Whether singing the music of
excelled. Their success in television and movie music, appearances with major
mixing choral and instrum ental forces together into one performance unit,
attem pting a choral piece based on rock music, and interspersing the voice
In all cases, I feel that one should not mix up a program so that it becomes
a Caesar salad. I’m old-fashioned about the tour program. I believe in
doing the early music first so that in a sense the music develops in the
program chronologically. I’ll always start with Gregorian, for instance. I
don’t believe in a big opener because I don’t think that the concert is the
place to warm up your choir. . . . I start, for example, with a unison Ave
Maria. Then I use the Vittoria setting of that Gregorian chant. People
receive it very well. I then may go into two more religious Renaissance
pieces: Palestrina, Gabrieli, Sweelinck, or whatever. Next I go into the
secular pieces of that period such as Passereau. . . . I then try to follow that
with a Baroque number—something by Bach. . . . We finish the first half
with a major work. From Bach I can go very well to the Vaughan Williams
Mass in G Minor. The big problem is the second half. I will often begin
with something like the Debussy or the Ravel Three Chansons. I have
found that Contemporary and early music go together very well. The
difficulty is with the Romantic. But I can follow the impressionistic songs
with the Op. 52 or Op. 65 Liebeslieder Waltzer of Brahms. Then, whether
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
59
people agree with me or not, I still think that spirituals constitute a very
im portant part of the choral a r t . 141
Distinctive Features
the Requiem by Gabriel Faure. A Roger Wagner Chorale specialty, the Faure
Requiem has been performed by Wagner’s group on more than one thousand
o c c a s io n s . 143 Despite Wagner’s proficiency with instruments, many
musicologists and critics maintain that the Chorale was at its best when
understanding of arsis and thesis he imparted to the c h o ir. 144 At its best, the
going motion, a restrained intensity, and choral music that was exhilarating.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
60
For a performance of the Durufle Requiem, one critic suggested that the
singing “had the pallor of casket velvet--it was as slick and unmystical as a
genteel stock greeting card.” 150 Sometimes, the choice of literature was
criticized. 151 Overall, however, judgments such as “easily the finest chorus
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
61
Recondin&s
The recording career of the Roger Wagner Chorale was launched in
1951, after a reviewer for the Los Angeles Examiner, Patterson Green, praised
invitation from Capitol Records for the Chorale’s first recording, Palestrina’s
Missa Papae Marcelli. 154 Thus began the Wagner Chorale’s distinguished
song settings and contemporary works. In addition to Capitol, the group has
recorded under the labels of Angel, Gregorian Institute, CRI, Lyrichord, Delos,
Wagner Chorale placed several albums among the record company’s “top ten
best-selling volumes” during the 1950 s. 1 5 5 The Joy to the World album became
a gold record, selling over 500,000 copies and being distinguished as the top
selling album in Capitol’s classical d iv is io n . 1 5 6 jn 1953 the Chorale’s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
62
New World 1550-1750 was produced in conjunction with the Latin American
As for the recording itself, too much cannot be said for the excellence of
the performing group, the Roger Wagner Chorale. It sings with admirable
clarity of tone, with complete understanding of the problems it faces in
dealing with music of different styles, and with such persuasiveness that
one is tempted at times to overlook certain shortcomings in some of the
pieces. 160
into the 1990s. Developments in the recording industry during the 1980s
To Catch a Christmas Star appeared in compact disc format in 1987, with the
160lbid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
63
Summary
The work of the Roger Wagner Chorale spanned more than four and
one-half decades. The reputation of the group, through its concerts, tours,
im portant part of the era he terms the “golden age of choral music” in
America--the decades of the 1940s, 1950s, and 1960s. For his work with the
American musical life . . .”164 seems valid, and further influence of the group
162in the Perlmutter article for the Los Angeles Examiner, Wagner
was quoted thus: “We have 75 recordings, we’ve toured every state in the
union including Hawaii and Alaska—and Europe . . . . We’re going to Japan on
tour next month . . . ” Also, The Choral Journal, vol. 19, no. 5, p. 22, calls the
status of the Chorale “enviable,” and one which has “achieved an . . .
international reputation . . . ”
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
64
The Robert Shaw Chorale and the Roger Wagner Chorale had already
been in existence the better part of a decade when the Gregg Smith Singers
background for a television show. Following the project, the singers decided
to stay together and seek more work. *66 While waiting to be discovered, the
group gave concerts at the Los Angeles Japanese Methodist Church, where
Smith was the choral director. 167 Recalling these early days, Smith states,
hastily assembled the first Gregg Smith S in g e rs . ”168 Thus, the Gregg Smith
Singers was bom --a chorus of twenty-five Southern Californians with high
ambitions and a visionary c o n d u c to r. 169
Smith’s Background
unlikely than that of Robert Shaw or Roger Wagner. Smith’s family was not
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
65
particularly musical, and his own musical interests leaned more toward
misfortunes of his parents’ divorce when Smith was three years old and his
m other’s death when he was fourteen taught him to deal with adversity and
Smith credits his mother for being his earliest musical influence,
having been encouraged by her to take piano at age five. Throughout his
school orchestra, tuba in the high school band, and string bass in the high
Following high school, Smith studied music at Pasadena Community College and
the University of California at Los Angeles, but became frustrated with the
high school choral director, became Smith’s first im portant choral ensemble
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
66
experience and served as the impetus for his decision to return to school and
serious study of m u s ic .1 7 5 jt was not untji he was a senior at UCLA, however,
conducted by Ray Moreman, Smith was overwhelmed by the music. This event
became a turning point in his musical life, prompting him to join the choir.
Soon, Moreman began asking Smith to conduct the group when he was unable
to do s o . 174 jn fact) Smith credits Moreman as one of the two most important
His newfound zeal for choral conducting could not compensate for the fact
that he had virtually no background in the choral field. Through hard work
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
67
would need to succeed in choral music. 177 With resources (both personal
background and financial) more meager than those with which both Shaw
Morton asking the Gregg Smith Singers to perform on the (Los Angeles)
of this m odem and challenging piece and engaged the group to return the
following year (1958) and present Arnold Schoenberg’s Four Pieces for Mixed
Chorus. This composition had been scheduled on more than one occasion in
the past but, due to its complexities, had never actually been presented. 180
l 7 8lbid. Smith relates how, even after college, he was poor and did not
own a car. “I would ride downtown ten miles on a bicycle every Wednesday
night to conduct the Methodist old folks’ home sing-in. I was paid ten dollars,
which was my bread and butter.”
180ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
68
Also in 1958, the Gregg Smith Singers, who had not yet toured in the
United States, made their first of many European tours. With assistance from
Ernst Krenek, the group was scheduled for six weeks of concert touring in
the Brussels World’s Fair, Lake Lucerne (where Smith was introduced to
fifty to seventy-five people. In this small audience, however, were Sir Arthur
Bliss, Ian Hamilton, and William Glock (head of the British Broadcasting
C o m p a n y ). 183 The Smith Singers’ program, which included literature by
singing repertoire that was modern and/or avant garde. In reference to this
18lMoore, “Gregg Smith and His New Recording Label,” p. 32. The
importance of Stravinsky’s relationship with the Gregg Smith Singers is
discussed below on pages 76-77.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
69
Dale Cockrell, in the New Grove Dictionary o f American Music, credits the
Gregg Smith Singers with being “the first (choir) to perform works by
recognition, they became known as much for their repertoire as for their
perform ance ability.
1959. It was an album released by Verve Records containing music for multi
dimensional c h o irs . 188 Around this time, a company called Everest Records
also became interested in the Singers and produced three or four of the
group’s early albums. 189
Also in the late 1950s, Roger Wagner decided that his Chorale would no
This was a fortuitous turn of events for the Gregg Smith Singers, who were
chosen to be the new choral group for collaborations with the Russian
189ibid., p. 129.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
70
hearing the Gregg Smith Singers, selected them as the chorus to replace the
Wagner C h o ra le . 191 Thus began a relationship that endured until
The 1960s were prosperous years for the Gregg Smith Singers. In
famous composer being guest conductor of the group for performances of his
Les Noces and Symphony o f Psalms, and for a recording of his Mass. 194 The
Music Journal dubbed the Singers “the most innovational choral group to
appear on the scene in the last two d e c a d e s . ”195 The second European tour
193lbid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Festival197 and the Salzburg Festival; and concerts at the Mozarteum (in
Salzburg), London, and in the Soviet Union.198 The Mozarteum concert was
attended by Carl Orff, who afterwards related his fascination for the music of
audience for their concert at Wigmore Hall. One reviewer expressed concern:
“It is to be hoped that these accomplished singers will not be too discouraged
by the smallness of the attendance and will pay us a return visit in the not too
far distant future. ”200
virtuosity and the professionalism of the group. Because of the Berlin Wall
Crisis, much international attention was focused on Germany during this time,
prompting the festival director to insist that Smith and his choir add
With only about four hours remaining until the concert, the Smith Singers
197Moore, “Gregg Smith and His New Recording Label,” p. 32. Arnold
Schoenberg was the featured personality at the Edinburgh Festival in 1961.
199Ibid., p. 23.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
72
States. The Time magazine issue of September 6, 1961, stated, “The Gregg Smith
virtuoso chorus in the United S ta te s .2 0 3 With their first national tour came
the group’s New York debut on October 11. A short but favorable review of the
The Gregg Smith Singers, in their New York debut at the YMHA on October
11, were a delight. Their program, ranging from Victoria and Dowland to
Ives and Schoenberg, was beautifully sung with immaculate ensemble and
pitch. The high point of the evening was Schoenberg’s “De Profundis,” a
deeply moving and rarely heard piece, combining singing and speaking to
great e f f e c t . 2 0 4
Along with the tours of the 1960s, the Smith Singers kept a full schedule of
Ives.206 The Ives recordings won two Grammy awards and provided the Gregg
Smith Singers with even greater recognition and respect within the musical
world.
2 0 6 jb id ., p . 2 2 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
73
In 1970 the Gregg Smith Singers moved its headquarters from Los
Angeles to New York City, a move precipitated by the fact that Smith was
demand, and the move to New York was one of logistical necessity. In the early
1970s, Smith founded the Adirondack Festival of American Music, which has
become both a force in the dissemination of American music and a forum for
the Gregg Smith Singers.208 The group also made six international concert
tours during the decade—three to Europe and three to the Far East.20^ In 1972,
recordings, had “reached a preeminence in the choral music world and in the
American music scene in general through their tours, New York concerts, and
2 l°Ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
74
States. Around 1972 or 1973, the Smith Singers were engaged to work on an
entitled America Sings. The goal of the project was to present the “rich
heritage of American vocal music from the time of the first European
settlements in the early seventeenth century to the p re s e n t. ”212 Originally,
IV. The Transition Years: Late 19th and Early 20th Centuries
V. Between the Two Wars: 1920-1950
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
75
The project was abbreviated by the record management, however, and only
five of the eight originally intended volumes were c o m p le te d .2 1 3 Nonetheless,
year of 1976. The first concert, entitled “The Founding Years (1620-1800)” and
The year of America’s bicentennial celebration was also the year in which the
Gregg Smith Singers made their first tour of the Far East, performing in the
Philippines, Singapore, Hong Kong, and Taiwan. To the delight of the Singers,
213Moore, “Gregg Smith and His New Recording Label,” p. 32-33. Vox
Records was sold to Moss Music, a commercially-minded company not
interested in such esoteric fare as was the subject of the “America Sings”
series. In all, however, five volumes of the series were completed: Volume I:
The Founding Years (1620-1800), Volume III: The Great Sentimental Age (1850-
1900), Volume V: 1920-1950, Volume VI: After 1950-The Traditionalists, and
Volume VII: After 1950-The Nontraditionalists.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
76
By the end of 1976, the Smith Singers had made six European tours.217
The European tour of 1974 had included a concert in Vienna that featured
review for the ease with which the performers negotiated extremely difficult
Copland, and Schoenberg. Important premieres prior to the 1970s included two
Requiem Canticles.2H The 1970s saw the Smith Singers expand its list of
A nother Look at Harmony Part IV and impressed Bert Wechsler of the Music
217it>id.
218jsjicoia Shawn, “The Journal Reviews: Vienna Rundfunk,” Music
Journal, 32 (May 1974), 62.
219[bid.
220paviakis, American Music Handbook, p. 178.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
77
Journal, who wrote, “Repetition and changing harmonies are what concern
[Glass], but he actually has very little to say. However, he says it at great
length. The Smith Singers were tremendous. One can do anything w e ll. ”2 2 2
Britten’s Sacred and Profane, one of the composer’s last works. Though not a
world premiere, it was the first performance of the piece in New Y o r k .2 2 3
throughout the late 1960s and 1970s. In an interview for the American Choral
Review, Smith relates that, in the seventies, professional choirs were few in
Financial trouble for the Smith Singers had begun in 1968 with the Glory o f
Gabrieli recordings. Although one of the volumes from the Gabrieli series
won a Grammy award and has since been called “one of the 25 greatest
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
78
recordings of the c e n t u r y , ”225 Smith relates how the project, together with
We had a real bad year when we did the Glory o f Gabrieli. We had a bad
loss that year in that we lost money on that project, and we lost money on
the tour. By the end of the year, I was in debt with the Gregg Smith
Singers to the extent of seventy to eighty thousand dollars. I [also] owed
about eighteen thousand dollars in taxes, and it took me seven or eight
years to pay it o f f . 2 2 6
The ensemble has managed to remain effective despite these and other
problems, however, and continues to be a leader in the field of choral music.
festivals. An example of the latter was the group’s involvement in the summer
of 1981 with the Charles Ives Center for American Music, which is an institute
State Department sponsored another international tour for the Smith Singers,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
79
Combining with other groups has been a regular activity for the
Gregg Smith Singers. The average size of Smith’s choir and the nature of
much of the music they perform often make such collaborations preferable.
In 1983, the Singers were joined by the Arkansas Boys’ Choir, the Concert
Chorale from the University of Arkansas-Little Rock, and the wind ensemble
album in 1987. Other groups having frequently performed with the Smith
Singers include the Texas Boys Choir, the New York Vocal Arts Ensemble, and
Throughout the 1980s and into the 1990s, the Gregg Smith Singers
group still works full-time only about six months of the year, which requires
members to have other sources of in c o m e .2 3 0 in addition to the normal tour or
tours, the Smith Singers’ yearly calendar normally includes a concert series,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
80
special concerts, and recording p r o j e c t s . 231 Their average num ber of concert
Vocal/Choral Considerations
The size of the Gregg Smith Singers has changed over the years, but
for the majority of its existence has been closer to that of a chamber ensemble
than a large choir. Smith’s beliefs that chamber choirs are more flexible,
more capable of performing newer music, and better suited to the nature of a
seeks vocalists who can meet the demands of a small, virtuoso ensemble.
performers, very solid in music fundamentals, and possessing good ears and
The sound, or choral tone, for which the Smith Singers have become
known has been described as “a youthful vigorous tone,” “instrum ental,” and
“ n o n - o v e r b l o w n . ”2 3 4 Smith believes that tone should relate to the music
23lT he group’s concert series in New York City was for many years
called “Uptown Concerts.” The designation “special concerts” includes festival
and workshop appearances.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
81
choral sound for different m u s ic .”2 3 5 Because the Smith Singers perform a
While at one time he had the Gregg Smith Singers sing without vibrato,
Smith’s philosophy has changed.
of difficult music are met straightforwardly using what the conductor calls
“simple, good old-fashioned rehearsal te c h n iq u e s .”2 3 8 Vocal technique is left
to the individual.
236ibid., p. 135.
2 3 7 I b id .
238jbid., p. 136.
239ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
82
Innovations
The Gregg Smith Singers have become known for certain innovations
and practices that have distinguished the group as a chorus. Probably chief
. . . members of the chorus broke ranks and took positions in various parts
of Tully Hall to demonstrate “Music in Multidemensional Sound.” Each
different spatial formation of the singers was cunningly designed to
point up the contrapuntal, antiphonal or canonic nature of the music at
h a n d ... 240
The singers . . . blend their voices from different parts of the hall. In one
number, an echoing tenor is even heard from outside the h a ll. 241
It is the influence of Ives that prompted Gregg Smith to spread his singers
throughout the audience in the performance of certain types of choral
literature. The most important guide for the Gregg Smith Singers is that
the performance formation utilized should follow the structure of each
piece of music. Very often music that does not seem to lend itself to
antiphonal or multi-dimensional spacing can, upon further study, have
intriguing p o s s i b i l it i e s .2 4 2
literature in which they specialize. While the group throughout its existence
242Ray Robinson and Allen Winold, The Choral Experience (New York:
Harper & Row, 1 9 7 6 ) , p. 1 8 6 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
83
It is also notable tha; the Smith Singers have performed and recorded a
significant num ber o f works by American women com posers such as Louise
Talma, Sheila Silver, Ann Silsbee, Katherine Hoover, Ann Calloway, Elizabeth
Pizer, and Winefred K e e n e . 2 4 4 Additionally, certain com posers have had close
association with the Gregg Smith Singers, creating new works (perhaps
exploring some new technique or idea) on a regular basis for the group. Dale
Jergenson, Edmund Najera, John Biggs, and Michael Hennagin have had such
programming.” This term began to be associated with the Singers after a 1958
Singers has expanded to mean more drastic contrasts o f literature on the same
and accompanied, humorous and serious, popular and academic, folk and
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
84
Recordings
The recordings of the Gregg Smith Singers are perhaps the group’s
most important contribution. Having been called “the most recorded classical
music ensemble in the world” by The Choral Journal and the American Music
H a n d b o o k ^ ! the Smith Singers are not only prolific (the group has recorded
The scope of the the Gregg Smith Singers’ recording work over the
many cultures, popular songs, and avant-garde music illustrate the range and
diversity of the Smith Singers’ activity. The group has also been a leader in
recording American music and has won numerous awards for its releases.
received awards from High Fidelity and Stereo Review magazines, the
Stravinsky, Ives, Gabrieli, Schiitz, and the America Sings series, include the
247cregg Smith, “Charles Ives and His Music for Chorus,” The Choral
Journal, 15 (November 1974), 17, and Pavlakis, The American Music Handbook,
p. 178.
249f4auicjin, “The Influence of Gregg Smith,” pp. 23-25. For his work
with the Singers in the advancement of contemporary American music, Smith
in 1978 received the prestigious Oliver Ditson Foundation Conductor’s Award.
The only other choral conductor to receive this award is Robert Shaw.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
85
Samuel Barber, Aaron Copland, Irving Fine, William Schuman, Lalo Shifrin,
Leo Smit, Roger Reynolds, and Jack B e e s o n .2 5 1
Reviews
Smith Singers have praised the skill level of the group, its intonation, an d /o r
its diction. In a 1979 review for the American Choral Review, Alfeda Hays
wrote:
avant-garde piece by Lejaren Hiller, a reviewer for the Kansas City Star
writes:
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
86
Smith Singers have received from musicians such as Carl Orff, Samuel Barber,
Aaron Copland, and Igor S tra v in s k y .2 5 4
Summary
excelled in the choral art. Much of the group’s work has been of a pioneer
professional choirs are important in the American musical scene, and the
group has done much to promote professional choral activity. The New Grove
253Harry Haskell, “Gregg Smith Singers Hit the Highs and Lows,"
Kansas City Star, Sunday, November 1, 1981, sec. H, p. 4. Hiller is an American
composer bom in 1934.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
87
movement in the USA away from large choral g ro u p s .” 2 5 6 chapter four will
Conclusion
Therefore, the Shaw Chorale, the Wagner Chorale, and the Smith
Singers may be considered to have been pacesetters and innovators during the
“golden age of choral m u s ic ”2 5 7 jn America. The influence of these three
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
C hapter 4
Robert Shaw Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers,
the focus of this study now turns to data gathered from the Survey for
obtain information concerning the influence of the Shaw, Wagner, and Smith
States. Processed data and the tendencies illuminated thereby are discussed
below.
designed to elicit information with which to test the hypothesis that the
Robert Shaw Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers
tim es-once each for the Shaw, Wagner, and Smith groups. Two free-response
items concluded the questions for each group, and the entire survey concluded
88
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
89
total num ber of items on the survey 138. The forty-two questions f o r m in g the
basis of the s u r v e y , 2 with the exception of the final two free-response items
for each group, provided specific, measurable responses through the use of
Lickert and degrees of agreement scales. These instruments were the most
Most of the items on the survey centered around one of the following
general topics:
(5) the effect of the Smith, Shaw, and Wagner groups on subsequent
professional choirs.
(6) whether the respondent was at any time a member of any of the
three groups;
(7) the impact of former members of the Smith, Wagner, and Shaw
choirs on the profession;
^These questions are survey items 1-42 for the Shaw Chorale, 43-84 for
the Wagner Chorale, and 85-126 for the Smith Singers. See Appendix A.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
90
respondent views the impact of these three groups on himself or herself and
on the general development of professional choruses. A small number of
which perceived influence may have occurred. Data from the latter type of
question is more objective in nature and perhaps more useful in scientific
study.
surveys, therefore, or fifty per cent of the total number mailed, constitute the
source from which data for this study were drawn.
respondents in their present position was 10.7. Table 1 lists the number of
respondents indicating tenures of less than ten years with their present
group, five stated that they had held previous conductorships of other
4lt was discovered that the title music director is sometimes used
synonymously with conductor.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
91
their present position, six indicated they had held similar positions with other
professional choirs. These statistics suggest that the pool of respondents has
had significant experience in the profession, and that the average num ber of
The average size of the choirs whose conductors participated in this research
Table 1
5 -9 10 35.7
10-14 8 28.6
15-19 2 7.1
2 0 -2 4 2 7.1
25 or more 2 7.1
Slati£ticaI-Er.Q£gdui£
Survey data was analyzed using the Statistical Package for the Social
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
92
yielded the most useful information, listing percentages and mean responses,
Table 2
12-15 3 10.7
1 6-20 6 21.4
2 1-25 3 10.7
2 6 -3 5 7 25.0
3 6-45 3 10.7
4 6-55 4 14.3
Chorale, the majority of respondents indicated a perception that the group has
with the statement, “The work of the Robert Shaw Chorale helped facilitate the
equally significant is the fact that almost as many conductors strongly agreed
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
93
(eleven) as agreed (fifteen) with the statement. A smaller but still substantial
percentage (64.2 percent), or eighteen of twenty-eight respondents, either
agreed or strongly agreed with item 27, which states, “The Robert Shaw
One of the hypotheses of this study was that former members of the
Shaw, Wagner, and Smith choirs have been important in the on-going activity
think that former Shaw Chorale members have directly influenced other
strongly agreed that former members have, indeed, been a “force in the
listed a total of six such persons who are active today with a professional
indicated that recordings of the Robert Shaw Chorale have been a benefit to
^The number of years since the Shaw Chorale ceased activity (25) is a
factor here.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
94
Table 3
Specific Influence of the Robert Shaw Chorale
Indicated in Responses to Survey Section III
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
95
Table 4
9. Choral Tone 5 5 8 1 9
10.Interpretive 7 6 6 1 8
approach to
music
12. Choral 8 4 2 1 13
Formations
13.Administration 8 1 1 0 18
14. Fundraising 9 1 0 0 18
15. Rehearsal, 5 7 3 1 12
Modern works
16. Leadership 6 6 3 1 12
Style
17. Program 6 8 4 0 10
Content
18. Philosophy- 6 5 6 1 10
Professional
Choirs
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
96
Robert Shaw Chorale had been an influence. Items in this section addressed
issues, and other facets of choral music-making. Each conductor was asked
first to indicate whether any influence was effected, and second, in the event
question. Table 3 shows frequency tabulations for the first stage of each item.
Table 4 illustrates the second part of survey item 9 through survey item 19,
which focusues on the degrees to which respondents felt they have been
influenced by the Robert Shaw Chorale.
regarding influence than does Table 3. The areas that surfaced as being most
influenced by the Shaw Chorale in this section were (1) interpretive approach
to music, (2) choral tone, (3) program content, and (4) philosophical beliefs
for the same four areas is even more enlightening. Choral tone was
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
97
philosophy were more evenly spread across the scale from minimal to extreme
influence.
Table 5
concepts and indicate those they consider to have been influenced by the
Shaw Chorale. Its similarity to section III of the s u r v e y 9 is the basis for
discussion of it (item 38) here. Choral tone scored high (fifteen respondents,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
98
affected by the Robert Shaw Chorale. Table 5 contains the complete results for
item 38.
Table 3 also reveals those areas that appear least influenced by the
Robert Shaw Chorale, specifically (1) administration, (2) fundraising, and (3)
tour planning. For each of the three, only 10.7 percent indicated any
over ninety percent of those responding to the survey either omitted these
significant that these three areas are all related to the business, or non
intimation that the Shaw Chorale has exerted little or no influence in the area
indicated they never use Shaw Chorale business practices, only fourteen
percent indicated that sometimes they do, and no one suggested that often or
tabulations did not yield a strong tendency toward influence or a lack thereof.
Table 3 does reveal, however, that for each of these four areas, more
respondents indicated that they have not been influenced than indicated such
influence upon their personal concepts by the Shaw Chorale. The Degrees of
Influence table (Table 4) suggests that responding conductors may have been
more influenced by the Shaw Chorale in the areas of leadership style and
rehearsal of modern works than in those of choir size and choral formations.
This deduction was made by a simple comparison of the number of respondents
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
99
that 28.5 percent of the respondents expressed that often or always they use
choral techniques similar to those Shaw used with the Chorale. Another 35.7
Mediums of Influence
channels through which influence of the three focal groups has manifested
either the Robert Shaw Chorale, the Roger Wagner Chorale, or the Gregg
respondents were at one time members of one of these three c h o irs . 10 while
Recordings
recordings of the Robert Shaw Chorale at least sometimes (survey item 1), and
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
100
was five to six. Over sixty percent of the conductors (seventeen) acknowledged
that they listen often or always to Shaw Chorale recordings. Seven conductors
(25%) revealed in survey item 2 that they often or always are influenced to
Table 6
Never 7 25.0
Sometimes 11 39.3
Often 2 7.1
Always 5 17.9
the premise that Robert Shaw Chorale recordings have had an impact on the
comparisons.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
101
Table 7
24. Benefit to 0 1 4 15 7
Professional Choirs (0.0%) (3.6%) (14.3%) (53.6%) (25.0%)
Robert Shaw Chorale have been influential. Survey items 23 and 25 (shown
first and third in Table 7) are personal in nature, soliciting responses that
express level of agreement with the less-specific idea that Shaw Chorale
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
102
Conceits
concerts by the Robert Shaw Chorale were generally thrilling and inspiring.
It is a natural assumption, therefore, that these events had some impact, either
Four items on the survey were designed to test this assumption. Items 4, 5, 30,
and 40 all address concert attendance and any resulting personal in flu e n c e . 12
The data produced from these items reveal minimal evidence of strong
that they often or always attended Shaw Chorale concerts. 14 Item 5 on the
the Robert Shaw Chorale still affects them in setting goals for a
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
103
Table 8
4. Attended 10 8 6 1 3
Concerts (35.7%) (28.6%) (21.4%) (3.6%) (10.7%)
5. Concerts
Affect 9 3 3 4 9
Personal (32.1%) (10.7%) (10.7%) (14.3%) (32.1%)
Goals
a Figures in this column include one respondent who left the items blank.
regarding the effect of having heard the Robert Shaw Chorale in concert.
Responses to this item are illustrated in table 9, which lists certain areas of
possible influence and the number of respondents that indicated having been
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
104
Table 9
Career 10 35.7
Other 2 7.1
None 0 0
a There is some descrepancy between this figure and Table 8, which shows that
a total of only 10 respondents thought that concert attendance affected goals
they set for a performance. One can only speculate that one of two things
occurred: (1) the survey items were misunderstood by at least one respondent,
or (2) “positive effect opon my music-making” (item 40) was understood to
mean something different than “the goals I set for a performance” (item 5).
Shaw Chorale concert had a positive effect on their careers. When compared
becomes even more meaningful. Of the number that attended Shaw Chorale
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
105
concerts, then, sixty-six percent (ten of fifteen) indicated that the experience
affected their careers in a positive w a y . 17
Survey item 32, which asked respondents to rate the overall work of
however, it implies all means of influence. The results parallel the data
heretofore examined.
Table 10
No Importance 1 3.6
Minimal Importance 7 25.0
Im portant 6 21.4
No Response 1 3.6
conductors) felt that work by the Robert Shaw Chorale was important, very
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
106
contrast, only 21.5 percent (six conductors) indicated that the Shaw group was
Table 11
Most Influential Contributions by the Robert Shaw
Chorale as Perceived by the Respondents
Recordings 24 85.7
Tours 17 60.7
influential contribution of the Robert Shaw Chorale. These data are from
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
107
survey item 39, where respondents were allowed to select more than one area
of contribution.
Table 12
Recording 6 1 2 - - -
Tours 3 4 - 1 - -
Festivals/ - 1 1 1 2 -
Workshop
Music - 2 - 1 - 2
Education
Little-
Known - 2 1 2 - -
Works
New 1 - 3 - - -
Works
results of the numbered responses, which appear to parallel the data in Table
11. These tables reveal an indication that the recordings, and to a slightly
lesser extent the tours, of the Shaw Chorale have been influential. While sixty
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
108
percent of the respondents felt that tours of the Chorale were an influential
tours played a significant role as a pioneer for choirs that today tour
i n t e r n a t i o n a l l y . 20 The margin of separation on the chart between recordings
and tours and the other six accomplishments is a marked one, which may be
interpreted as being statistically significant.^ 1
from the respondents honest perceptions of how the Shaw, Wagner, and Smith
the forty-two questions asked about each of the three groups, twenty-nine
For example, United States citizens of the late twentieth century would
living today has had personal experience with these persons. If, however, a
letter written by one of these pioneers had been handed down through
generations and had an impact on the life of someone living today, this could
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
109
influenced by the Robert Shaw Chorale.” It is another thing entirely for the
conductor to make the same statement while revealing that he or she sang
with the Shaw Chorale, owns fifteen recordings of the group, and attended
conscious decisions made because of the group and its work, is to indicate real
inflence.
the Shaw Chorale were items 1, 4, 6, 7, 8, 29, 30, 31, 33, 34, 35, 36, and 37. Each
respondent was given a score based on the answers provided for these thirteen
questions. This real influence score, or Rl-score, then became the basis for
The categories were (1) high, or those who revealed a high level of
levels midway between the highest and lowest (Rl-scores 10-14), and
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
110
(4) minimal, or those with levels too low to be significant (Rl-scores less than
10). Table 13 illustrates by category the way in which the respondents scored.
average amount of real influence. Eighteen percent had a high level of real
i n f l u e n c e . 24 The average Rl-score for the pool of respondents was 11.8.
Table 13
related to three key questions from the survey. Each of the key questions—
items 22, 27, and 32—addresses in a general way the perceptions of the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
I ll
This type of cross-comparison suggests that the Rl-scores both lend validity to
other responses on the survey and indicate ways in which perceived
Table 14
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
112
this writer that the use of these scores is another worthwhile technique by
which to analyze the survey data.
the Robert Shaw Chorale was focusing on the Chorale and its influence, rather
them the influence of Shaw himself. The personal influence of Shaw was not
which he was associated with the Chorale. Of course, Shaw has had a long and
responses were ignored. One of the respondents offered this honest statement:
“It’s hard for me to separate the Robert Shaw Chorale from Shaw and his more
recent workshops. I’m not that familiar with the Chorale. I am strongly
influenced by Shaw himself and his teaching.” This seemed to be the case
was an influence not directly addressed elsewhere in the survey. The group
was cited as being among the first to pay its singers as professionals. Other
responses noted that the Shaw Chorale was important in demonstrating the
singers a venue for their craft and a means for their livelihood. Likewise,
choruses were confirmed, largely through the work of the Robert Shaw
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
113
insightfully what this writer suspects is one of the primary ways in which the
Chorale are items 64, 69, 62, and 65. Frequency tabulations from these
questions suggest that the work of Wagner’s Chorale has been both important
percent also agreed or strongly agreed that the Wagner Chorale has helped
the respondents felt that the recordings of the Roger Wagner Chorale have
either agreeing or strongly agreeing with the concept that former Wagner
Chorale members have been primary agents of influence was less. Only forty-
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
114
section XIII, presents a strongly supportive opinion. Asked to list any former
Wagner Chorale members known to be still active with a professional chorus
today, this respondent replied, “Tons! too many to name. Maybe 50 people
evidence will be tested and examined more closely in the tables and discussions
that follow.
Sne.tific-and-Personal Influence
Survey section IX, as did section III for the Robert Shaw Chorale,
particularly, this section asks, “Has the work of the Roger Wagner Chorale or
any contact with the group influenced beliefs, concepts, or practice with
regard to the issues listed?” If so, then a more accurate identification of such
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
115
Table 15
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
116
Table 16
52. Interpretive 4 7 5 0 12
approach to music
54. Choral 4 6 1 0 17
Formations
55. Administration 5 2 0 0 21
56. Fundraising 7 0 0 0 21
57. Rehearsal, 6 3 0 0 19
Modern works
58. Leadership 6 4 1 0 17
Style
59. Program 2 9 2 0 15
Content
60. Philosophy- 2 6 4 1 15
Professional
Choirs
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
117
it identifies degrees of influence for each area. Furthermore, data from Table
16 corroborate and embellish that of Table 15.31 por instance, Table 16 shows
the Wagner Chorale in their concept of choral tone, while twelve respondents
approach to music. These are the only two areas where the Wagner Chorale
The lowest degrees of influence were in the areas dealing with business,
administration, and management. This parallels results for the Shaw Chorale
from the same series of questions. Only seven responses (25%) indicated
administrative matters were shaped to any degree by the Wagner Chorale. For
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
118
item 49, which deals straightforwardly with the Roger Wagner Chorale as a
model for business operations, over sixty percent of the respondents either
that they never model the Wagner group in business matters. Only 14.3
weighted toward the average or minimal end of the influence scale. For item
philosophy of professional choirs (item 60). Responses for the rem ainder of
The most obvious statistic from Table 16 is that there is only one
response in the entire table claiming extreme in f lu e n c e . 35 However, Table 16
does suggest more influence than Table 15, though still considerably less than
do the corresponding tables (Table 3 and Table 4) for the Shaw Chorale.
Survey item 80 is related to the above two tables. Five choral concepts
their philosophy has been shaped to any degree by the Roger Wagner Chorale.
This, too, suggests more influence than indicated in Table 14. Of the five
concepts, choral tone scored highest, with 53.6 percent of the responses
(fifteen) indicating influence. Blend and balance received the second highest
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
119
score, with 35.7 percent (ten) indicating some importance of the Wagner
Table 17
Intonation 8 28.6
Diction 5 17.9
Mediums of Influence
Chorale, as agents for influence by the Roger Wagner Chorale. Survey item 43
recordings of the group. Responses to survey item 44 reveal that fifty percent
of a score by these recordings. Again, the figures here are not as large as
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
120
those for the Robert Shaw Chorale, but they are noteworthy. Table 18 shows
Table 18
Never 8 28.6
Sometimes 9 32.1
Often 3 10.7
Always 2 7.1
a Six respondents either omitted this item (44) or marked not applicable.
statements are found in survey section X~items 65, 66, and 67. Eighteen
(57.2%) either agreed or strongly agreed that the musicality achieved by the
noteworthy that this percentage is higher than that of the Robert Shaw
Chorale for the same statement. There is less agreement that Wagner Chorale
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
121
Table 19
6 5 . Increased Personal 0 4 12 9 1
Understanding of Works ( 0 .0 % ) ( 1 4 .3 % ) ( 4 2 .9 % ) ( 3 2 .1 % ) ( 3 .6 % )
66 . Benefit to 0 1 7 15 3
Professional Choirs ( 0 .0 % ) ( 3 .6 % ) ( 2 5 .0 % ) ( 5 3 .6 % ) ( 1 0 .7 % )
6 7 . Musicality Emulated 0 3 7 12 4
by Respondent ( 0 .0 % ) ( 1 0 .7 % ) ( 2 5 .0 % ) ( 4 2 .9 % ) ( 1 4 .3 % )
Concerts
Because of its many years of existence, the Roger Wagner Chorale has
provided more opportunities to attend one of its concerts than was the case
indicated having attended a Wagner Chorale concert than occurred with the
( 5 3 .6 % ) for the Shaw group. Eleven also indicated that having experienced a
concert by the Wagner Chorale still affects to some extent their own
performance g o a ls .3 6 Table 20 illustrates these responses. Two of the eleven
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
122
respondents who indicated that they have never attended a Wagner Chorale
concert answered that such concerts affected their goals.37 Nonetheless, this
Table 20
46. 10 8 2 1 5a
Attended (35.7%) (28.6%) (7.1%) (3.6%) (7.1%)
Concerts
47.
Concerts 6 6 3 2 10b
Affect (21.4%) (21.4%) (10.7%) (7.1%) (35.7%)
Personal
Goals
a The two respondents who omitted this item (46), while not included in this
n o t applicable figure, are, in fact, indicating as much.
b Likewise, it is assumed that the one person who neglected to respond to this
item (47) is indicating that the question is not applicable to him or her.
Table 21 contains the results for survey item 82, which asked
positively affected any particular musical area of their lives. Again, the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
123
m aking.
Table 21
Music-Making 8 28.6
Career 7 25.0
Other 2 7.1
None 0 0
that have been positively affected by these concerts. One mentioned “concern
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
124
Table 22
No Importance 4 14.3
Im portant 7 25.0
No Response 1 3.6
such is presumed.
One of the most important questions asked about each of the Shaw,
Wagner, and Smith choirs is “How would you rate the overall work of the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
125
(Robert Shaw Chorale, Roger Wagner Chorale, Gregg Smith Singers) in terms
of importance to your musical education and career d e c is io n s ? ”3 9 Table 22
This table shows that 42.8 percent believe the work of the Wagner
Table 23 contains the results from survey item 81. This question
activity in which they felt the Roger Wagner Chorale had its greatest
influence. As with the Shaw Chorale, recordings and tours scored very high
contribution. The Wagner Chorale scored slightly higher than Shaw’s for
percent (eleven conductors) felt that the Wagner Chorale’s international tours
played a great role in the availability of international tours to choirs to d a y .4 0
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
126
Table 23
Recordings 20 71.4
Tours 18 64.3
Festivals/Workshops 3 10.7
tours actually received more first place rankings (Table 24). Essentially,
however, the data in Table 24 parallel that of Table 23, with recordings and
tours convincingly leading the way as the respondents’ choice for the Wagner
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
127
Table 24
Recording 3 4 - - - -
Tours 4 2 1 - - -
Festivals/ - 1 - 1 - -
Workshop
Music “ “ 1 2 “ “
Education
Little-
Known 2
Works ' '
New Works - - - - - -
the Rl-score for each returned survey was tabulated. The thirteen questions
by which the Rl-scores for the Wagner Chorale were tabulated are survey
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
128
items 4 3 , 46, 4 8 ,4 9 , 50, 71, 72, 73, 75, 76, 77, 78, and 7 9 .4 2 The four categories of
direct, or real, influence from the Wagner Chorale. Table 25 delineates the
grouping of conductors by Rl-score category.
Table 2 5
Moderately-High (1 5 -1 9 ) 1 3 .6
Average (1 0 -1 4 ) 4 14.3
m inim al category, having Rl-scores of less than ten. In fact, a large number
(twelve, or 4 2 .9 percent) had Rl-scores less than five. The evidence, therefore,
42xhese are the same thirteen questions (though survey item numbers
are different) used to tabulate the Rl-scores for all three groups (see footnote
2 3 ).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
129
noteworthy, however, that two respondents from the high category had
Rl-scores of thirty-four and forty-six. The top Rl-score for the Robert Shaw
Chorale, which had one more high respondent than the Wagner Chorale, was
done for the Shaw Chorale, the four categories were cross-related to three key
survey questions--64, 69, and 74.43 Table 26 contains the results.
those in the minimal category, a large percentage agreed that the Wagner
Chorale has influenced professional choral activity.44 Four m inim al
respondents even indicated that the Wagner Chorale had been im portant or
very im portant to their educational or career decisions.
43it should be noted that one of these items is focused toward personal
influence, while the other two elicit information relative to professional
choirs in general. All are perceived influence questions.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
130
Table 26
influence more from Wagner than the Roger Wagner Chorale.4^ Most,
however, credit the group for such contributions as being an inspiration for
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
131
for which the Roger Wagner Chorale is known give a life to the music that
separates the solo singer from the ensemble singer.” Certainly, professional
Not all free responses were positive, or even favorable. One comment
comments: “I’m certain if it hadn’t been for his work to achieve choral
d irecto r.”
have had more continuous years of existence than either the Robert Shaw
47The Roger Wagner Chorale has only recently, with Wagner’s death
in September 1992, ceased official operations. Literally, therefore, its tenure
has been longer than that of the Smith Singers, but in later years the group
functioned only on a subscription basis, assembling (mostly members from the
Los Angeles Master Chorale) to make recordings or to do special tours or
concerts. Smith’s group has continued to function on a regular schedule each
year.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
132
agreed or strongly agreed that the work of the Gregg Smith Singers has
either agreed or strongly agreed with survey item 111, which states, “The
Gregg Smith Singers has helped to shape the identity of today’s professional
chorus.” In this instance, however, there were twice as many indications (six)
significant that the Smith Singers scored higher for item 111 than did either
agreed that former members of the Gregg Smith Singers have been a “force in
(fourteen conductors) had no opinion or did not respond to this statement. The
pool of respondents identified six persons by name as being “still active in any
capacity with professional c h o ir s .”5 0 Two of the responding conductors,
although they named no one specifically, indicated they had personally used
several former members (and even present members) of the Gregg Smith
Singers.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
133
If The Choral Journal and other sources have called the Gregg Smith
respondents) agreed or strongly agreed with this statement, and only one
person disagreed. The matter of Smith Singers’ recordings is addressed more
completely below in Table 31.
former members. The more specific inquiries of the following section shed
further light on the evidence and scope of such influence.
Results from survey section XV, which asked conductors if and to what
degree the work of the Smith Singers has affected certain specific areas of
their own work, is illustrated in Table 27 and Table 28. Table 27 suggests that
the area of greatest influence is program content, with 42.9 percent of the
related to business management than did the groups of Shaw and Wagner.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
134
fundraising was greater for the Smith Singers than for the two previous
groups.
Table 27
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
135
Table 28
94.
In te rp retiv e 5 6 3 0 14
Approach to
music
95. Choir Size 6 4 4 0 14
96. Choral 6 4 2 1 15
Formations
97. Administra 6 3 0 1 18
tion
98. Fundraising 7 2 1 1 17
99. Rehearsal,
Modem Works 5 2 3 1 17
100. Leadership
Style 5 4 1 0 18
101. Program 3 8 7 0 10
Content
102. 3 6 4 2 13
Philosophy-
Professional
Choirs
103. Tour 5 2 1 0 20
P lan n in g
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
136
Perhaps the most surprising figure from Table 27 is the num ber of
respondents indicating influence in their rehearsal of modem works. For an
area in which the Gregg Smith Singers have been widely recognized as leaders
responses from survey item 110 show that 82.1 percent, or twenty-three
indicated for item 92 that they have observed rehearsals of the Gregg Smith
respondents may be aware of the work of the Gregg Smith Singers in modern
than was present in Table 27.53 jn Table 28, program content is still among
the leading areas of influence, with seven respondents (25%) considering the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
137
It is also worth noting that the Gregg Smith Singers received more
total indications of extreme influence for the categories in Table 28 than did
either the Shaw or the Wagner Chorales for the same categories. The Smith
however, which addresses business practices directly, does not corroborate the
Gregg Smith Singers, and sixty percent (seventeen) either omitted the
Table 29 contains the results for survey item 122, which listed five
choral concepts and asked respondents to indicate whether the Smith Singers
had influenced their ideas on the subject. Data from this table suggests that
less influence has been exerted on professional choirs by the Gregg Smith
Singers where these concepts are concerned than by the Shaw and Wagner
groups. Rhythmic vitality had the most evidence of influence, but still less
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
138
Table 29
Intonation 8 28.6
Diction 4 14.3
Mediums of Influence
The two principal mediums of influence that have been addressed for
Singers. The following four tables focus on those survey items pertinent to
score. This is surprising in one sense, because of both the group’s voluminous
output of recordings and the generally flattering reviews its work has
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
139
affect their interpretation, and one respondent (3.6%) indicated that influence
Table 30
N ever 13 46.4
Sometimes 5 17.9
Often 5 17.9
Always 1 3.6
a Four respondents either omitted this item (question 86) or marked not
applicable.
to the fact that the Gregg Smith Singers are known for their unusual choice of
literature. Perhaps the reason many conductors are not influenced by Smith
literature.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
140
Survey items 107, 108, and 109 also addressed the Smith Singers’
recordings, in an effort to clarify even further any influence thereof. Item
109 solicited from respondents a personal response to the recordings and two
being performed, and (2) a level of musicality for which the conductor strives.
Table 31
108. Benefit to 0 1 3 15 6
Professional Choirs (3.6%) (10.7%) (53.6%) (21.4%)
agreed or strongly agreed that the recordings have increased their personal
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
141
disagreed as agreed or strongly agreed that the musicality of the Smith Singers
is worthy of emulation. 5 6
Concerts
89, both of which inquired about the respondent’s experience with Smith
Singers concerts, are contained in Table 32. It is significant that 78.6 percent
(twelve) related that Smith Singers concerts attended have affected their
that five respondents indicated they often or always have attended concerts,
and five indicated that the experience often or always has affected their
goals. 57
57ft is noteworthy that the “concerts affected” row from Table 32 has
more always responses than does “concerts attended.”
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
142
Table 32
88. Attended 5 17 4 1 0a
Concerts (17.9%) (60.7%) (14.3%) (3.6%)
a The one respondent omitting this item (question 88), in effect reveals by the
omission that Gregg Smith Singers concerts were never attended.
at a Smith Singers concert has had a positive effect. Like Table 33, Table 34
conductors perceive that Smith Singers concerts have affected both their
either did not respond or indicated not applicable, 28.6 percent (eight) of the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
143
performances is greater for the Gregg Smith Singers than for the Roger
Wagner Chorale and virtually equal to that for the Robert Shaw C h o ra le . 58
Table 33
Music-Making 10 35.7
Career 8 28.6
Other 2 7.1
None 2 7.1
in survey item 124 by some respondents. These comments centered around the
Singers’ active involvement in new music and innovative ideas for the
performance of it.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
144
Table 34
No Importance 3 10.7
Im portant 6 21.4
No Response 4 14.3
importance of the Gregg Smith Singers to the education and career of the
respondents. Significantly, 39.2 percent of the respondents felt that the Smith
overall work of the Smith Singers has had no importance on their musical
omission of the item or a not applicable response, indicated they were not
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
145
Table 35
Recordings 18 64.3
Tours 13 46.4
Festivals/Workshops 9 32.1
many Smith Singers recordings have been premieres. The sixty-four percent
item. Similarly, tours of the Gregg Smith Singers were rated an important
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
146
influential contribution.
Table 36
Respondents’ Ranking of Accomplishments
by the Gregg Smith S i n g e r s 5 9
Recording 1 1 1 1 1
Tours 1 1 - 1
Festivals/ 1 1
Workshop
Music 1 1
Education
Little-
Known 1 1 1 -
Works
New Works 3 1
S^The numbers in this chart represent the number of times the area
in column one was chosen (by respondents who chose to rank them) as most
important, second most important, third most important, etc.
60jhese questions are survey items 85, 88, 90, 91, 92, 113, 114, 115, 117,
118,119,120, and 121.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
147
influence upon the respondent by the Smith Singers. Conversely, a low Rl-
score is evidence there has been less real influence and suggests that any
Table 37
are in the high category, the total number in the combined top two categories
for the Gregg Smith Singers is greater than that of the same categories
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
148
questions, as has been done for the Shaw and Wagner groups, additional data
was discovered. The key questions are survey items 106, 111, and 116. The
comparison is illustrated in Table 38.
key questions. Somewhat unusual are the two respondents from the
Theoretically, one could have had a great deal of contact or association (or real
and helped shape the identity of today’s professional chorus (item 111). One
conductor from this category responded that the Singers have been very
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
149
Table 38
section on the Smith Singers (section XIX) were concerned almost exclusively
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
150
with Smith himself, most imply influence of the Singers because Smith’s
performance. The Vox Box series of American recordings was singled out for
its importance to one respondent. Smith was cited for his ability to teach
m odem works.
There was evidence in the free response section to support the data
Final Observations
this chapter. The Robert Shaw Chorale, the Roger Wagner Chorale, and the
Gregg Smith Singers have been given individual attention as groups that have
from the survey have provided the basis for discussion regarding the impact
average mean responses for all three groups will now be introduced for
consideration.
Perceived Influence
Chorale, the Wagner Chorale, and the Smith Singers were the fundamental
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
151
product of the survey. Two survey items (per group), both from the “levels of
agreem ent” s e c t i o n s , 64 are general but salient inquiries designed to determine
professional choral activity. These items state (1) The work of the group
emergence of subsequent professional choirs, and (2) The group’s work has
helped to shape the identity of today’s professional chorus. Responses to these
two inquiries, more than those of any other two items on the survey, provide
an immediate indication of how the respondents view the impact of the group
in question. Hence, these statements were selected as key items the mean
influence of each of the Shaw, Wagner, and Smith groups, and (2) overall
Disagree 2
No Opinion 3
Agree 4
Strongly Agree 5
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
152
choirs. The average mean for responses to the second statement is only .088
less than 4.0, which is the value for agreement. The average mean 3.912 is
obviously much closer to agree (4.0) than to no opinion (3.0), thereby pointing
the professional choirs of Shaw, Wagner, and Smith have helped shape the
Table 39
--Mean Responses fo r-
Survey Statement Shaw W agner Smith Average
Items Chorale Chorale Singers Mean
generally perceive the Robert Shaw Chorale, the Roger Wagner Chorale, and
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
153
the Gregg Smith Singers to have been a positive influence on the field. This
perceived influence will now be compared to the real influence factor.
direct, or real influence present in the survey data. A final usage of these
scores involved compilation of the Rl-scores for each group and a subsequent
and collectively. Table 40 contains the results and offers a succinct conception
Table 40
Mean Rl-Scores
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
154
cumulative mean Rl-score (10.75) falls into the average category of real
Table 41
Shaw, Wagner, and Smith groups and arrive at a ranking of the groups in
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
155
perceived influence rating for each group was formulated by averaging the
mean responses to the two statements in Table 39. The real influence rating
for each group is simply the mean Rl-score from Table 40.
Conclusion
There are other ways of presenting and analyzing data from the
survey. The methods used and discussed in this chapter, however, represent a
direct and logical methodology aimed at discovering trends and tendencies that
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Chapter 5
been formulated from analysis of the survey data. In so doing, the general
hypotheses of the study will be addressed.
stages of the research, arise as the project is realized. For this project, such
for any such attempt (as was made by this research). This project does not
field regarding the influence of the three focal groups, both upon them and
156
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
157
perspective, was a relatively small data base upon which to base conclusions.^
While the num ber of respondents represents a valid percentage of the total
num ber of surveys mailed, the field of study was limited by the definition of
professional choir set forth in chapter 1. Had there been a larger field of
study, there would have been a greater num ber of respondents and thereby a
larger data base, which would have provided a greater likelihood of indicating
more clearly patterns and tendencies of influence. This could have been
Various other definitions of professional choir exist, each with its own
respondents, and thereby the amount of data, could have been greatly
increased.
every attem pt was made to elicit responses that would help reveal influence of
the choirs as a whole (not just their esteemed conductors), many respondents
seemed to answer certain survey items with only the conductors in mind. This
was less of a problem in the cases of Wagner and Smith, whose professional
choirs have spanned most of their musical careers. For Shaw, however, it was
conductor through his many other endeavors with groups such as the
^Another way of stating this would be to say that the num ber of
respondents was relatively small.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
158
wording or a somewhat ambiguous meaning, did not produce the intended data.
During the course of data analysis, certain questions or issues that were
items turned out to be essentially useless in the research. Problems with the
survey could perhaps have been lessened through the use of a pilot survey. A
administered to a small num ber of persons not from the actual pool of potential
problems and allow for their correction before administration of the actual
survey.
Conclusion?
Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers are
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
159
the three groups .4 The following are specific deductions, supported by the
Recordings. The Shaw Chorale recordings have been the group’s most
choruses, to serving as a reference even today to many who are studying and
performing the same music, the impact of Shaw Chorale recordings is notable.
making (choral concepts). The work of the Robert Shaw Chorale raised
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
160
for the unique contributions they can make, and began to be paid in a manner
This fact has not significantly altered the industry’s perception that the Shaw
common with the typical American professional choir of the late twentieth
5lt was around this time that Shaw’s interest in and support of
professional choirs waned. Believing strongly in the volunteer choir, his
philosophy reflected that perhaps the spirit of choral art is damaged by
professional organizations. Some of the survey respondents noted this fact
and suggested that because of it the perception of Shaw Chorale influence on
the field is perhaps not as great as that of others. In recent years, however,
Shaw seems to have softened this position. He makes allusion to this issue in
“The Genius and Heart of Robert Shaw,” by Helen C. Smith, The Atlanta
Toumal/The Atlanta Constitution. Sunday, December 1, 1991, sec. K, p. 3.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
161
Neither has the Shaw Chorale had notable influence on methods of funding
the professional choir. Shaw often used his own money to stay afloat, though
as the group gained in popularity, financial problems were lessened
activity, though apparently not as great overall as that of the Shaw Chorale or
the Smith S in g e rs ,8 seems to have been more intense within certain c irc le s .9
Choral sound. The Wagner Chorale is noted for the unique ability to
sing with a full, rich, comfortable choral tone while maintaining a cohesive
blend. This factor has been a model for many subsequent professional choirs.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
162
exclusively either a soloist or a choral singer, but could combine the two
singing roles in one choral organization. H This was im portant for the future
of professional choruses.
The Gregg Smith Singers have also made unique contributions, not
only to the choral art in a broad sense, but also within their particular sphere
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
163
embrace literature and techniques that are not as accessible for the non
professional chorus.
with regard to choral literature. However, this influence has been more
choirs than by emulation of either the Singers’ rehearsal methods for such
literature or the quality of their performances.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
164
particularly Smith himself, have been arguably the most important advocates
professional choruses, Smith and his Singers labored feverishly and under
financial stress to promote the cause and confirm the need for such
o rg a n iz a tio n s . 14 As a result, Smith’s philosophy with regard to professional
choirs has had a notable influence on the professional choral scene of today.
apparent in the data during the course of the study. For the most part, these
represent deductions germane to all three groups being examined and the
project as a whole.
13Professional singers must often hold down more than one job in
order to make a living. Among professional ensembles, sharing singers is not
an uncommon occurrence. This was true even for singers in the Shaw and
Wagner Chorales. Gregg Smith, however, has seemed to encourage this
practice, possibly as a means of keeping the singers gainfully employed, and
thereby in his group.
14This period occurred during the 1970s, which were the years when
Chorus America (then the Association of Professional Vocal Ensembles) was
being established. A related article is “Choral Conductors Forum: The Question
of the Professional Chorus,” by Raymond Ericson, American Choral Review. 17
(Summer 1975), 26-28.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
165
Pioneer work. The Robert Shaw Chorale, the Roger Wagner Chorale,
and the Gregg Smith Singers have been im portant in demonstrating the
Chorale, and Smith Singers have been the most direct influence on the
professional choirs.
groups has been that of recordings. Recordings of the Shaw Chorale, Smith
Singers, and Wagner Chorale have inspired, educated, and challenged leaders
Chorale, the Roger Wagner Chorale, and the Gregg Smith Singers has been
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
166
evolved considerably since the flourishing of the Shaw, Wagner, and Smith
administrative models for the professional choirs of today. The most notable
of a resident chorus than has been the practice of the Shaw, Wagner, and
Smith g ro u p s; 17 and (3 ) today’s professional choir is required to be more
order to function, than were the Shaw Chorale, the Wagner Chorale, and the
early Gregg Smith Singers. Chorus America is the resource to which many
from the period in which the Robert Shaw Chorale, the Roger Wagner Chorale,
1 ^One respondent suggested that the most positive aspect about the
current professional choir phenomenon in America is “that it is primarily
based on the constituency of a limited geographical area, rather than the
once-over-lightly of touring. Residence-based choirs will lead the way in
changing America’s perceptions vis a vis choral music.”
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
167
and the Gregg Smith Singers were at their peaks of a c tiv ity . 18 Therefore, the
professional choirs, in some cases, has been less than other groups established
after them. 19
l^The Robert Shaw Chorale, of course, has not been active since 1967.
The Gregg Smith Singers continue to be active, but are still considered to be a
“senior” professional chorus.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
168
study of the growth and development of professional choirs in the last twenty
years. Perhaps such a study would reveal the impact effected by the
that would offer suggestions, set forth guidelines, and illuminate the realities
would be helpful not only for prospective professional choirs (or more
precisely, those who would found and lead them) but also for new,
logical resource for such a study, since it seeks to provide similar information
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
169
4. Since professional choirs have had to prove their worth both to the
arts community and to the music industry ,2 1 a study should be done in an
attem pt to answer the question, “Why have professional choirs?" The focus of
would serve to educate both the academic community and the interested
varied group of these persons could serve as the principal resource for the
needed. The critical issue of funding should be investigated, with the objective
being the identification of the most effective methods and ideas thereof.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
170
members of the Shaw, Wagner, and Smith groups have had a greater impact
upon education than upon the field of professional choral activity. Whether
(via former members and other mediums) upon education would be beneficial
to those who are concerned about the value of professional choirs in the
musical world.
such as the Dale Warland Singers, who are highly regarded by both their
peers and the music world in general, would be a worthy subject for this type
of study.23
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX A
171
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
172
SURVEY
fo r
Conductors of
American Professional Choirs
This survey asks ab o u t your associations with and opinions regarding th re e groups: The Robert
Shaw Chorale, T he Roger Wagner Chorale, and The Gregg Smith Singers. In an a tte m p t to elicit
th e m o st a ccu rate responses, a sep arate section is devoted to each of th e se groups below. The
questions for each, however, are essentially th e sam e.
Please respond openly and honestly. Confidentiality for all resp o n d en ts will be strictly
m aintained.
S e c tiQ n I
N am e:_____________________________________________________
Years in th is p o s i t i o n : _______________
If so , please l i s t : ______________________________________________________________________
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
173
Please respond to the following statements by indicating how frequently they apply to you.
1 = never
2 = som etim es
3 = often
4 = always
8 = n ot applicable
S ection III
Listed below are certain facets o f choral music-making, functions o f a professional choir, and
philosophical and personal concerns. To the le ft o f each item, please indicate whether you
would credit either participation in or observation o f The Robert Shaw Chorale with exerting
influence upon your attitude concerning the item (y = yes, n = no). If yes, please indicate to
what extent (circle number to the right o f each item).
1 = minimal
2 = average; one o f many such influences
3 = significant; n o t th e only influence, but
probably th e g re a te st
4 = extrem e; th e sole basis o f your a ttitu d e
y n 9. Choral tone 1 2 3 4
y n 11. The optimal size (num ber of singers) for a professional choir 1 2 3 4
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
174
y n 19. Planning a to u r 1 2 3 4
Section IV
Please circle the letter which most closely represents your level o f agreement or disagreement
with each o f the following statements.
SD = strongly disagree
D = disagree
N = no opinion (or not applicable)
A = agree
SA = strongly agree
20. The Robert Shaw Chorale has been a force in the developm ent o f SD D N A SA
professional choirs via former m em bers who have gone on to
conduct, perform in, or otherwise be involved with other such
groups.
24. The recordings of The Robert Shaw Chorale have been a benefit SD D N A SA
t o subsequent professional choirs.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
27. The Robert Shaw Chorale has helped to shape th e identity of SD D N A SA
to d ay ’s professional chorus.
28. The Robert Shaw Chorale has been th e m ost influential group SD D N A SA
upon my career as a choral conductor.
Section V
Please rate the following in terms of their relative importance to your musical education and
career decisions.
1 =
no im portance
2 =
minimal im portance
3 =
im portant
4 =
very im portant
5 =
extrem ely im portant; the
single m ost influential force
8 = not applicable
Section .VI
For the following, please check the answers that correctly answer the question or finish the
statement. In some instances there may be multiple answers.
34. Indicate th e num ber of workshops and/or festivals you participated in under Robert
Shaw during his ten u re with th e Chorale.
0
1-3
4-6
7-10
m ore than 10
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
176
3 5 . Did The Robert Shaw Chorale participate in any of th e above festival/w orkshops?
y es no If yes, indicate th e number.
1-3
4-6
all
3 6 . How m any years w ere you a m em ber of The Robert Shaw Chorale?
0
1-3
4-5
6-8
9 -10
11-15
m ore than 15
3 7 . Approximately how m any recordings do you own of The Robert Shaw Chorale?
0
1-5
6 -10
11-15
1 6 -1 9
2 0 or more
3 8 . Below is a list o f a sp e c ts of choral perform ance. Check each one you think has been
influenced in your personal philosophy by The Robert Shaw Chorale.
choral to n e
intonation
rhythm ic vitality
diction
blend and balance
39 . Through which of th e following do you think The Robert Shaw Chorale has made th e m ost
influential contribution? (You may number th e se in order of im portance, if you wish)
recordings
tours
festivals/w o rk sh o p s
effo rts to provide/prom ote music education
perform ances of little-known works
perform ances of new works
4 0 . The Robert Shaw Chorale concerts I atte n d ed had a positive effect upon . . .
Reproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
177
Section VII
41. List any form er Robert Shaw Chorale m em bers of whom you are aware th a t are still
active in any capacity with professional choirs. Please cite th e choir, if known.
42. Please com m ent upon any ways in which your choral work has been influenced by The
Robert Shaw Chorale th a t have n ot been previously cited in your responses.
Section VIII
Please respond to the statements below by indicating how frequently they apply to you.
1 = never
2 = som etim es
3 = often
4 = always
8 = not applicable
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
178
47. The rem em brance of The Roger Wagner Chorale in concert still 1 2 3 4 8
affects goals I s e t for a performance.
Section IX
Listed below are certain facets o f choral music-making, functions o f a professional choir, and
philosophical and personal concerns. To the left o f each item, please indicate whether you
would credit either participation in or observation o f The Roger Wagner Chorale with exerting
influence upon your attitude concerning the item (y = yes, n = no). If yes, please indicate to
what extent (circle number to the right o f each item).
1 = minimal
2 = average; one o f many such influences
3 = significant; not th e only influence, b u t
probably th e g rea test
4 = extrem e; th e sole basis o f your attitu d e
y n 51. Choral to n e 1 2 3 4
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
179
Section X
Please circle the letter which most closely represents your level o f agreement or disagreement
with each o f the following statements.
SD = strongly disagree
D = disagree
N = no opinion (or n o t applicable)
A = agree
SA = strongly agree
68. An im portant achievem ent of The Roger Wagner Chorale has been SD D N A SA
th e perform ance of m odem and new works.
70. The Roger Wagner Chorale has been th e m ost influential group SD D N A SA
upon my career as a choral conductor.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
180
Section XI
Please rate the following in terms o f their relative importance to your musical education and
career decisions.
1 =
no im portance
2 =
minimal im portance
3 =
im portant
4 =very im portant
5 =
extrem ely im portant; th e
single m o st influential force
8 = n o t applicable
Section XII
For the following, please check the answers that correctly answer the question or finish the
statement. In some instances there may be multiple answers.
do n o t know him
have m et him
casual acquaintance
personal friend
m e n to r/stu d e n t relationship
colleague
o th e r _________________________________________________
76. Indicate th e num ber of workshops a n d /o r festivals you have participated in under
Roger Wagner.
0
1-3
4-6
7 -10
m ore than 10
77. Did The Roger Wagner Chorale participate in any of th e above festival/w orkshops?
y e s no If y es, indicate th e number.
1-3
4-6
all
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
181
78. How m any years w ere you a member of The Roger W agner Chorale?
0
I-3
4-5
6-8
9 -1 0
II-1 5
m ore than 15
79. Approximately how many recordings do you own by The Roger W agner Chorale?
0
1-5
6-10
11-1 5
16-1 9
2 0 or more
80. Below is a list o f asp e c ts of choral performance. Check each one you think has been
influenced in your personal philosophy by The Roger Wagner Chorale.
choral to n e
intonation
rhythm ic vitality
diction
blend and balance
81. Through which of th e following do you think The Roger W agner Chorale has m ade its m ost
influential contribution? (You may number th ese in order of im portance, if you wish)
recordings
tours
festivals/w orkshops
effo rts to provide/prom ote music education
perform ances of little-known works
perform ances of new works
82. The Roger W agner Chorale concerts I have attended have had a positive effect upon
Section XIII
83. List any form er Roger Wagner Chorale m em bers of whom you are aw are th a t are still
active in any capacity with professional choirs. Please cite th e choir, if known. Use
th e back of this sh e e t if more space is needed.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
182
84. Please com m ent upon any ways in which your choral work has been influenced by The
Roger W agner Chorale th a t have not been previously cited in your responses.
Respond to the statements below by indicating how frequently they apply to you.
1 = never
2 = som etim es
3 = often
4 = always
8 = n o t applicable
89. The rem em brance of The Gregg Smith Singers in concert still 1 2 3 4 8
affects goals I s e t for a performance.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
183
Section XV
Listed below are certain facets o f choral music-making, functions o f a professional choir, and
philosophical and personal concerns. To the left o f each item, please indicate whether you
would credit either participation in or observation o f The Gregg Smith Singers with exerting
influence upon your attitude concerning the item (y = yes, n = no). If yes, please indicate to
what extent (circle number to the right o f each item).
1 = minimal
2 = average; one of many such influences
3 = significant; n ot th e only influence, but
probably th e g re a te st
4 = extrem e; th e sole basis o f your attitu d e
Section XVI
Please circle the letter which most closely represents your level o f agreement or disagreement
with each o f the following statements.
SD = strongly disagree
D = disagree
N = no opinion (or n o t applicable)
A = agree
SA = strongly agree
104. The Gregg Smith Singers has been a force in the developm ent SD D N A SA
of professional choirs via former members who have gone
on t o conduct, perform in, or otherwise be involved with
o th er such groups.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
184
110. An im portant achievem ent of The Gregg Smith Singers has been SD D N A SA
th e perform ance of m odern and new works.
112. The Gregg Smith Singers has been the m ost influential group SD D N A SA
upon my career as a choral conductor.
Section XVII
Please rate the following in terms o f their relative importance to your musical education and
career decisions.
1 =
no im portance
2 =
minimal im portance
3 =
im portant
4 =
very im portant
5 =
extrem ely im portant; the
single m ost influential force
8 = n o t applicable
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
185
Section XVIII
For the following, please check the answers that correctly answer the question or finish the
statement. In some instances there may be multiple answers.
do n o t know him
have m et him
casual acquaintance
personal friend
m e n to r/stu d e n t relationship
colleague
o t h e r ________________________________________________
118. Indicate th e num ber o f workshops an d /o r festivals you have participated in under
Gregg Smith.
0
1-3
4-6
7 -1 0
m ore than 10
119. Did The Gregg Smith Singers participate in any o f th e above festival/w orkshops?
yes no If yes, indicate th e number.
1-3
4-6
all
120. How many years were you a member of The Gregg Smith Singers?
0
1-3
4-5
6-8
9 -1 0
11-1 5
m ore than 15
121. Approximately how many recordings do you own by The Gregg Smith Singers?
0
1-5
6-10
11-15
16-1 9
2 0 or more
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
186
122. Below is a list of asp ects of choral performance. Check each one you think has been
influenced in your personal philosophy by The Gregg Smith Singers.
choral tone
intonation
rhythm ic vitality
diction
blend and balance
123. Through which o f th e following do you think The Gregg Smith Singers has m ade its m ost
influential contribution? (You may num ber th e se in order of im portance, if you wish)
recordings
tours
festivals/w orkshops
efforts to provide/prom ote music education
perform ances of little-known works
perform ances of new works
124. The Gregg Smith Singers concerts I have atten d ed have had a positive e ffe c t upon
Section XIX
125. List any form er Gregg Smith Singers m em bers of whom you are aw are th a t are still
active in any capacity with professional choirs. Please cite th e choir, if known.
126. Please com m ent upon any ways in which your choral work has been influenced by The
Gregg Smith Singers th a t have not been previously cited in your responses.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
187
Section XX
127. The m ost positive asp ect about th e professional choir phenomenon in America is . . .
Use th e remaining space to express any th o ughts you wish regarding professional choirs or
ab o u t this project.
Thank you for your tim e and opinion. Please return this docum ent in th e pre-addressed stam ped
envelope by F e b ru a ry 1, 1 9 9 2 to
Phillip J. Morrow
2 7 1 2 Hillside T errace
Louisville, KY 4 0 2 0 6
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX B
188
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
189
Phillip J. Morrow
2712 Hillside Terrace
Louisville, KY 40206
January 18, 1992
The title of my dissertation is The Influence o f The Robert Shaw Chorale, The
Roger Wagner Chorale, and The Gregg Smith Singers on The Professional
Chorus in the United States. The methodology for the project hinges on data
collected from conductors of active professional choirs via the enclosed
instrum ent.
Therefore, I am asking for your assistance. Would you please take 30-45
minutes and complete the enclosed survey? As the conductor of an active
professional choral group, your response is important to the success of this
study. A pre-addressed, stamped envelope is provided for ease in returning the
survey. Please respond by February 10.
I am aware that the request for time from your busy schedule is one which
asks a great deal. Please know that I am grateful, and thank you in advance
for your help. As I am sure you are aware, scholarly studies of the
professional chorus phenomenon in America are virtually non-existent. It is
my hope that the study in which you are participating will foster more
interest in professional choral groups and thereby more studies of them.
Sincerely yours,
Phillip J. Morrow
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
190
Postcard
Phillip Morrow
(502) 897-0605
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
191
Phillip J. Morrow
2712 Hillside Terrace
Louisville, KY 40206
April 7, 1992
A few weeks ago I mailed to you a survey asking for your response to questions
concerning three professional choirs, in relation to my doctoral dissertation.
In case that mailing became misplaced or never reached you personally, I
have enclosed another copy of the survey. Please take a few minutes and
respond honestly to these statements and questions.
Sincerely,
Phillip J. Morrow
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX C
1 = never
2 = sometimes
3 = often
4 = always
8 = not applicable
3. Having sung in The Robert Shaw Chorale shapes my approach to the music I
conduct.
1 5 (17.9%)
2 2 (7.1%)
3 3 (0.0%)
4 2 (7.1%)
8 17 (60.7%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
193
5. The remembrance of The Robert Shaw Chorale in concert still affects goals I
set for a performance.
1 9 (32.1%)
2 3 (10.7%)
3 3 (10.7%)
4 4 (14.3%)
8 8 (28.6%)
7. The professional choir I conduct models its business operation after The
Robert Shaw Chorale.
1 12 (42.9%)
2 4 (14.3%)
3 0 ( 0.0%)
4 0 ( 0.0%)
8 11 (39.3%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
194
Section III
1 = minimal
2 = average; one of many such influences
3 = significant; not the only influence, but probably the greatest
4 = extreme; the sole basis of your attitude
9. Choral tone
y 11 (39.3%)
n 11 (39.3%)
1 5 (17.9%)
2 5 (17.9%)
3 8 (28.6%)
4 1 ( 3.6%)
1 7 (25.0%)
2 6 (21.4%)
3 6 (21.4%)
4 1 (3.6%)
1 8 (28.6%)
2 4 (14.3%)
3 2 (7.1%)
4 1 (3.6%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
195
1 6 (21.4%)
2 6 (21.4%)
3 3 (10.7%)
4 1 (3.6%)
Program content
y 11 (39.3%)
n 10 (35.7%)
1 6 (21.4%)
2 8 (28.6%)
3 4 (14.3%)
4 0 (0.0%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
196
18. Your philosophical beliefs about the value of professional choirs
y 11 (39.3%)
n 10 (35.7%)
1 6 (21.4%)
2 5 (17.9%)
3 6 (21.4%)
4 1 (3.6%)
tanning a tour
y 3 (10.7%)
n 18 (64.3%)
1 7 (25.0%)
2 3 (10.7%)
3 0 (0.0%)
4 0 (0.0%)
Section IV
Please circle the letter which m ost closely represents yo u r level o f agreement
or disagreement with each o f the following statements.
SD = strongly disagree
D = disagree
N = no opinion (or not applicable)
A = agree
SA = strongly agree
20. The Robert Shaw Chorale has been a force in the development of
professional choirs via former members who have gone on to conduct,
perform in, or otherwise be involved with other SD 0 (0.0%)
D 1 (3.6%)
N 7 (25.0%)
A 12 (42.9%)
SA 7 (25.0%)
21. The Shaw Chorale, because of its international tours, is largely responsible
for the receptivity of foreign countries to today’s touring choirs.
SD 0 (0.0%)
D 4 (14.3%)
N 13 (46.4%)
A 8 (28.6%)
SA 2 (7.1%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
197
22. The work of The Robert Shaw Chorale helped facilitate the emergence of
subsequent professional choirs.
SD 0 (0.0%)
D 0 (0.0%)
N 1 (3.6%)
A 15 (53.6%)
SA 11 (39.3%)
23. The recordings of The Robert Shaw Chorale generally have increased my
understanding of the music being performed.
SD 0 (0.0%)
D 5 (17.9%)
N 5 (17.9%)
A 12 (42.9%)
SA 5 (17.9%)
24. The recordings of The Robert Shaw Chorale have been a benefit to
subsequent professional choirs.
SD 0 (0.0%)
D 1 (3.6%)
N 4 (14.3%)
A 15 (53.6%)
SA 7 (25.0%)
25. In its recordings, The Robert Shaw Chorale achieves a level of musicality
that I strive for as a conductor.
SD 0 (0.0%)
D 6 (21.4%)
N 8 (28.6%)
A 6 (21.4%)
SA 7 (25.0%)
27. The Robert Shaw Chorale has helped to shape the identity of today’s
professional chorus.
SD 0 (0.0%)
D 2 (7.1%)
N 7 (25.0%)
A 9 (32.1%)
SA 9 (32.1%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
198
28. The Robert Shaw Chorale has been the most influential group upon my
career as a choral conductor.
SD 6 (21.4%)
D 9 (32.1%)
N 5 (17.9%)
A 2 (7.1%)
SA 5 (17.9%)
Section V
Please rate the following in terms o f their relative importance to your musical
education and career decisions.
1 = no importance
2 = minimal importance
3 = important
4 = very important
5 = extremely important; the single most influential force
8 = not applicable
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Section VI
For the following, please check the answers that correctly answer the
question or finish the statement. In some instances there m ay be multiple
answers.
33. Which of the following best describes your relationship with Robert
Shaw?
do n o t know him 7 (25.0%)
have m et him 11 (39.3%)
c a su a l a c q u a in ta n c e 2 (7.1%)
p e rs o n a l f rie n d 3 (10.7%)
m e n to r /s tu d e n t r e la tio n s h ip 3 (10.7%)
c o lle a g u e 6 (21.4%)
o th e r 6 (21.4%)
35. Did The Robert Shaw Chorale participate in any of the above
festival/workshops? If yes, indicate the number.
y 0 (0.0%)
n 19 (64.3%)
1-3 0 (0.0%)
4 -6 0 (0.0%)
a ll 0 (0.0%)
36. How many years were you a member of The Robert Shaw Chorale?
0 25 (89.3%)
1-3 1 (3.6%)
4-5 0 (0.0%)
6-8 0 (0.0%)
9-10 0 (0.0%)
11-15 0 (0.0%)
m ore th a n 15 0 (0.0%)
37. Approximately how many recordings do you own of The Robert Shaw
Chorale?
0 2 (7.1%)
1-5 15 (53.6%)
6-10 8 (28.6%)
11-15 1 (3.6%)
16-19 0 (0.0%)
20 o r m ore 1 (3.6%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
200
38. Below is a list of aspects of choral performance. Check each one you think
has been influenced in your personal philosophy by The Robert Shaw Chorale.
c h o ra l to n e 15 (53.6%)
in to n a tio n 9 (32.1%)
rh y th m ic v ita lity 21 (75.0%)
d ic tio n 14 (50.0%)
b len d a n d balan ce 12 (42.9%)
39. Through which of the following do you think The Robert Shaw Chorale has
made the most influential contribution? (You may num ber these in order of
importance, if you wish)
re c o rd in g s 24 (85.7%)
to u r s 17 (60.7%)
f e s tiv a ls /w o r k s h o p s 7 (25.0%)
effo rts to p ro v id e /p ro m o te m usic e d u catio n 6 (21.4%)
p e rfo rm a n c e s o f little-k n o w n w orks 7 (25.0%)
p erfo rm a n ce s o f new w orks 7 (25.0%)
40. The Robert Shaw Chorale concerts I attended had a positive effect upon . . .
m y en jo y m en t o f m usic 11 (39.3%)
m y m u sic-m ak in g 11 (39.3%)
m y c a re e r 10 (35.7%)
o th e r 2 (7.1%)
no p o sitiv e effect 28 (100.0%)
n o t a p p lica b le 10 (35.7%)
Section VIII
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
201
44. The recordings of The Roger Wagner Chorale influence my interpretation
of a musical score.
1 8 (28.6%)
2 9 (32.1%)
3 3 (10.7%)
4 2 (7.1%)
8 5 (17.9%)
45. Having sung in The Roger Wagner Chorale shapes my approach to the
music I conduct.
1 3 (10.7%)
2 1 (3.6%)
3 1 (3.6%)
4 0 (0.0%)
8 21 (75.0%)
46. I attended concerts by The Roger Wagner Chorale.
1 10 (35.7%)
2 8 (28.6%)
3 2 (7.1%)
4 1 (3.6%)
8 5 (17.9%)
47. The remembrance of The Roger Wagner Chorale in concert still affects
goals I set for a performance.
1 6 (21.4%)
2 6 (21.4%)
3 3 (10.7%)
4 2 (7.1%)
8 10 (35.7%)
49. The professional choir I conduct models its business operation after The
Roger Wagner Chorale.
1 7 (25.0%)
2 4 (14.3%)
3 0 (0.0%)
4 0 (0.0%)
8 15 (53.6%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
202
Section IX
1 = minimal
2 = average; one of many such influences
3 = significant; not the only influence, but probably the greatest
4 = extreme; the sole basis of your attitude
1 2 (7.1%)
2 10 (35.7%)
3 3 (10.7%)
4 0 (0.0%)
1 4 (14.3%)
2 7 (25.0%)
3 5 (17.9%)
4 0 (0.0%)
1 5 (17.9%)
2 2 (7.1%)
3 6 (21.4%)
4 0 (0.0%)
1 4 (14.3%)
2 6 (21.4%)
3 1 (3.6%)
4 0 (0.0%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
203
1 5 (17.9%)
2 2 (7.1%)
3 0 (0.0%)
4 0 (0.0%)
1 7 (25.0%)
2 0 (0.0%)
3 0 (0.0%)
4 0 (0.0%)
1 6 (21.4%)
2 3 (10.7%)
3 0 (0.0%)
4 0 (0.0%)
1 6 (21.4%)
2 4 (14.3%)
3 1 (3.6%)
4 0 (0.0%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
204
60. Your philosophical beliefs about the value of professional choirs
y 7 (25.0%)
n 12 (42.0%)
1 2 (7.1%)
2 6 (21.4%)
3 4 (14.3%)
4 1 (3.6%)
1 4 (14.3%)
2 4 (14.3%)
3 0 (0.0%)
4 0 (0.0%)
Section X
Please circle the letter which m ost closely represents your level o f agreement
or disagreement with each o f the following statements.
SD = strongly disagree
D = disagree
N = no opinion (or not applicable)
A = agree
SA = strongly agree
62. The Roger Wagner Chorale has been a force in the development of
professional choirs via former members who have gone on to conduct,
perform in, or otherwise be involved with other such groups.
SD 0 (0.0%)
D 3 (10.7%)
N 10 (35.7%)
A 8 (28.6%)
SA 5 (17.9%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
64. The work of The Roger Wagner Chorale helped facilitate the emergence of
subsequent professional choirs.
SD 0 (0.0%)
D 1 (3.6%)
N 2 (7.1%)
A 19 (67.9%)
SA 4 (14.3%)
65. The recordings of The Roger Wagner Chorale generally have increased my
understanding of the music being performed.
SD 0 (0.0%)
D 4 (14.3%)
N 12 (42.9%)
A 9 (32.1%)
SA 1 (3.6%)
66. The recordings of The Roger Wagner Chorale have been a benefit to
subsequent professional choirs.
SD 0 (0.0%)
D 1 (3.6%)
N 7 (25.0%)
A 15 (53.6%)
SA 3 (10.7%)
67. In its recordings, The Roger Wagner Chorale achieves a level of musicality
that I strive for as a conductor.
SD 0 (0.0%)
D 3 (10.7%)
N 7 (25.0%)
A 12 (42.9%)
SA 4 (14.3%)
68. An im portant achievement of The Roger Wagner Chorale has been the
performance of modern and new works.
SD 0 (0.0%)
D 8 (28.6%)
N 11 (39.3%)
A 7 (25.0%)
SA 0 (0.0%)
69. The Roger Wagner Chorale has helped to shape the identity of today’s
professional chorus.
SD 0 (0.0%)
D 2 (7.1%)
N 5 (17.9%)
A 16 (57.1%)
SA 3 (10.7%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
70. The Roger Wagner Chorale has been the most influential group upon my
career as a choral conductor.
SD 6 (21.4%)
D 8 (28.6%)
N 7 (25.0%)
A 4 (14.3%)
SA 1 (3.6%)
Section .XI
Please rate the following in terms o f their relative importance to your musical
education and career decisions.
1 = no importance
2 = minimal importance
3 = important
4 = very important
5 = extremely important; the single most influential force
8 = not applicable
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
207
Section XII
For the following, please check the answers that correctly answer the
question or finish the statement. In some instances there m ay be multiple
answers.
75. Which of the following best describes your relationship with Roger
Wagner?
do n o t know him 6 (21.4%)
have m et him 10 (35.7%)
ca su a l a c q u a in ta n c e 4 (14.3%)
p e rs o n a l frie n d 3 (10.7%)
m e n to r /s tu d e n t r e la tio n s h ip 4 (14.3%)
c o lle a g u e 2 (7.1%)
o th e r 5 (17.9%)
76. Indicate the number of workshops a n d /o r festivals you have participated
in under Roger Wagner.
0 14 (50.0%)
1-3 11 (39.3%)
4-6 1 (3.6%)
7-10 1 (3.6%)
m ore th a n 10 0 (0.0%)
77. Did The Roger Wagner Chorale participate in any of the above
festival/workshops? If yes, indicate the number.
y 2 (7.1%)
n 12 (42.9%)
1-3 4 (14.3%)
4-6 0 (0.0%)
a ll 0 (0.0%)
79. Approximately how many recordings do you own by The Roger Wagner
Chorale?
0 9 (32.1%)
I-5 13 (46.4%)
6-10 2 (7.1%)
II-1 5 2 (7.1%)
16-19 0 (0.0%)
20 o r m ore 0 (0.0%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
208
80. Below is a list of aspects of choral performance. Check each one you think
has been influenced in your personal philosophy by The Roger Wagner
Chorale.
c h o ra l to n e 15 (53.6%)
in to n a tio n 8 (28.6%)
rh y th m ic v ita lity 7 (25.0%)
d ic tio n 5 (17.9%)
b le n d a n d balance 10 (35.7%)
81. Through which of the following do you think The Roger Wagner Chorale
has made its most influential contribution? (You may number these in order
of importance, if you wish)
r e c o rd in g s 20 (71.4%)
to u rs 18 (64.3%)
f e s tiv a ls /w o r k s h o p s 3 (10.7%)
e ffo rts to p ro v id e /p ro m o te m usic ed u catio n 3 (10.7%)
p e rfo rm a n c e s o f little-k n o w n w orks 5 (17.9%)
p e rfo rm an c es o f new works 0 (0.0%)
82. The Roger Wagner Chorale concerts I have attended have had a positive
effect upon
my en jo y m en t of m usic 7 (25.0%)
m y m u sic-m ak in g 8 (28.6%)
m y c a re e r 7 (25.0%)
o th e r 2 (7.1%)
no p o sitiv e effect 0 (0.0%)
N /A 12 (42.9%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
209
87. Having sung in The Gregg Smith Singers shapes my approach to the music
I conduct.
1 4 (14.3%)
2 0 ( 0 .0%)
3 1 (3.6%)
4 0 (0.0%)
8 20 (71.4%)
89. The remembrance of The Gregg Smith Singers in concert still affects goals
I set for a performance.
1 8 (28.6%)
2 7 (25.0%)
3 3 (10.7%)
4 2 (7.1%)
8 6 (21.4%)
90. In my rehearsal procedures, I use choral techniques that Gregg Smith uses
with his group.
1 7 (25.0%)
2 4 (14.3%)
3 1 (3.6%)
4 1 (3.6%)
8 12 (42.9%)
92. I have observed, sat in on,” rehearsals of The Gregg Smith Singers.
1 12 (42.9%)
2 6 (21.4%)
3 2 (7.1%)
4 1 (3.6%)
8 5 (17.9%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
210
Section. XV
1 = minimal
2 = average; one of many such influences
3 = significant; not the only influence, but probably the greatest
4 = extreme; the sole basis of your attitude
1 8 (28.6%)
2 2 (7.1%)
3 2 (7.1%)
4 1 (3.6%)
1 5 (17.9%)
2 6 (21.4%)
3 3 (10.7%)
4 0 (0.0%)
1 6 (21.4%)
2 4 (14.3%)
3 4 (14.3%)
4 0 (0.0%)
1 6 (21.4%)
2 4 (14.3%)
3 2 (7.1%)
4 1 (3.6%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
97. Administrative model for the functioning of a professional choir
y 4 (14.3%)
n 15 (53.6%)
1 6 (21.4%)
2 3 (10.7%)
3 0 (0.0%)
4 1 (3.6%)
1 7 (25.0%)
2 2 (7.1%)
3 1 (3.6%)
4 1 (3.6%)
1 5 (17.9%)
2 2 (7.1%)
3 3 (10.7%)
4 1 (3.6%)
1 5 (17.9%)
2 4 (14.3%)
3 1 (3.6%)
4 0 (0.0%)
101. Program content
y 12 (42.9%)
n 7 (25.0%)
1 3 (10.7%)
2 8 (28.6%)
3 7 (25.0%)
4 0 (0.0%)
1 3 (10.7%)
2 6 (21.4%)
3 4 (14.3%)
4 2 (7.1%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
212
103. Planning a tour
y 3 (10.7%)
n 16 (57.1%)
1 5 (17.9%)
2 2 (7.1%)
3 1 (3.6%)
4 0 (0.0%)
Section XVI
Please circle the letter which m ost closely represents your level o f agreement
or disagreement with each o f the following statements.
SD = strongly disagree
D = disagree
N = no opinion (or not applicable)
A = agree
SA = strongly agree
104. The Gregg Smith Singers has been a force in the development of
professional choirs via former members who have gone on to conduct,
perform in, or otherwise be involved with other such groups.
SD 0 (0.0%)
D 3 (10.7%)
N 11 (39.3%)
A 7 (25.0%)
SA 4 (14.3%)
106. The work of The Gregg Smith Singers helped facilitate the emergence of
subsequent professional choirs.
SD 0 (0.0%)
D 1 (3.6%)
N 3 (10.7%)
A 18 (64.3%)
SA 3 (10.7%)
107. The recordings of The Gregg Smith Singers generally have increased my
understanding of the music being performed.
SD 0 (0.0%)
D 3 (10.7%)
N 6 (21.4%)
A 11 (39.3%)
SA 5 (17.9%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
213
108. The recordings of The Gregg Smith Singers have been a benefit to
subsequent professional choirs.
SD 0 (0.0%)
D 1 (3.6%)
N 3 (10.7%)
A 15 (53.6%)
SA 6 (21.4%)
109. In its recordings, The Gregg Smith Singers achieves a level of musicality
that I strive for as a conductor.
SD 1 (3.6%)
D 8 (28.6%)
N 5 (17.9%)
A 8 (28.6%)
SA 3 (10.7%)
110. An im portant achievement of The Gregg Smith Singers has been the
performance of modern and new works.
SD 0 (0.0%)
D 0 (0.0%)
N 2 (7.1%)
A 9 (32.1%)
SA 14 (50.0%)
111. The Gregg Smith Singers has helped to shape the identity of today’s
professional chorus.
SD 0 (0.0%)
D 1 (3.6%)
N 3 (10.7%)
A 15 (53.6%)
SA 6 (21.4%)
112. The Gregg Smith Singers has been the most influential group upon my
career as a choral conductor.
SD 5 (17.9%)
D 8 (28.6%)
N 8 (28.6%)
A 1 (3.6%)
SA 3 (10.7%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
214
S fiC flQ E L M
Please rate the following in terms o f their relative importance to your musical
education and career decisions.
1 = no importance
2 = minimal importance
3 = important
4 = very important
5 = extremely important; the single most influential force
8 = not applicable
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
215
Section XVIII
For the following, please check the answers that correctly answer the
question or finish the statement. In some instances there m ay be multiple
answers.
117. Which of the following best describes your relationship with Gregg
Smith?
do n o t know him 0 (0.0%)
have m et him 10 (35.7%)
c a su a l a c q u a in ta n c e 0 (0.0%)
p e rs o n a l frie n d 7 (25%)
m e n to r /s tu d e n t re la tio n s h ip 3 (10.7%)
c o lle a g u e 9 (32.1%)
o th e r 2 (7.1%)
118. Indicate the number of workshops and/or festivals you have participated
in under Gregg Smith.
0 13 (46.4%)
1-3 11 (39.3%)
4 -6 0 (0.0%)
7-10 0 (0.0%)
m ore th an 10 1 (3.6%)
119. Did The Gregg Smith Singers participate in any of the above
festival/workshops? If yes, indicate the number.
y 8 (28.6%)
n 7 (25.0%)
1-3 4 (14.3%)
4 -6 0 (0.0%)
a ll 2 (7.1%)
121. Approximately how many recordings do you own by The Gregg Smith
Singers?
0 4 (14.3%)
1-5 16 (57.1%)
6-10 3 (10.7%)
11-15 0 (0.0%)
16-19 1 (3.6%)
20 o r m ore 0 (0.0%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
216
122. Below is a list of aspects of choral performance. Check each one you
think has been influenced in your personal philosophy by The Gregg Smith
Singers.
c h o ra l tone 8 (28.6%)
in to n a tio n 8 (28.6%)
rh y th m ic v ita lity 9 (32.1%)
d ic tio n 4 (14.3%)
b len d a n d balance 6 (21.4%)
123. Through which of the following do you think The Gregg Smith Singers
has made its most influential contribution? (You may number these in order
of importance, if you wish)
re c o rd in g s 18 (64.3%)
to u r s 13 (46.4%)
f e s tiv a ls /w o r k s h o p s 9 (32.1%)
effo rts to p ro v id e /p ro m o te m usic ed u catio n 3 (10.7%)
p e rfo rm an c es o f little-k n o w n works 16 (57.1%)
p erfo rm an ces o f new works 18 (64.3%)
124. The Gregg Smith Singers concerts I have attended have had a positive
effect upon
my enjoym ent o f m usic 12 (42.9%)
my m usic-m aking 10 (35.7%)
my c a re e r 8 (28.6%)
o th e r 2 (7.1%)
no p o sitiv e effect 2 (7.1%)
n o t ap p lica b le 5 (17.9%)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX D
41. List any form er Robert Shaw Chorale members o f whom you are aware
that are still active in any capacity with professional choirs. Please cite the
choir, i f known.
Q6: I know I have met many, yet I’m unsure or don’t remember
their names.
Q24: none
42. Please com ment upon any ways in which your choral work has been
influenced by the Robert Shaw Chorale which have n o t been previously cited
in this questionnaire.
03: The joy & love of singing which permeates everything Shaw
does-m y professional “idol”
217
with permission of the copyright owner. Further reproduction prohibited without permission.
218
Q7: It’s hard for me to separate the Robert Shaw Chorale from Shaw
and his more recent workshops. I’m not that familiar with the
Chorale. I am. strongly influenced by Shaw himself and his
teaching.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
219
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
220
I suppose, ok. It is just that I feel rather strongly that there are
serious underlying problems with your premise, and, if there
aren’t, there are serious problems with the community that you
are addressing. If others routinely think in the terms your
survey uses, then they are missing the point of a lot of music and
music making. Of course, I can’t speak about the influence of the
Shaw organization, or of being a member of the Chorale, or any
of that. I didn’t have that experience. It is just that every time
choral music is singled out, it is belittled. Every time we look for
influences among great men or women, we usually focus on
trivialities and miss their real contribution. Finally, I object to
any attem pt to quantify influence, feelings, understanding.
So, I guess, as I always have, I dislike surveys, doubt their
value, and hope they will go away. Yours is the first I have
answered in any way in years. I answered it at all because 1
think there is, somewhere within it, something of value. These
men have had an influence on music in America, not entirely for
good. I think that could be explored, but not in the way you have
gone about it.
Q28: Perhaps I am too young (50) to have worked first hand with the
Chorale. I have, however, attended numerous workshops
(Meadowbrook & Westminster as well as Carnegie Hall Brahms’
Requiem). Shaw has on many occasions let me borrow his scores
overnight so I could study them and transfer his meticulous
markings into my score. Further, I prepared a choir and
orchestra which Shaw conducted in a benefit concert.
83. List any former Roger Wagner Chorale members o f whom you are aware
that are still active in any capacity with professional choirs. Please cite the
choir, i f known.
Q6c I have used several singers from his group. John Mack Ousley
(who is from NY but sometimes went with Roger on tour) sang
several seasons with us.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
221
Cg4: Cindy Richards -- choral contractor for Pro Arte & Musica Sacra.
I have one singer who sang in the Chorale.
Q25: Paul Hill - Paul Hill Chorale
84. Please comment upon any ways in which your choral work has been
influenced by the Roger Wagner Chorale which have n ot been previously
cited in this questionnaire.
QJ2: I’m certain if it hadn’t been for his work to achieve choral
excellence, I could not be in the position I’m in now, as a
professional choral director.
(g& None
125. List any form er Gregg Smith Singers members o f whom you are aware
that are still active in any capacity with professional choirs. Please cite the
choir, i f known.
Q& I have used 10-15 singers from his group in the past 5 years
alone. At the moment, Linda Eckard and Michael Reed are in my
group. Linda still sings with Gregg, and Michael sang with Gregg
for 2 years.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
222
126. Please com m ent upon any ways in which yo u r choral work has been
influenced by the Gregg Smith Singers which have not been previously cited
in this questionnaire.
09: Gregg Smith’s Vox Boxes of American Music have been very
im portant to me over the years in planning my programs of
American music. In addition, he has personally directed me to
some wonderful pieces over the years when I asked him for
advice.
025: Have only heard the Gregg Smith singers in one concert and only
own one recording so I feel unqualified to answer this section
(chapter 3),
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
223
127. The m ost positive aspect about the professional choir phenomenon in
America is . . .
Q7: Chorus America—the support & information it & its members give
to new groups.
Q£fc that it is growing despite economic hard times. I almost think the
most positive “thing” is Chorus America, which is really helping
people to network; learn from each other and keep the faith.
Q12: more recognition as being a serious art form and not only for
church music.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
224
Q7: how to get the public to respect and love professional choral
music the way they do symphonic music.
010: $$$$$$$$$$$
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
225
CgCk persuading the public that singers need to be paid if we are going
to see high quality in choral performance.
(24: funding
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
226
Q7: unity of spirit, and a deep friendship among the members blend
& ensemble
017: our sound. We sing senza vibrato and place much emphasis on
perfect intonation and blend, while still achieving a vigorous,
healthy tone.
Q1& the breadth of literature, the high level of musical (as opposed to
vocal) skills of my singers, as compared to virtually any
ensemble, our ability to illumine the text.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
227
QJ.9: its versatility in repertoire, its musicality and the skills of the
members.
C25: their ability to adapt tonal quality to suit the style of the
particular music they are performing.
<2& 1) all singers in an area without a great choral tradition are paid
and
2) the variety of musical styles is quite exceptional (from
Renaissance to Avant garde)
<2: Please feel free to call me if you wish—I do a lot of theatre work &
find that a new “venue” for choruses.
I just returned from the Shaw workshop in N. Y.
I can’t answer this, but believe Gregg [Smith] would be very
helpful to former members.
Have attended workshops [where Gregg Smith has been serving
as clinician] & loved working [with him].
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
228
Oil: I have found an amazing attitude in the USA towards the building
of a library: photocopying and repetition are “de regeur,” &
boards in particular need to be more awarre of their legal
responsibility. I am lucky and am allowed considerable freedom
to select & purchase.
013: Why were only these 3. ensembles chosen. Chanticleer is the only
full-time professional vocal ensemble in this country. Why
weren’t they included or the Dale Warland Singers?
QJ4: Other choirs & conductors have had much stronger impact on
me-George Lynn & the Lynn Singers or Dale Warland & the
Warland Singers are two examples. I think Shaw & Wagner spoke
to another generation & were very important to choral
development; their influence now is not so great. Others such as
Smith & Korn have had a positive influence on the organization
of choirs through the founding of Chorus America etc. I feel
Warland is our greatest choral musician at this time & try to
model his program.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
229
025: At the end of each group’s questions you asked for a list of
members who are still active in any capacity with professional
choirs. In this respect I think you should have also included
participation in the educational system since each of these
groups has turned out disciples who have continued on in the
extremely important area of teaching.
026: The Shaw Chorale when I first heard them over 30 years ago
thrilled me ever so much as a young singer. Other choirs singing
Bach just have not been the same.
027: For me, Roger Wagner and Gregg Smith have been no influence.
Robert Shaw was, admittedly, a strong influence, but the
questions in the survey are not designed to elicit that
inform ation.
Q2& Professional choirs and the work of the late Michael Korn are
now well established in the form of Chorus America, whose
accomplishments are monumental for the professional choral
musician. Good luck.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX E
Item #
^The abbreviations RSC, RWC, and GSS are used in this appendix rather
than write out the names of the Shaw Chorale, Wagner Chorale, and Smith
Singers each time. This, together with the 3 item numbers in the left column
is done in order to acknowledge that the item appeared in the survey 3 times,
once for each group.
230
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
231
8, 50, 92. I observed, or “sat in on,” rehearsals of the [RSC, RWC, GSS].
Please rate the following in terms o f their relative importance to your musical
education and career decisions.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
232
31,73,115. Experiencing an apprenticeship (e.g. assistant conductor,
administrator, etc.) relationship to [RS, RW, GS] with the
[RSC, RWC, GSS].
For the following, please check the answers that correctly answer the
question or finish the statement. In some instances there m ay be multiple
answers. 2
2 In the event more than one response was indicated, the response
with the highest Rl-score value was chosen when figuring the Rl-score.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
233
35,77,119. Did the [RSC, RWC, GSS] participate in any of the above
festival/workshops? yes no If yes, approximate the
num ber.4
36,78,120. How many years were you a member of the [RSC, RWC, GSS] ?
37, 79,121. Approximately how many recordings do you own of the [RSC,
RWC, GSS] ?
Reproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
APPENDIX F
TABLE 42
----------------------Rl-Scores for-----------------
Respondent # Shaw Chorale Wagner Chorale Smith Singers
0.1 14 10 8
Q.2 17 25 18
Q.3 12 8 16
Q. 5a 25 11 16
0 .6 4 5 45
0.7 7 4 3
0.8 6 9 6
09 9 2 15
0.10 13 34 16
0.11 2 0 3
0.12 9 22 9
0.13 2 0 4
0.14 6 7 11
0.15 6 1 11
O
a ie 24 L. 15
on 4 0 0
234
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
235
----------------------Rl-Scores for------------------
Respondent # Shaw Chorale Wagner Chorale Smith Singers
Q.18 12 8 14
0.19 14 13 24
Q20 10 15 3
021 26 2 10
022 13 3 8
023 6 6 9
024 11 3 7
025 11 46 3
026 19 8 15
027 2 0 0
028 21 10 15
029 27 4 9
a There was no Respondent #0.4. This oddity is due to the fact that one survey
was discovered to be unusable only after the process of recording the data had
begun.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX G
1In following the practice of this paper, this listing does not include
choirs that are semi-professional (see Definition of Terms. Chapter 1). Chorus
America (2111 Sansom St., Philadelphia, PA 19103) maintains up-to-date
records of virtually all choruses active in this country that either designate
themselves “professional” or meet certain criteria set forth by Chorus
America for the purpose of designating groups as such. As has been discussed,
interpretations of the term “professional choir” vary (even for Chorus
America); therefore many semi-professional groups would be included on
such a list.
^This symbol ( [x] ) indicates input by the conductor into this project.
Basically Bach, while active during the research phase of this effort, has
apparently ceased operation as a professional chorus.
236
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
237
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
238
New Classic Singers Glen Ellyn, Illinois; Lee R. Kesselman, music director
The O rpheon Chorale New York, New York; Dino Anagnost, conductor
St. Thom as Choir New York, New York; Gerre Hancock, conductor; [x]
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
239
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX H
1242
Poulenc, Francis. Mass in G. RCA Victor, DM/WDM 1409,1949.
1252
Bach, Johann Sebastian. Christ lag in Totesbanden (Cantata no. 4). With RCA
Victor Orchestra. RCA Victor, DM 1096,1950.
Brahms, Johannes. Alto Rhapsody, op. 53. Marian Anderson, Men of the
Robert Shaw Chorale, RCA Victor Orchestra, Fritz Reiner, conductor. RCA
Victor, LM 1146,1950.
Hymns o f Thanksgiving. With Hugh Porter, organ. RCA Victor, WDM 1559, LM
108,1950.
iAll recordings are by the Robert Shaw Chorale with Robert Shaw
conducting, unless otherwise indicated.
240
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
241
Strauss, Johann. Die Fledermaus (excerpts). With RCA Victor Orchestra, Fritz
Reiner, conductor. RCA Victor, LM/VLM 1114, 1950.
Sweet and Low. With Shirlee Emmons, soprano, Raymond Keast, baritone,
Raymond Viola, piano, Frank Glazer, piano. RCA Victor, LM 1800, LM 96,
WDM 1528,1950.
A Treasury o f Easter Songs. With Collegiate Chorale. RCA Victor, WDM 1623, LM
1201.1950.
_________ Rigoletto. With Jan Peerce, tenor, Renato Cellini, conductor. RCA
Victor, LM/VLM 6021, 1950.
1251
Bizet, Georges. Carmen. With RCA Victor Orchestra, Fritz Reiner, conductor.
RCA Victor, LM 6102, AVM 3-0670,1951.
Joy to the World. RCA Victor, LM 1112, DM 1007, CAL 448,1951, (1964).
Milanov Sings. With RCA Victor Orchestra, Renato Cellini, conductor. RCA
Victor, LM 1777,1951.
1952
Christmas Hymns and Carols, Vol. 2. RCA Victor, DM/LM/WDM 1711, ERA 225,
ERA 226,1952.
Gluck, Christoph Willibald Von. Orfeo ed Euridice, Act 2. With NBC Orchestra,
Arturo Toscanini, conductor. RCA Victor, LM 1850, LVT 1041, 1952.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
242
m i
Bach, Johann Sebastian. Komm, Jesu, komm; Franz Schubert. Mass in G; and
Johannes Brahms. Der Abend, Nachtens and Zum Schluss. RCA Victor, LM
1784,1953.
Verdi, Giuseppe. La Forza del destino (excerpts). With Renato Cellini and Jonel
Perlea, conductors. RCA Victor, LM1916, 1953.
1254
Bach Cantatas and Arias. With Bach Aria Group, William H. Scheide and Frank
Brieff, conductors. RCA Victor, LM 6023, 1954.
Boito, Arrigo. Mefistofele (Prologue); and Giuseppe Verdi. Quattro pezzi sacri
(no. 4) and Te Deum. With NBC Symphony Orchestra, Arturo Toscanini,
conductor. RCA Victor, LM 1849,1954.
With Love from a Chorus. Men of the Robert Shaw Chorale. RCA Victor,
LM/ERB 1815, ERA 256, CC 40.
1255
My True Love Sings. RCA Victor, LM 1998,1956.
1251
Best Loved Sacred Songs, Vol. 1. RCA Victor, LPM 1765, VCM/VCS 7023, 1957.
Christmas Hymns and Carols, Vol. 1. RCA Victor, LM/LSC/ERA 2139, FTC 2026,
KCS 4048, CCS 86,1957.
Deep River and Other Spirituals. With Thomas Pyle, baritone, Paul Westbrook,
bass, John Wustman, piano. RCA Victor, LM/LSC 2247, 1957.
A M ighty Fortress. With Thomas Dunn, organ. RCA Victor, LM/LSC 2199, KCS
4032, ACS 107,1957.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
243
ms
Bach, Johann Sebastian. Jesu, meine Freude and Christ lag in Todesbanden.
With RCA Victor Orchestra. RCA Victor, LM/LSC 2273, 1958.
On Stage with Robert Shaw. With RCA Victor Orchestra. RCA Victor, LM/LSC
2231, KCS 6009,1958.
1252
A Chorus o f Love from the Men o f the Robert Shaw Chorale. Men of the Robert
Shaw Chorale. RCA Victor, LM/LSC 2402, FTC 2013, KCS 4038,1959.
Mallotte, Albert Hay. The Lord’s Prayer; and Franz Schubert. Ave Maria. Men
of the Robert Shaw Chorale, Perry Cc-mo, Mitchell Ayres, orchestra
conductor. RCA Victor, #47-7650,1959.
Operatic Choruses. RCA Victor, LM/LSC 2416, FTC 2072, KCS 4077,1959.
mo.
Bach, Johann Sebastian. Mass in B Minor. With orchestra. RCA Victor,
LM/LSC 6157, I960.2
The Immortal Victor Herbert With orchestra. RCA Victor, LM/LSC 2515, FTC
2086, KCS 4082,1960.
Sea Shanties. Men of the Robert Shaw Chorale. RCA Victor, LM/LSC 2551, 1960.
1221
23 Glee Club Favorites. Men of the Robert Shaw Chorale. RCA Victor, LM/LSC
2598, FTC 2107,1961.
1222
This Is My Country. With RCA Victor Symphony Orchestra. RCA Victor,
LM/LSC 2662, FTC 2132, KCS 4090,1962.
Yours Is M y Heart Alone. With orchestra. RCA Victor VCM/VCS 7023, FTC 2140,
1962.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
244
mi
Britten, Benjamin. Ceremony o f Carols, Rejoice in the Lamb, and Festival Te
Deum. RCA Victor, LM/LSC 2759,1963.
The Many Moods o f Christmas. With RCA Victor Symphony Orchestra. RCA
Victor, LM/LSC 2684, FTC 2157.
The Robert Shaw Chorale “On Tour.” RCA Victor, LM/LSC 2676, 1963.
15M
Songs o f Faith and Inspiration. With orchestra. RCA Victor, LM/LSC 2760,
1964.
Stravinsky, Igor. Sym phony o f Psalms; Francis Poulenc. Gloria. With RCA
Victor Orchestra. RCA Victor, LM/LSC 2822.3
mi
Brahms, Johannes. Liebeslieder Waltzes (op. 52) and Neue Liebeslieder Waltzes
(op. 65). RCA Victor, LM/LSC 2864, 1965.
The Robert Shaw Chorale on Broadway. With orchestra. RCA Victor, LM/LSC
2799, FTC 2202,1965.
Vivaldi, Antonio. Gloria and Chamber Mass: Kyrie; and J. S. Bach. Jesus,
Dearest Master. With orchestra. RCA Victor, LM/LSC 2883, R8S 5040, 1965.
m &
Handel, George Frideric. Messiah. With orchestra. RCA Victor, LM/LSC 6175,
1966.
mi
Irish Folk Songs. RCA Victor, LM/LSC 2992, 1967.
iam
A Christmas Sing-in. Victrola, VIC 1509, 1970.4
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
245
The American Family Album o f Favorite Christmas Music. With Robert Conant,
harpsichord, Robert Arnold, organ, Chorale Orchestra, Robert Shaw,
conductor, Boston Pops Orchestra, Arthur Fiedler, conductor. RCA Victor,
VCS 7060,1970.
mi
Handel, George Frideric. The Great Choruses from Handel’s Messiah. With
Florence Kopleff, contralto, Richard Lewis, tenor, Robert Conant,
harpsichord, Robert Arnold, organ, Chorale Orchestra. RCA Victor, LSC
3293,1972.
NOTE: Other recordings were released in the 45 rpm format, most being
abridged versions of the LP recordings listed here.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX I
Bach, Johann Sebastian. Cantatas #65 and #108. Allegro, NA, n.d.
Best o f the Roger Wagner Chorale Christmas Carols. Capitol, SM2591, Laitca,
RW009, n.d.
iAH recordings are by the Roger Wagner Chorale with Roger Wagner
conducting, unless otherwise indicated.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Chihara, Paul. Missa Carminum. Candide, 31101, n.d.
Echoes from a 16th Century Cathedral. Capitol, P-8460, Angel/EMI, S-36013, n.d.
Folk Songs o f the Frontier: Favorite Cowboy Songs. Capitol, P8332, Laitca,
RW033, n.d.
Foss, Lukas. Behold, I Build a House. Composer’s Recordings, CRI 123, n.d.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
248
Holy, Holy, Holy: Music o f the Christian Faith. Capitol, SP8498, Laitca, RW033,
n.d.
Home on the Range. Seraphim, NA, n.d.
House o f the Lord: Songs o f Many Faiths. Capitol, SP8353, Laitca, RW005, n.d.
Negro Spiritual: Roger Wagner and Salli Terri. With Salli Terri, soloist.
Capitol, P8600, n.d.
Opera Gala.3
Palestrina, Giovanni Pierluigi da. Missa Papae Marcelli. Capitol, P8126, Laitca,
RW042, n.d.
3 Neither the record label name nor the album number were available
for this recording, though it is suspected that the label is Real Time Records.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
249
Plaisir D’Amour: European and American Songs. Toshiba, Laitca, RW047, n.d.
Reflections. Angel EMI, CDM 7 63255 2, n.d.
Salve Regina: Choral Music o f the Spanish New World 1550-1750. With
instrumental ensemble. Angel, S-36008, n.d.
Starlight Chorale: Great Opera Choruses. Capitol, SP8390, Laitca, RW018, n.d.
The Story o f Christmas. With Tennessee Ernie Ford, soloist. Capitol, ST1964, n.d.
Student Prince. Capitol, SW1841, n.d.
To Catch a Christmas Star: Christmas with Roger Wagner. Delos, D/CD 3072,
1987.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
250
Vive la France: Favorite Songs o f France. Capitol, SP8554, Laitca, RW022, n.d.
Voices o f the South: Old Songs and Spirituals. Capitol, SP 8519, Laitca, RW003,
n.d.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX J
Adolphe: Time as Breath. With Metropolitan Brass Quartet. Orion 82443, n.d.
American Choral Masters. Vol. 4 (music of Louise Talma, Ann Calloway, Libby
Larsen), GSS Recordings, GSS 112, n.d.
America Sings: American Choral Music after 1950. Vox/Turnabout, SVBX 5354,
n.d.
America Sings: The Founding Years, 1620-1800 With Chamber Orchestra. Vox,
SVBX-5350,1976.
America Sings: The Great Sentimental Age, 1850-1900. With New York Vocal
Arts Ensemble. VoxBox, SVBX-5304, CDX 5016, n.d. This recording has been
re-released in CD format.
Beeson, Jack. Three Rounds (the Gregg Smith Sound), Composers Recordings,
SD-241, n.d.
1A11 recordings are by the Gregg Smith Singers with Gregg Smith
conducting, unless otherwise indicated.
251
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
252
Blumenfeld, Harold. New American Choral Music. Vol. 1, War Lament. Gregg
Smith Singers Records, 102, n.d.
Brahms: The Complete Quartets For Four Voices and Piano. Everest, 3249, n.d.
Brubeck, Dave. Once When I Was Very Young. Music Masters, 65083-2, n.d.
Carter, Elliot. American Choral Masters. Vol. 1, Emblems. With Long Island
Symphonic Chorale. GSS Recordings, 103, n.d.
A Ceremony o f Carols. MMG/Allegretto, ACD 8407, n.d. This recording has been
re-released in CD format.
Chrismas Carolling Through the Ages. MMG/Allegretto, ACD 8410, n.d. This
recording has been re-released in CD format.
Feldman, Morton. Rothko Chapel for Chorus. With Phillips and Holland,
instrumentalists. Odyssey/Columbia, Y-34138, n.d.
A Festival o f Carols. With Dorothy Shaw Bell Choir and Instrumental Ensemble.
Vox/Turnabout, QJV 34710, n.d.
Festival o f Folksongs, Volume 1. With Dorothy Shaw Bell Choir, Texas Boy’s
Choir. MMG, 117(D), n.d.
Festival o f Folksongs, Volume 2. With Dorothy Shaw Bell Choir, Texas Boys’
Choir. MMG, 1156, n.d.
Fine, Irving. Alice in Wonderland (Series 1 and 2). Odyssey, 32160272, n.d.
__________ Hour-Glass: The Choral Music o f Irving Fine. Composer’s
Recordings, S-376E, n.d.
Reproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
253
Foss, Lukas. The Prairie. With Brooklyn Philharmonia Orchestra, Long Island
Symphonic Choral Association, Lutes Foss, conductor. Vox/Turnabout,
TV-s 34649, n.d.
Foster, Stephen. The Stephen Foster Songs. With The New York Vocal Arts
Ensemble. Vox/Turnabout, TV-S 34609, n.d.
A French-American Salute. With Ensemble Josquin Des Pres. Vox Cum Laude,
MCD 10052, n.d.
Gabrieli, Giovanni. The Glory o f GabrieU. Vol. 1,1 0 Motets. With E. Power
Biggs, organ, Texas Boys’ Choir, Edward Tarr Brass Ensemble, Vittorio
Negri, conductor. Columbia, MS-7071,1968.3
__________ The Glory o f Gabrieli. Vol. 3, Motets. With Texas Boy’s Choir, Gregg
Smith and George Gragg, conductors. Columbia, MS-7334, n.d.
The Glory o f Venice: Music for Organ and Brass. With Texas Boys’ Choir,
Edward Tarr Brass Ensemble, Vittorio Negri, conductor. Columbia,
M-30937, n.d.
Gould, Morton. Time and the River: Choral Music o f Morton Gould. Koch
International, 3-7026-2 Hi, n.d.
Herbert, Victor. The Red Mill. With Lake Placid Sinfonietta. Vox/Turnabout,
TV-34766, n.d.
_________ Ives: Music for Chorus: General William Booth Enters into Heaven.
With Ithaca College Concert Choir, Texas Boy’s Choir, Columbia Symphony
Orchestra. Columbia, MS-6921, 1966.4
_________ The New Music o f Charles Ives: Let There Be Light. With Adrienne
Albert, soloist, William Feuerstein, soloist, Texas Boys’ Choir, Columbia
Symphony Orchestra. Columbia, MS-7321, 19 71.5
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
254
Jergenson, Dale. The Music o f Dale Jergenson: The Vision. Grenadilla Records,
GS 1013, n.d.
Lewis: Three Prayers o f Jane Austen. Composer’s Recordings, S-438, n.d.
Madrigals and All That Jazz. Newport Classic, [no number], n.d.
Music from 2001. Leonard Bernstein, Eugene Ormandy, and Gregg Smith,
conductors. Columbia, MS 7176, n.d.
New American Choral Music. Vol. 1 (music of Blumenfeld, Fox, Smit, Orland),
GSS Recordings, GSS 102, n.d.
New American Choral Music. Vol. 2 (music of Riley, Houkom, Silver, Silsbee),
Oriens splendor lucis aetemae. GSS Recordings, GSS 106, n.d.
Presenting the Gregg Smith Singers: American Folk Songs. Everest, 3117,
6117, n.d
Reif, Paul. Eight Vignettes for Four Singers. Soloists from the Gregg Smith
Singers. Orion, OR-S 76228, n.d.
Rorem, Ned. The Choral Masters Series. Vol. 2, Letters from Paris. With
Adirondack Chamber Orchestra, n.d.
Sarmento, Heikki. New Hope Jazz Mass. Gregg Smith Singers quartet, with
Maija Hapuoja, soprano, Long Island Symphonic Chorus, Heikki Sarmanto
Ensemble. Finlandia, 1978.
Schifrin, Lalo. Rise and Fall o f the Third Reich. With MGM Studio Symphony.
MGM, S1SE-12ST, n.d.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
255
________ . The Music o f Schoenberg. Vol. 1, Die Glucklichte Hand. With Robert
Oliver, bass, Columbia Symphony Orchestra, Robert Craft, conductor.
Columbia, M2S-679, n.d.
__________ The Music o f Schoenberg. Vol. 6, Four Pieces for Mixed Chorus (Op.
27). With Columbia Choral Ensemble, Robert Craft, conductor. Columbia,
M2S-762,19677
Schubert, Franz. Choral Music o f Franz Schubert: Songs for Male Chorus. Men
of the Gregg Smith Singers. Grenadilla Records, 1014, n.d.
Schiitz, Heinrich. Sacred and Secular Vocal Works o f Heinrich Schiitz. Vox
Records, SVBX 5103, n.d.
Small Pieces for Large Choir. Turnabout, 34759, n.d.
_________ Music for an Urban Church: Music o f Gregg Smith. GSS Recordings,
GSS 101, n.d.
Stravinsky, Igor. Cantata and Mass. With Columbia Choral Ensemble, Columbia
Symphony Winds and Brass. Columbia, MS-6992, n.d.
_________Les Noces (in Russian). With Ithaca College Choir, Robert Craft,
conductor. Columbia, MS-6991, n.d.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
_________Les Noces (orchestra version). With Orpheus Chamber Ensemble,
Robert Craft, conductor. Columbia, M-33201, n.d.
The Stephen Foster Songs. With New York Vocal Arts Ensemble.
Vox/Turnabout, TV-S, 34609, n.d.
Sym phony Sacrae: Sacred and Secular Vocal Works o f Heinrich Schiitz. Vox,
SVBX-5103, n.d.
What Child Is This. With E. Power Biggs, organ, Texas Boy’s Choir, Columbia
Brass Ensemble. Columbia, MS-7164, n.d.
NOTE: Columbia has re-released in compact disc format the Glory o f Gabrieli
recordings, a Complete Stravinsky set, and Ives’ Four Songs with Orchestra.
In most cases, these re-releases constitute a combining of more than one of the
original albums.
with permission of the copyright owner. Further reproduction prohibited without permission.
BIBLIOGRAPHY
ASCAP Biographical Dictionary. 4th ed. New York: R. R. Bowker Co., 1980.
Berdie, Douglas R., and John F. Anderson. Questionnaires: Design and Use.
Metuchen, New Jersey: Scarecrow Press, 1974.
Cain, Noble. Choral Music and Its Practice. New York: M. Witmark and Sons,
1942.
Cockrell, Dale. “Gregg Smith.” The New Grove Dictionary o f American Music,
vol. 4. Ed. H. Wiley Hitchcock and Stanley Sadie. London: MacMillan Press,
1986.
Elson, Louis C. The History o f American Music. New York: Burt Franklin, 1925.
Glenn, Carole, ed. In Quest o f Answers. Chapel Hill, North Carolina: Hinshaw
Music, 1991.
Johnson, H. Earle. Hallelujah, Amen! The Story o f the Handel and Haydn
Society. Boston: Bruce Humphries, 1965.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
258
Mussulman, Joseph A. Dear People . . . Robert Shaw. Bloomington, Indiana:
Indiana University Press, 1979.
Pavlakis, Christopher. The American Music Handbook. New York: The Free
Press, 1974.
Robinson, Ray, and Allen Winold. The Choral Experience. New York: Harper’s
College Press, 1976.
Smith, James G., and Thomas Brawley. “Choral Music.” The New Grove
Dictionary o f American Music, vol. 1. Ed. H. Wiley Hitchcock and Stanley
Sadie. London: Macmillan Press, 1986.
Smith, James, and Percy Young. “Choral Music.” The New Grove Dictionary o f
Music and Musicians, vol 4. Ed. Stanley Sadie. London: Macmillan
Publishers, 1980.
Brasher, Earlene Decker. “The Contributions of Robert Shaw and the Atlanta
Symphony Orchestra to the Educational and Cultural Climate of Atlanta.”
Ph.D. dissertation, The University of Southern Mississippi, 1988.
Hinkle, LeRoy Bommer. “The Meaning of the Choral Experience to the Adult
Membership of the German Singing Societies Comprising the United
Singers Federation of Pennsylvania.” Ed.D. dissertation, The Pennsylvania
State University, 1987.
Pierce, Edward Eugene. “Julius Herford: His Life, Teaching, and Influence on
the Choral Art in the United States.” D.A. dissertation, University of
Northern Colorado, 1988.
Seals, Mary Alice. “A Program for Improving Church Music Field Supervision
at the Southern Baptist Theological Seminary.” D.M.M. project, The
Southern Baptist Theological Seminary, 1991.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
259
Singleton, Harold Craig. “The Ministry of Music as a Profession: A Study of
Selected Graduates of the Southern Baptist Theological Seminary School of
Church Music.” D.M.A. dissertation, The Southern Baptist Theological
Seminary, 1980.
Periodicals
Belan, William. “An Interview with Roger Wagner.” The Choral Journal, 32
(August 1991), 7.
Broder, Nathan. “The Bach B Minor-Two New Sets and a Plenitude of Riches.”
High Fidelity Magazine, 12 (February, 1962), 78.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
260
Ericson, Raymond. “Choral Conductors Forum: The Question of the
Professional Chorus.” American Choral Review, 17 (Summer 1975), 26-28.
Eyer, Ronald A. “Choral Masterwork Series, Town Hall, April 12.” Musical
America, 73 (April 15,1953), 27, 29.
“Fine American Singers.” Music and Musicians, 9 (August 1961), 21, 34.
Gradenwitz, Peter. “Chorale in Israel: Shaw Unit Wins Friends during ANTA
Tour.” The New York Times, Sunday, June 3, 1956, sec. X, p. 7.
Haskell, Harry. “Gregg Smith Singers Hit the Highs and Lows.” Kansas City
Star, Sunday, November 1, 1981, sec. H, p. 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
261
Kremenliev, Boris. “Los Angeles: Musician Unions End Rivlary.” The Music
Magazine/Musical Courier, 163 (November 1961), 62-63.
Kunkle, Roy N. “A Chorale That’s Different.” Etude, 73 (March 1955), 13, 63-64.
Mann, Alfred. “On a First American Tour: Bach’s St. John Passion.” American
Choral Review, 4 (April 1962), 1-2.
Monroe, Julie T. “Modem Concert Audiences Want More Than Good Sound.”
The Idaho Statesman, Tuesday, October 12,1976, sec. A, p. 8.
Montagu, George. “Fine American Singers.” Music and Musicians, 9 (August
1961), 21.
__________ “The Gregg Smith Singers.” Musical Opinion, 84 (August 1961), 663.
Moore, David W. “Gregg Smith and His New Recording Label.” American
Record Guide, 49 (January/February 1986), 31.
Moremen, Ray, and Roger Wagner. “In Quest of Answers: An Interview with
Roger Wagner.” The Choral Journal, 13 (October 1972), 11-17.
“Night-Long Queues for Concert Tix Marked Shaw Chorale's Soviet Tour.”
Variety, 229 (December 5,1962), 43.
“The 1981 ACDA National Convention: The Missa Solemnis and Robert Shaw.”
The Choral Journal, 21 (February 1981), 19-20.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
262
“Our Cover . . . Roger Wagner Chorale.” Music o f the West, 10 (June 1955), 4.
Parmenter, Ross. “The World of Music: Aspen People Pitch In.” The New York
Times, Sunday, September 12,1954, sec. 2, p. 9.
Post, Carl. “Musicians in Films.” Musical Courier, 147 (March 15, 1953), 22-23.
“Robert Shaw Chorale, in State Dept. Tour, Wows ’Em at 3 Chile Concerts.”
Variety, 235 (June 17,1964), 48.
“Shaw Chorale Winding Sock Season with 240G Take for 16-Week Tour.”
Variety, (March 30,1955), 68.
Shaw, Robert. “Choral Art for America.” Etudex 63 (October 1945), 564 ff.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
263
Shawn, Nicola. “The Journal Reviews: Vienna Rundfunk.” Music Journal, 32
(May 1974), 62.
Shrock, Dennis. “An Interview with Paul Salamunovich on Aspects of
Communication.” The Choral Journal, 31 (October 1990), 9-18.
_________“An Interview with Vance George, Michael Korn, and Dale Warland:
Professional Choirs.” The Choral Journal, 30 (February 1990), 5-11.
_________“Charles Ives and His Music for Chorus.” The Choral Journal, 15
(November 1974), 17.
_________ Quoted in “Review,” by Tim Page. The New York Times, January 17,
1984, section III, p. 13.
Smith, Helen C. “The Genius and Heart of Robert Shaw.” The Atlanta
Journal/The Atlanta Constitution, Sunday, December 1, 1991, sec. K, pp. 1-3.
Taubman, Howard. “Great Choral Art: Robert Shaw Invests Own Money in It—
Permanent Repertoire Unit His Aim.” The New York Times, Sunday,
February 8, 1953, sec. 2, p. 7.
Wechsler, Bert. “Classical: New York.” Music Journal, 36 (November 1978), 26.
Wilhousky, Peter. “The Professional Chorister.” Music Journal, 5 (January
1947), 8 ff.
Program Notes
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
264
Less, Helen H. “[Program Notes]” for Joy to the World. Robert Shaw Chorale,
Robert Shaw, conductor. RCA, CAS-448, 1958.
Petker, Allan Robert. “[Program Notes]” for Faure’s Requiem. Marie Gibson,
soprano, Michel Roux, baritone, The Roger Wagner Chorale, The Orchestre
de la Societe des Concerts du Conservatoire de Paris, H. T. Fitzsimons,
F8051R, 1985.
“[Program Notes]” for Christmas Caroling with the Gregg Smith Singers and
Friends. The Adirondack Community Chorus, The Arkansas Boys Choir, The
Concert Choir of the University of Arkansas—Little Rock, The Adirondack
Chamber Players, The Winds of the University of Arkansas-Russelville,
Gregg Smith, conductor. MMG, MWCD, 7165,1987.
Smith, Gregg. “[Program Notes]” for America Sings: Vol. I: The Founding
Years (1620-1800). The Gregg Smith Singers, Gregg Smith, conductor. Vox
Box, SVBX, 5350,1975.
_________ “[Program Notes]” for America Sings, (1920-1950). The Gregg Smith
Singers, Gregg Smith, conductor, The Texas Boys’ Choir, The Columbia
University Men’s Glee Club, The Peabody Conservatory Concert Singers.
Vox Box, SVBX, 5353,1976.
Other
Foster, David. “Gregg Smith Singers.” Columbia Artists. New York: Columbia.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
ABSTRACT
professional choir activity and its development in the United States. The
survey instrum ent elicited from the respondents objective and measurable
data regarding influence of the Robert Shaw Chorale, the Roger Wagner
Chorale, and the Gregg Smith Singers. Exactly fifty percent of those receiving
professional choirs. Noting the emergence and maturation of choral art in the
Roger Wagner Chorale, and the Gregg Smith Singers. For each organization,
origins and purposes are discussed and an account given of the group’s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Chapter 4 presents and interprets data from the survey. Using the
com puter program Statistical Package for the Social Sciences (SPSS), a
standard frequencies analysis was the basis for treatment of the survey data.
Pertinent data are presented in forty-one tables, addressing both specific and
general means through which professional choral activity may have been
Influence of the Shaw Chorale, the Wagner Chorale, and the Smith Singers is
concert, artistic (musical) ability, and former members who have remained
both pioneers and innovators in choral art. It was concluded that each has
the Robert Shaw Chorale, the Roger Wagner Chorale, and the Gregg Smith
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
VITA
PERSONAL
Born: November 4, 1955, Florence, Alabama
Parents: James Ray and Norris Peck Morrow
Married: Susan Leslie Stiller, November 27, 1982
Children: Christopher James, born June 19, 1990
Hilary Caroline, bom November 25, 1991
EDUCATIONAL
Public Schools, Florence, Alabama, 1961-1969
Bradshaw High School, Florence, Alabama, 1969-1973
B.A., University of North Alabama, 1978
M.M., University of North Carolina at Greensboro, 1983
MINISTERIAL
Minister of Music, First Baptist Church, Town Creek, Alabama, 1975-1976
Minister of Music, Greenhill First Baptist Church, St. Joseph, Tennessee,
1976-1978
Choir Director, First Christian Church, Greensboro, North Carolina, 1979-
1980
Minister of Music and Education, Iillington Baptist Church, Lillington,
North Carolina, 1983-1987
Minister of Music, Buechel Park Baptist Church, Louisville, Kentucky,
1987-1992
ACADEMIC
Instructor, School of Church Music, The Southern Baptist Theological
Seminary, Louisville, Kentucky, 1987-1992
Instructor of Music, Indiana University Southeast, New Albany, Indiana,
1991-1992
Assistant Professor of Music, North Greenville College, Tigerville,
South Carolina, 1992-
ORGANIZATIONAL
American Choral Directors Association
The Hymn Society in The United States and Canada
Omicron Delta Kappa
Southern Baptist Church Music Conference
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.