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... pathogens Article RTA1 Is Involved in Resistance to 7-Aminocholesterol and Secretion of Fungal Proteins in Cryptococcus neoformans Emily S. Smith-Peavler 1 , Ronakkumar Patel 2 , Adejumoke Mary Onumajuru 1 , Bethany G. Bowring 3 , Joyce L. Miller 4 , Jean Michel Brunel 5 , Julianne T. Djordjevic 3,6 , Moses M. Prabu 7 and Erin E. McClelland 8, * 1 2 3 4 5 6 7 8 * Citation: Smith-Peavler, E.S.; Patel, R.; Onumajuru, A.M.; Bowring, B.G.; Miller, J.L.; Brunel, J.M.; Djordjevic, J.T.; Prabu, M.M.; McClelland, E.E. RTA1 Is Involved in Resistance to 7-Aminocholesterol and Secretion of Fungal Proteins in Cryptococcus neoformans. Pathogens 2022, 11, 1239. https://doi.org/10.3390/ pathogens11111239 Academic Editor: Lawrence S. Young Received: 1 October 2022 Accepted: 24 October 2022 Published: 26 October 2022 Publishers Note: MDPI stays neutral with regard to jurisdictional claims in Department of Biology, Middle Tennessee State University, Murfreesboro, TN 37132, USA Otsuka Pharmaceutical, 508 Carnegie Center Dr., Princeton, NJ 08540, USA Centre for Infectious Diseases and Microbiology, The Westmead Institute for Medical Research, Sydney, NSW 2145, Australia MTSU Interdisciplinary Microanalysis and Imaging Center, Middle Tennessee State University, Murfreesboro, TN 37132, USA UMR_MD1 Membranes et Cibles Thrapeutiques, Facult de Pharmacie, Aix Marseille Universite, INSERM, SSA, MCT, 13385 Marseille, France Sydney Institute for Infectious Diseases, University of Sydney, Sydney, NSW 2145, Australia M&P Associates, Inc., Murfreesboro, TN 37129, USA Biomedical Sciences Division, Marian University College of Osteopathic Medicine, Indianapolis, IN 46234, USA Correspondence: emcclelland@marian.edu Abstract: Cryptococcus neoformans (Cn) is a pathogenic yeast that is the leading cause of fungal meningitis in immunocompromised patients. Various Cn virulence factors, such as the enzyme laccase and its product melanin, phospholipase, and capsular polysaccharide have been identified. During a screen of knockout mutants, the gene resistance to aminocholesterol 1 (RTA1) was identified, the function of which is currently unknown in Cn. Rta1 homologs in S. cerevisiae belong to a lipidtranslocating exporter family of fungal proteins with transmembrane regions and confer resistance to the antimicrobial agent 7-aminocholesterol when overexpressed. To determine the role of RTA1 in Cn, the knock-out (rta1) and reconstituted (rta1+RTA1) strains were created and phenotypically tested. RTA1 was involved in resistance to 7-aminocholesterol, and also in exocyst complex component 3 (Sec6)-mediated secretion of urease, laccase, and the major capsule component, glucuronoxylomannan (GXM), which coincided with significantly smaller capsules in the rta1 and rta1+RTA1 strains compared to the wild-type H99 strain. Furthermore, RTA1 expression was reduced in a secretory 14 mutant (sec14) and increased in an RNAi Sec6 mutant. Transmission electron microscopy demonstrated vesicle accumulation inside the rta1 strain, predominantly near the cell membrane. Given that Rta1 is likely to be a transmembrane protein located at the plasma membrane, these data suggest that Rta1 may be involved in both secretion of various fungal virulence factors and resistance to 7-aminocholesterol in Cn. Keywords: Cryptococcus neoformans; RTA1; secretion; extracellular vesicles published maps and institutional affiliations. 1. Introduction Copyright: 2022 by the authors. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (https:// creativecommons.org/licenses/by/ 4.0/). Cryptococcus neoformans (Cn) is an encapsulated fungal pathogen that predominantly affects immunocompromised individuals, such as individuals infected with HIV or organ transplant recipients who are taking immunosuppressants [1]. In host organisms, a variety of health outcomes have been observed. In most immunocompetent patients, once basidiospores or desiccated yeast cells of the pathogen have been inhaled, the immune system is able to resolve or control the infection before any detrimental effects are observed. In immunocompromised patients, however, dissemination from the lungs to the central nervous system (CNS) often results in meningitis [1]. Cryptococcal infections lead to more Pathogens 2022, 11, 1239. https://doi.org/10.3390/pathogens11111239 https://www.mdpi.com/journal/pathogens Pathogens 2022, 11, 1239 2 of 19 than 220,000 new cases and 181,000 deaths every year [2]. This number has been lowered significantly in the last few years due to the use of antiretroviral drugs against HIV and early administration of antifungals for patients who become immunocompromised. A number of virulence factors in Cn have been characterized, including melanin produced by the fungal enzyme laccase, phospholipase B, urease, and the polysaccharide capsule, as well as the shedding of immunomodulatory capsular polysaccharide [3]. Genes implicated in the production and secretion of these virulence factors are of interest for their potential as therapeutic targets and knowledge of how they affect pathogenesis. The gene Resistance to aminocholesterol 1 (RTA1, CNAG_03091) was identified in Cn during a screen of knockout mutants that did not make melanin (Figure S1). However, its function and role in melanization and Cn virulence is currently unknown. The RTA1 homolog in Saccharomyces cerevisiae belongs to a lipid-translocating exporter family with transmembrane regions (transporter classification [TC] 9.A.26.1.1) and its overexpression confers resistance to the antimicrobial sterol 7-aminocholesterol [4]. Aminosterols, including the drug 7-aminocholesterol, are of interest in antifungal drug development for their potential activity against reference yeast strains, including Candida albicans and Cn [5]. 7-aminocholesterol inhibits yeast cell proliferation via a mechanism that is not fully understood. However, it is thought to be a morpholine-like compound, which suggests it may be involved in inhibition of the ergosterol biosynthesis pathway [6]. In this pathway, 7-aminocholesterol is thought to inhibit the function of the Erg24 and Erg2 enzymes, encoding a C-14 sterol reductase [7] and a C-8 sterol isomerase [8], respectively, leading to the accumulation of ergosterol intermediates (including fecosterol) [6]. Since ergosterol is the major sterol in the Basidiomycota cell membrane [9], disruption of the ergosterol biosynthesis pathway may cause the cell membrane of Cn to become more permeable, which may lead to cell death [6]. In Cn, virulence factors are exported from the cell via one or more secretory pathways. The exocyst complex component 3 (Sec6) pathway is involved in fusion of exocytic vesicles with the plasma membrane and has been implicated in laccase as well as urease and glucuronoxylomannan (GXM) secretion [1012]. The Sav1/Sec4 pathway is involved in vesicle-mediated exocytic secretion and has been implicated in GXM secretion [13,14]. The secretory 14 (Sec14) pathway is involved in specific endosome and non-endosomedependent secretion pathways originating in the Golgi and has been implicated in phospholipase B1 secretion [15,16] and acid phosphatase secretion [17]. While research on secretion in S. cerevisiae [18] has helped elucidate secretory mechanisms in Cn [12,13,16,19], the precise mechanisms are not fully understood, especially the mechanism by which extracellular vesicles are transported out of the cell [12]. Given the putative role of RTA1 in melanization in Cn and its role in conveying resistance to 7-aminocholesterol from studies conducted in S. cerevisiae, Cn RTA1 deletion and RTA1-reconstituted strains were created and characterized. Specifically, whether RTA1 was involved in resistance to 7-aminocholesterol and secretion of virulence factors, including laccase, urease, and GXM, was investigated using phenotypic determination and transmission electron microscopy. 2. Materials and Methods 2.1. Strain Construction The wildtype strain utilized in this study was Cryptococcus neoformans sensu stricto H99S (a kind gift from John Perfect, Duke University). RTA1 knockout strains (KO22) and reconstituted strains (KI66) were created using overlap polymerase chain reaction (PCR) and plasmid delivery, respectively. Cells were cultured in yeast peptone dextrose (YPD, Thermo Fisher, Waltham, MA, USA catalog #DF0428-17-5) medium unless otherwise noted. Both 7-aminocholesterol and the fluorescently labeled dansyl 7-aminocholesterol used in this study were synthesized by J.M. Brunel. 7-aminocholesterol was stored in powder form at room temperature out of direct light until resuspended in dimethyl sulfoxide for all experiments. Pathogens 2022, 11, 1239 3 of 19 Knockout constructs were created by cloning the nourseothricin (NAT) resistance marker and the flanking regions of RTA1 into the TOPO vector (Thermo Fisher Scientific, Waltham, MA, USA, catalog #K465001). Flanking regions were amplified from the H99 wildtype strain and the NAT cassette was amplified from the pPZP-NATcc plasmid (a kind gift of Dr. Joe Heitman, Table S1). The left flanking regions and NAT cassette (left + NAT) were cloned into the pUC21 plasmid (a kind gift of Dr. Helene Barbour). The right flanking region and left + NAT were amplified and joined using overlap PCR. This construct was then cloned into the TOPO vector and the sequence confirmed through sequencing (Figure S2a). Plasmid DNA was harvested from transformed Escherichia coli (E. coli) cells and the construct was amplified. Reconstitution constructs were created by cloning the neomycin (NEO) resistance marker, RTA1, and flanking regions into the pAllet plasmid (a kind gift from Dr. J. Brian Robertson, Figure S2b), followed by transformation into E. coli cells. RTA1 and its flanking regions were amplified from the H99 wildtype strain and the NEO cassette was amplified from the pJAF plasmid (a kind gift of Dr. James Fraser, Table S1). Transformation was confirmed through PCR, restriction digest, and positive growth on media containing NAT (Werner Bioagents, Jena, Germany, catalog #5.001.000) or NEO (Sigma Aldrich, St. Louis, MO, USA, catalog #D1720). Finally, the knockout construct was introduced into the H99 wild type strain, resulting in the rta1 strain, and the reconstituted plasmid construct was introduced into the Cn rta1 strain, resulting in the rta1+RTA1 strain through biolistic transformation and homologous recombination. Cells were plated onto YPD plates containing NAT (200 g/mL) or NEO (200 g/mL) and incubated for 48 h at 37 C. Colonies were patched onto a secondary YPD+Nat or YPD+Neo plate (200 g/mL) and incubated for 48 h at 37 C. Colonies were serially passaged five times on non-selective YPD to ensure successful integration of the construct into the genome. Colonies were patched on one final selection plate and then colonies that grew were frozen down and stored at 80 C. Positive knock out and reconstituted strains were confirmed through PCR and Southern blot (Figure S3) using the DIG DNA labeling and detection kit (Roche, Basel, Switzerland, catalog #11093657910). 2.2. Resistance to 7-Aminocholesterol Resistance to 7-aminocholesterol was measured as previously described in [4]. Strains were grown in YPD to log-phase, washed three times in phosphate-buffered saline (PBS), and 1 106 cells/mL were diluted in PBS. Cells were serially diluted to 101 , 102 , and 103 cells/mL, and 10 L of each cell concentration was spotted onto YPD + 7aminocholesterol plates (0.5, 1, and 2 g/mL). The plates were incubated at 37 C for 3 days and the presence/absence of growth was examined. 2.3. Capsule Induction Capsule thickness in vitro was determined as previously described [20,21]. Briefly, 1 105 cells/mL of H99, rta1, and rta1+RTA1 were added to Dulbeccos modified Eagle medium (DMEM, Invitrogen, Waltham, MA, USA, catalog #10566-016) and incubated at 37 C + 10% CO2 for 18 h. Cells were collected, suspended in 10 L PBS and added to a microscope slide with India Ink (Fisher Scientific, Waltham, MA, USA, catalog #14-910-56). Cells were imaged on an Eclipse TS100 Nikon microscope (Tokyo, Japan) with a 100 objective. For each strain, pictures of 5070 cells were captured. The diameter of the cell body and capsule were measured using Zeiss AxioVision software, v4.9.1. Capsule thickness was calculated by subtracting the cell body diameter from the diameter of the entire cell + capsule and dividing by 2. Pathogens 2022, 11, 1239 4 of 19 2.4. Capsule Shedding To determine if the strains differed in their ability to release capsular glucuronoxylomannan (GXM) into the medium, capsules were induced in DMEM at 37 C + 10% CO2 for 18 h (as for measuring capsule size). The next day, the DMEM supernatant was collected, the concentration of GXM in the media was measured by GXM capture enzyme-linked immunosorbent assay (ELISA) and the absorbance was measured at 405 nm, as previously described [22]. 2.5. Melanin Production Melanin production was determined as in [23]. The H99 and rta1 strains were grown in YPD to log-phase, washed three times in PBS, and 1 106 cells/mL were diluted in PBS. Cells were serially diluted to 101 , 102 , 103 , 104 and 10 L of each cell concentration was spotted on 1 mM L-DOPA (Sigma Aldrich, St. Louis, MO, USA, catalog #D9628) plates. The plates were incubated at 30 C for 35 days and then checked for melanization. 2.6. Urease Production The urease activity of the H99, rta1, and rta1+RTA1 strains was determined as previously described [24]. Briefly, strains were grown in YPD to log-phase, washed three times in PBS, 5 107 cells were suspended 1:1 with PBS and 2 Roberts Urea broth and incubated at 37 C for 4 h. After 4 h, the strains were centrifuged to pellet the cells and the supernatant was measured by spectrophotometry at 560 nm on an M5 spectrophotometer (Molecular Devices, San Jose, CA, USA). Urease production was indicated by pink color in the supernatant. Urease secretion was also determined in the sec14 strains. Cells were grown in YPD overnight, washed twice with distilled water, 1 107 cells/mL were suspended 1:1 with distilled water and 2 Roberts Urea broth, and incubated at 37 C, shaking, for 3 h 30 min. The strains were then centrifuged to pellet the cells and the absorbance of the supernatant was measured at 560 nm. 2.7. Laccase Production Laccase secretion was measured as previously described [25]. Strains were grown in YPD to log-phase, washed twice in PBS, once in asparagine media with glucose, and then 2 108 cells were transferred to 10 mL asparagine media with glucose. Cells were grown overnight at 37 C and then washed twice with PBS and once with asparagine media without glucose. Cells were grown overnight at 37 C, washed twice with Britton-Robinson buffer [pH = 5.0 (BRB)] [25], counted using a hemocytometer, and 1 106 cells were added to 900 L BRB buffer with 100 L 10 mM 2,20 -azino-bis (3-ethylbenzothiazoline-6-sulfonic acid) diammonium salt (Sigma Aldrich, St. Louis, MO, USA catalog #A1888) in triplicate. The cells were incubated at 25 C, with shaking for 30 min and the absorbance was measured at 415 nm. 2.8. Phospholipase B Secretion Extracellular phospholipase secretion was measured as previously described [26]. The H99 and rta1 strains were grown in YPD to log-phase, washed three times in PBS, and then 50 L of a 1 103 cell/mL dilution were plated onto two Malt Egg Yolk Agar plates per strain. The plates were incubated at 30 C for 10 days. After 10 days the plates were photographed using an Alfa Imager with a color filter. The phospholipase index was calculated for 15 colonies for each strain. The diameter of the colony plus the diameter of the precipitation zone was measured using Adobe Photoshop, San Jose, CA, USA. The phospholipase index is the ratio of the diameter of the colony to the diameter of the colony plus the precipitation zone. Pathogens 2022, 11, 1239 5 of 19 2.9. Intracellular 7-Aminocholesterol Visualization To determine if trapped 7-aminocholesterol could be visualized in the rta1 strain, the strains were grown in the presence of fluorescent dansyl 7-aminocholesterol and then stained with Congo red (Sigma Aldrich, St. Louis, MO, USA, catalog #C6277) to visualize the cell wall. The H99, rta1, and the rta1+RTA1 strains were inoculated in YPD broth and grown to log phase at 37 C. The cells were washed three times with PBS and counted. A total of 1 106 cells were diluted in YPD containing 1.0 g/mL fluorescent dansyl 7-aminocholesterol and shaken at 150 RPM and 37 C for 16 h. Cells were then pelleted and washed with PBS. Cells were treated for 10 min with a 0.1% solution of Congo red and observed using fluorescence microscopy with a Nikon Ti-Eclipse inverted wide field microscope and an oil-emersion 63 objective (Nikon, Tokyo, Japan). 2.10. Homology Modeling Protein modeling was conducted to interpret the fluorescence microscopy results in the context of structure function because three-dimensional information for Rta1 and its homologs were unavailable. Cn Rta1 is hypothesized to have seven transmembrane helices (Figure S4). Preliminary protein modeling to determine secondary structure was completed using Quick2D software [27] and PsiPred 2D modeling [28] to identify theoretical alpha helix, beta sheet, and transmembrane units within the Rta1 protein. In addition, a potential tertiary structure of Rta1 using NetWheels was generated to model the orientation and polarity of the predicted alpha helices [29]. Those were compared to proteins with similar secondary structures for which a three-dimensional structure was known. Additional secondary structural predictions were performed using the online interface PredictProtein [30] and the predictions found to be common were used for this analysis. While amino acid sequence similarity may indicate functional similarity, sequence similarity is not required for proteins to be structurally or functionally similar [31]. The Rta1 amino acid sequence for S. cerevisiae is different from that in Cn, but both confer resistance to 7 aminocholesterol [4]. In addition, it has been shown in GTPase protein domains that, while there is usually sequence similarity in binding sites, the rest of the protein may have low sequence similarity and still have functional similarity [32,33]. There were no proteins identified with significant sequence similarity to Rta1. However, other proteins from the protein data bank (PDB) that also had seven transmembrane helices, similar predicted gene ontologies, such as pores or channels [34], and were of similar size to Rta1 were short listed. This analysis identified six proteins (Table 1). Table 1. List of proteins from the protein data bank (PDB) that also had seven transmembrane regions, similar predicted gene ontologies, such as pores or channels, and were of similar size to Rta1 (TC # 9.A.26.1.1). The transporter classification (TC) number is also indicated. PDB ID TC # Description 4OR2 9.A.14.7.1 Human class C G protein-coupled metabotropic glutamate receptor 1 in complex with a negative allosteric modulator 3RKO 3.D.1.1.1 Crystal structure of the membrane domain of respiratory complex I from E. coli at 3.0 angstrom resolution 3AG3 3.D.4.7.1 Bovine heart cytochrome C oxidase in the nitric oxide-bound fully reduced state at 100 K 5G28 3.E.1.6.14 The crystal structure of light-driven chloride pump ClR at pH 6.0 4HYJ 3.E.1.6.5 Crystal structure of Exiguobacterium sibiricum rhodopsin 3EML 9.A.14.3.8 The 2.6 A crystal structure of a human A2A adenosine receptor bound to ZM241385 Pathogens 2022, 11, 1239 6 of 19 Using PsiPred, those PDB structures were probed for conserved helical topology and the list of structural hits were further narrowed to four (4OR2, 3RKO, 5G28, and 3AG3). A structural model for Cn Rta1 was generated by threading the Rta1 sequence over the crystal structure using conserved patterns within the helical domains. The backbone atoms along with the positions of the beta carbons were used in positioning the Rta1 side chains. The molecular modeling program UCSF Chimera [35] was used in model building. Stretches of Rta1 sequence that did not share equivalents in the PDB structures were not modeled. Local minimization for stretches of 10 amino acids was performed to relax the side chains. Steric clashes were removed and local minimization was done iteratively until the modeled side chains did not make bad contacts. To further pare down the potential structural templates to be used for Rta1, these proteins were also analyzed for orientation of the helices within the membrane. The chloride-pumping rhodopsin (CIR) protein (PDB: 5G28) has a similar secondary structure to Rta1, seven transmembrane regions in alpha helical formations [36], and function, which is analogous to the hypothesized function of Rta1 transporting 7-aminocholesterol out of the cell. 2.11. Phylogenetic Analysis A phylogenetic maximum-likelihood tree with 1000 bootstraps of fungal Rta1 amino acid sequences was created using MEGA software (v11, Temple University, Philadelphia, PA, USA, [37]). Fungal Rta1 amino acid sequences were obtained from Fungidb (https: //fungidb.org/, accessed on 20 April 2022). 2.12. Promoter Analysis Promoter analysis of 1000 bp of the 50 untranslated region upstream of the ATG in RTA1 (using sequence from both Cn and S. cerevisiae) was analyzed using MEME [38], GOMo [39] and visual inspection with the help of YEASTRACT+ [40]. 2.13. Real-Time Quantitative PCR To determine the expression of RTA1 in other secretion mutants, the HK FOA pKUTAP control strain (a H99 MAT, ura5 strain transformed with a pORA-KUTAP plasmid without the RNAi construct and the parent strain to the isec6 mutant [11]), isec6, sec14-1, sec14-2 (Sfh1), and H99 were resurrected on YNB plates, then grown overnight in YNB 2% glucose at 30 C with shaking at 250 rpm. Cultures were washed twice in water, then resuspended in 10 mL YNB 2% glucose at 1 OD600 /mL, incubated at 30 C with shaking at 250 rpm for 5.5 h. Cultures were snap-frozen and stored at 80 C. Total RNA was extracted using TRIzol (Invitrogen, Waltham, MA, USA, catalog #15596026), according to the manufacturers instructions. cDNA was prepared using Moloney murine leukemia virus reverse transcriptase (Promega, Madison, WI, USA, catalog #M1701) with Oligo (dT) primers. Gene expression was measured using qPCR with Platinum SYBR green qPCR SuperMix-UDG (Life Technologies, Inc., Carlsbad, CA, USA, catalog #11733038) on the CFX-96 Touch Real-Time PCR Detection System (Bio-Rad Laboratories, Hercules, CA, USA). cDNA reverse transcribed from 200 ng RNA was added per reaction. Fold-change in target gene expression was normalized to actin (ACT1) using the 2Ct method [41] relative to H99 or to the relevant parent strain (HK for iSec6 mutant; H99 for Sec14 mutants). 2.14. Transmission Electron Microscopy (TEM) TEM was conducted similar to [12], with minor differences. Briefly, the H99, rta1, and rta1+RTA1 strains were grown in YPD to log-phase at 37 C and then centrifuged. Pellets were fixed in 2% glutaraldehyde (Sigma Alrich, St. Louis, MO, USA, catalog #G5882) in 0.1 M sodium cacodylate buffer under vacuum for 1.5 h, and then incubated in 4% formaldehyde (Sigma Aldrich, St. Louis, MO, USA, catalog #1.00496) and 1% glutaraldehyde in 0.1 M sodium cacodylate buffer for 28 h. Cells were embedded in agar and handled as tissue pieces for the remainder of the fixation. Cells were post fixed in Pathogens 2022, 11, 1239 7 of 19 2% osmium tetroxide (Sigma Aldrich, St. Louis, MO, USA, catalog #75633), followed by 2% uranyl acetate (Fisher Scientific, catalog #18-607-644), and dehydrated through a graded ethanol series. The entire fixation was conducted at room temperature. The fixation and embedding were conducted under vacuum. Ultrathin sections were cut on a Leica Ultracut UCT, stained with lead citrate, and viewed on a Hitachi H-7650 transmission electron microscope. 2.15. Crystal Structure of 7-Aminocholesterol To better understand the Rta1 mechanism of resistance to 7-aminocholesterol, the 7-aminocholesterol compound was synthesized according to a previously reported procedure [42] and crystalized. The crystals for the 7-aminocholesterol imine derivative were prepared by slow evaporation of an acetone solution for 6 days at room temperature and collected by filtration. A Rigaku diffractometer (Tokyo, Japan) with Molybdenum K radiation was used for all measurements. Standard crystallography methods were used for structure solution and refinement [43]. A summary of the crystal data and details pertaining to the intensity data collection are given in Table S2. The structure for the 7-aminocholesterol imine derivative was solved using direct methods [44] and refined by the structure factor least squares method using SHELXL-97 [44]. The refined crystal structure generated using Ortep [45] is shown in Figure S8. A summary of the refinement statistics is also in Table S2 and the crystallography information along with the atomic coordinates and structure factors are provided in Table S3. 2.16. Statistics Differences in urease and laccase secretion were analyzed using analysis of variance (ANOVA). One-way ANOVA with Tukeys multiple comparisons test was used to identify significant differences in real-time qPCR fold-change. Differences in GXM secretion and capsule thickness were analyzed using multivariate analysis of variance (MANOVA) with simple contrasts. Statistical analysis was conducted using JMP, version 14 (SAS Institute, Cary, NC, USA). p < 0.05 was considered significant. 3. Results 3.1. Sequence Homology The sequences of Cn Rta1 and its fungal homologues, including S. cerevisiae [4], were compared using Clustal Omega (Figure 1, [46,47]). The sequence identity/similarity of Cn Rta1 with the other fungal homologues was calculated using Ident and Sim [48]. The sequence identity of Cn Rta1 with the other fungal homologues was between 19.424.9%, while the sequence similarity was between 34.643.2%. Pathogens 2022, 11, x FOR PEER REVIEW Pathogens 2022, 11, 1239 8 of 19 8 of 19 Figure 1. Sequence comparison between fungal Rta1 proteins. ESPript [49] was used to highlight Figure 1. Sequence comparison between fungal Rta1 proteins. ESPript 3.03.0 [49] was used to highlight sequence similarity (indicated byby redred boxes). sequence similarity (indicated boxes). Rta1 Phylogeny 3.2.3.2. Rta1 Phylogeny better determine the relationshipofofCn CnRta1 Rta1totoother otherfungal fungalhomologues, homologues,aaphyphyloToTo better determine the relationship genetic tree of fungal Rta1 amino acid sequences was created. While Rta1 from S. cerevisiae logenetic tree of fungal Rta1 amino acid sequences was created. While Rta1 from S. cerewaswas more closely related to to Rta1 from Candida glabrata, visiae more closely related Rta1 from Candida glabrata,Cn CnRta1 Rta1was wasequally equally related related to Rta1 from Candida metapsilosis, S. cerevisiae, and C. glabrata (Figure 2). These relationships to Rta1 from Candida metapsilosis, S. cerevisiae, and C. glabrata (Figure 2). These relationare concordant with the sequence identity/similarity seen in Figure S4 and the similar ships are concordant with the sequence identity/similarity seen in Figure S4 and the simphenotype of Rta1 observed in both S. cerevisiae and C. glabrata [4,50,51]. ilar phenotype of Rta1 observed in both S. cerevisiae and C. glabrata [4,50,51]. Pathogens 2022, 11, x FOR PEER REVIEW 9 of 19 Pathogens2022, 2022,11, 11,x1239 Pathogens FOR PEER REVIEW 9 of 199 of 19 Figure 2. Maximum likelihood phylogenetic tree of fungal Rta1 amino acid sequences after 1000 bootstraps. The phylogenetic tree was created using MEGARta1 software (v11, Temple University, PhilFigure 2. 2. Maximum likelihood phylogenetic tree Figure Maximum likelihood phylogenetic treeofoffungal fungal Rta1amino aminoacid acidsequences sequencesafter after1000 1000 boot[37]. Numbers oncreated the branches indicate the bootstrap percentage after 1000 adelphia, PA, bootstraps. TheUSA phylogenetic tree was using MEGA software (v11, Temple University, Phil-repstraps. The phylogenetic tree was created using MEGA software (v11, Temple University, Philadellications in constructing the tree. on the branches indicate the bootstrap percentage after 1000 repadelphia, PA, USA [37]. Numbers phia, PA, USA [37]. Numbers on the branches indicate the bootstrap percentage after 1000 replications lications in constructing the tree. in constructing the tree. 3.3. RTA1 Is Involved in Resistance to 7-Aminocholesterol 3.3. RTA1 Is Is Involved Resistance to gene 7-Aminocholesterol 3.3. RTA1 Involved in Resistance to 7-Aminocholesterol To determine ifinthe Cn RTA1 was involved in resistance to 7-aminocholesterol, determine if the Cn RTA1 gene was involved resistance to 7-aminocholesterol, cellsTo were serially diluted and spotted on platesin containing increasing concentrations To determine if the Cn RTA1 gene YPD was involved in resistance to 7-aminocholesterol, cells were serially diluted and spotted on YPD plates containing increasing concentrations ofcells 7-aminocholesterol. These and dataspotted indicated rta1containing strain was increasing mildly inhibited at were serially diluted onthat YPDthe plates concentraof 7-aminocholesterol. data indicated that the rta1 strain wasstrain mildlywas inhibited atinhib0.5 g/mL (Figure 3a) These and completely inhibited at 1.0 g/mL 7-aminocholesterol (Figure tions of 7-aminocholesterol. These data indicated that the rta1 mildly 0.5 g/mL and completely inhibited at 1.0 g/mL (Figure 3b), while the H993a) and rta1+RTA1 both showed normal growth . As 7-aminocholesterol a control, strains ited at 0.5(Figure g/mL (Figure 3a) andstrains completely inhibited at 7-aminocholesterol 1.0 g/mL 3b), while the H99 and rta1+RTA1 strains both showed normal growth . As a control, strains were also plated on a derivative of 7-aminocholesterol (-7-aminocholesterol) with no aac(Figure 3b), while the H99 and rta1+RTA1 strains both showed normal growth. As conwere also plated on a derivative of 7-aminocholesterol (-7-aminocholesterol) with no activity (Figure 3c). trol, strains were also plated on a derivative of 7-aminocholesterol (-7-aminocholesterol) tivity (Figure 3c). with no activity (Figure 3c). Figure 3. Resistance to 7-aminocholesterol. 7-aminocholesterol was resuspended in dimethyl sulfoxide Figure3. 3.Resistance Resistancetoto7-aminocholesterol. 7-aminocholesterol.7-aminocholesterol 7-aminocholesterol was resuspended in dimethyl sulfoxFigure was resuspended in dimethyl sulfoxand then added to YPD agaragar platesplates at twoatconcentrations: 0.5 g/mL (a) and (a) 1.0 and g/mL (b) or 1.0(b) g/mL ide and then added to YPD two concentrations: 0.5 g/mL 1.0 g/mL ide and then added to YPD agar plates at two concentrations: 0.5 g/mL (a) and 1.0 g/mL (b) or or Pathogens 2022, 11, x FOR PEER REVIEW Pathogens 2022, 11, 1239 10 of 19 10 1.0 g/mL of the -7-aminocholesterol derivative was used as agrown control of the -7-aminocholesterol derivative was used as a control (c). Strains were in(c). richStrains YPD were gro 6 cells/mL were 10-fold diluted and 10 L of each concentratio 6 rich YPD media and 1 10 media and 1 10 cells/mL were 10-fold diluted and 10 L of each concentration was spotted onto ontoofthe is strain, inhibition the KO22 (rta1) of strain, but and reduced the plates. There isspotted inhibition theplates. KO22There (rta1) but of reduced inhibition the H99 KI66inhibition H99 and KI66 (rta1+RTA1) strains. The blue box indicates the rta1 strain. (rta1+RTA1) strains. The blue box indicates the rta1 strain. 3.4. Intracellular 7-Aminocholesterol Visualization 3.4. Intracellular 7-Aminocholesterol Visualization Since RTA1 appeared to be involved in resistance to 7-aminocholesterol, possib Since RTA1transporting appeared to 7-aminocholesterol be involved in resistance by out of to the7-aminocholesterol, cell, the H99, rta1,possibly and rta1+RTA1 s transporting 7-aminocholesterol of the of cell, the H99, dansyl rta1, and rta1+RTA1 strains were grown in theout presence fluorescent 7-aminocholesterol overnight and were grown in the presence fluorescent 7-aminocholesterol overnight if and stained with of Congo red to dansyl visualize the cell wall and determine wethen could visual stained with Congo red to visualize the cell wallthe and if strain. we could visualize 7- micro aminocholesterol trapped within celldetermine of the rta1 While fluorescent aminocholesterol trappedspecific within punctate the cell ofspots the rta1 strain. While fluorescent microscopy revealed within the rta1 strain using the DAPI filter (which revealed specifictures punctate spotsfluorescence), within the rta1 strainwas using DAPI filter (which captures dansyl there nothe specific DAPI staining in the H99 dansyl fluorescence), there was no specific DAPI rta1+RTA1 strains (Figure 4). staining in the H99 and rta1+RTA1 strains (Figure 4). Figure 4. Fluorescent 7-aminocholesterol (7-AC) is trapped(7-AC) withinisthe cell inwithin the rta1 Cells Figure 4. Fluorescent 7-aminocholesterol trapped the strain. cell in the rta1 strain were visualized using fluorescence microscopy after overnight growth in the presence were visualized using fluorescence microscopy after overnight growth in the presence of fluorescent of fluor dansyl 7-aminocholesterol and subsequent staining with Congo red the cell wal dansyl 7-aminocholesterol and subsequent staining with Congo red (to visualize the (to cellvisualize wall). The rta1+RTA1 strain was inadvertently started with a smaller than normal frozen rta1+RTA1 strain was inadvertently started with a smaller than normal frozen innocula in thisinnocula experiment, so has few cells. All images were taken using the same exposure time. experiment, so has few cells. All images were taken using the same exposure time. 3.5. Secretion of and the H99, rta1, and rta1+RTA1 Strains 3.5. Secretion Phenotype of the Phenotype H99, rta1, rta1+RTA1 Strains Because RTA1 was involved in resistance to 7-aminocholesterol, possibly by Because RTA1 was involved in resistance to 7-aminocholesterol, possibly by transportporting it out of the cell, hypothesized RTA1inmay also be involved in exo ing it out of the cell, we hypothesized that we RTA1 may also be that involved exocystic secretion. secretion. Thus, the H99, rta1, and rta1+RTA1 were phenotyped Thus, the H99, rta1, and rta1+RTA1 strains were phenotyped forstrains virulence factors known for viru factors known to be secreted, including phospholipase B, urease, laccase, and to be secreted, including phospholipase B, urease, laccase, and GXM [12,19]. While there [12,19]. While there was no difference between the rta1 strain and the H99 strain in was no difference between the rta1 strain and the H99 strain in phospholipase secretion pholipase secretion (Figure melanin (Figure S6), rta1 stra (Figure S5) or melanin production (Figure S6),S5) theor rta1 strainproduction secreted significantly lessthe urelessshowed urease athan thefor H99 (p = 0.037) and showed ase than the H99creted strainsignificantly (p = 0.037) and trend lessstrain secretion as compared to thea trend fo secretion as compared to the rta1+RTA1 strain(p (p <= 0.08) (Figure 5a).strains, Additionally, la rta1+RTA1 strain (p = 0.08) (Figure 5a). Additionally, laccase 0.0001, for both (p < 0.0001, for both strains,for Figure and GXM < 0.0003, for both st Figure 5b) and GXM secretion (p < 0.0003, both5b) strains, Figuresecretion 5c) were(psignificantly Figure 5c)compared were significantly rta1 strain compared that in H99. In ac lower in the rta1 strain to that inlower H99. in In the accordance with the GXMtosecretion ance with GXM secretion data, the rta1 straincompared had a significantly smaller ca data, the rta1 strain had athe significantly smaller capsule thickness to both H99 thickness compared to both H99 and the rta1+RTA1 strain (p < 0.05 for and the rta1+RTA1 strain (p < 0.05 for both comparisons), while the rta1+RTA1 strainboth com sons), while the rta1+RTA1 strain a significantly compared had a significantly larger capsule as compared to had the rta1 strain (p larger < 0.05)capsule (Figureas5d). rta1 that strain (p < may 0.05)be (Figure 5d).inThese data in suggested that RTA1 may be involv These data suggested RTA1 involved secretion Cn. secretion in Cn. Pathogens 2022, 11,11, 1239 Pathogens 2022, x FOR PEER REVIEW 11 11ofof1919 Figure Urease secretion. Error standard error mean. = 5.(b) (b)Laccase Laccasesecretion. secretion.Error Error Figure 5. 5.(a)(a)Urease secretion. Error is is standard error of of thethe mean. NN = 5. is standard error of the mean. N = 4. (c) Glucuronoxylomannan (GXM) secretion. Error is standard is standard error of the mean. N = 4. (c) Glucuronoxylomannan (GXM) secretion. Error is standard error the mean. = 4. Capsule thickness.Capsule Capsulethickness thicknesswas was measured >70cells cells per error ofof the mean. NN = 4. (d)(d) Capsule thickness. measured onon >70 per strain using Zeiss Axiovision software v.4.9.1 on a Zeiss A1 inverted microscope (100 magnificastrain using Zeiss Axiovision software v.4.9.1 on a Zeiss A1 inverted microscope (100 magnification). tion). Capsule thickness was calculated by subtracting the cell body diameter from the diameter of Capsule thickness was calculated by subtracting the cell body diameter from the diameter of the the entire cell + capsule and dividing by 2. Error is standard error of the mean. N = 3. entire cell + capsule and dividing by 2. Error is standard error of the mean. N = 3. 3.6.Urease UreaseSecretion SecretionininDifferent Different Secretion Mutants 3.6. Secretion Mutants Secretionofofurease, urease,laccase, laccase,and andGXM GXMininCn Cnoccurs occursvia viathe theSec6 Sec6pathway pathway[11] [11]and and Secretion through extracellular vesicles [19], while optimal secretion of phospholipase B and acid through extracellular vesicles [19], while optimal secretion of phospholipase B and acid phosphatase(Aph1) (Aph1)via vianon nonendosomeendosome-and andendosome-dependent endosome-dependentroutes, routes,respectively, respectively, phosphatase depends upon a functional Sec14 pathway [16]. The Sec14 pathway is not requiredfor for depends upon a functional Sec14 pathway [16]. The Sec14 pathway is not required laccaseororGXM GXMsecretion secretion[52], [52],but butthe therole roleofofthe theSec14 Sec14pathway pathwayininurease ureasesecretion secretionininCnCn laccase wasnever neverinvestigated. investigated.Thus, Thus,urease ureasesecretion secretionwas wastested testedininthe theH99, H99,sec14 sec14and andSfh1 Sfh1 was (Sec14-2)strains. strains.Sec14-2 Sec14-2isisa ahomologue homologueofofSec14, Sec14,but buthas hasan aninsignificant insignificantrole roleininSec14Sec14(Sec14-2) dependentsecretory secretoryprocesses processesand andpathogenicity pathogenicity[16]. [16].No Nodifference differencewas wasfound foundbetween between dependent H99 and sec14 and only a small reduction in urease secretion was observed in the sec14H99 and sec14 and only a small reduction in urease secretion was observed in the sec14-2 2 strain (sfh1, Figure strain (sfh1, Figure S7). S7). 3.7. Expression in in Different Secretion Mutants 3.7.qPCR qPCRofofRTA1 RTA1 Expression Different Secretion Mutants Because secretion of urease, laccase, and GXM in CnCn occurs via Because secretion of urease, laccase, and GXM in occurs viathe theSec6 Sec6pathway pathwayand and phospholipase secretion occurs via the Sec14 pathway, RTA1 expression was determined phospholipase secretion occurs via the Sec14 pathway, RTA1 expression was determined ininthe secretion mutants, theH99 H99wild-type wild-typestrain, strain,and anda anumber numberofof secretion mutants,including includingsec14-1, sec14-1,Sfh1 Sfh1 (Sec14-2), and the (Sec14-2), and theiSec6 iSec6mutant mutant(a(akind kindgift giftofofPeter PeterWilliamson) Williamson)via viareal-time real-timeqPCR. qPCR.RTA1 RTA1 expression expressionininSec14-1 Sec14-1isisapproximately approximately2-fold 2-foldlower lowerthan thanthat thatininH99, H99,while whilethere thereisisa a small reduction in RTA1 expression in Sec14-2 relative to H99 (Figure 6). In contrast, small reduction in RTA1 expression in Sec14-2 relative to H99 (Figure 6). In contrast, RTA1 expression in the iSec6-I1 mutant is approximately double that ofthat its HK parent RTA1 expression in the iSec6-I1 mutant is approximately double of its HK strain parent (Figure 6). These data suggested that RTA1 may have links with both the Sec14 Sec6 strain (Figure 6). These data suggested that RTA1 may have links with both theand Sec14 and secretion pathways. Sec6 secretion pathways. Pathogens 2022, 11, x FOR PEER REVIEW Pathogens 2022, 11, x FOR PEER REVIEW Pathogens 2022, 11, 1239 12 of 19 12 of 19 12 of 19 Figure 6. Real-time qPCR of RTA1 expression in other secretion mutants. In contrast to the Sec14-1 mutant, the Sec14-2 mutant (Sfh1) has an insignificant role in Sec14-dependent secretory processes. Figure Real-time qPCR RTA1expression expression othersecretion secretion mutants.InIncontrast contrast the Sec14-1 Figure 6.6.Real-time qPCR ofofRTA1 ininother mutants. totothe Sec14-1 HK is the parent strain of the RNAi iSec6 mutant in which approximately 50%secretory suppression of Sec6 mutant, the Sec14-2 mutant (Sfh1) has ananinsignificant role Sec14-dependent processes. mutant, the Sec14-2 mutant (Sfh1) has insignificant roleinin Sec14-dependent secretory processes. [11]of.of*the pthe

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... Spring 2022 LETTER FROM THE EDITOR INDEX: SERIAL KlLLERS LI CIBLE FOR PAROLE AND THE PAROLE Y T EM IDEO H IGHLIGH TS 2,3 4-5 Turnru c SEDASACATALY CoN ECTI G 24 "WOMEN OF MA.RI TFOR G BA K TO L EARN! l OPPORT OPr O : ARI Sc1E PouT1CAL OT Rm OF TM CE PROGRAM AND FOR WHAT? HEALTH BE EFITS or E ERGY 1u TRu GAS PRI C II E BREAK Do HoNoru cYo RME 1EW W 1 DOW 26-27 MAm i NI ACRED LIT RSITY RGY AT 28-29 MEET THE STAFF 30 - 31 12 - 13 . ITJ-1 MADDI ' ST. ]OS EP H' D D 'GERS g - ro Music INTH COMMUTERS AND 1 DruN ORY TAI ED 14-15 LAS 16-17 PoocAST H1c HL1 GHTS r8 - 22 ---r SERIAL KILLERS ELIGIBLE FOR pARO LE AND THE PAROLE SYSTEM By :-.Iadclinc Srni1h This year as m:-!l as 2023 and 2024 there could potentially he scw:ral serial killers rdcascd back into the public, due Lo thr fan they arc up for parole. Serial killers like DaYid Bcrkm1itz (Son or Sam), Luis Guanito, Edmund Kemper, and Don :,.,Jillcr arc all up for parole this year and in the follmring t11 0 years. Not only do these serial killers han~ an opportunity for release, but recently there has been Lalk or passing Senate Bill 5036, which would demolish the life 11 iL110ul parole sentence. If this is passed other serial killers like Cary Ridgeway (The Green RiH'r Killer) 1rnukl get the oppurlu11i1y to rcccin parole, and therefore could be released. natc" L~l)C of sentence, parole c:ligihili1y occurs upon comp!c1ion of rnw-third of the term. If an oflCnder is sening a life sentence or a Lenn or Lerms of 30 years or more, he or she will become eligible for parole after IO years.'' Once someone has the eligibi lity for parole it doesn't end there. A person seeking parole nms1 then allcnd a parole hearing. ALcording tn HG Legal Resources, the inmate seeking parole, "will he asked questions that determine how salC the comict will be in the outside work!. In some cases, (he ,ictim or family of the Yictim will attend the hearings and testify to 1hcir experience in front of the board." One question that circulates around serial killers is how these people can be released hack into society alter all the terror and destruction they ha\"C caused. Serial killers hm-c 1hc opportunity to be released on parole based on their sentencing. For example, Da\id Berko,\itz \\"as selllenccd to 25 years 10 life meaning the minimum he must sc 1Ye is 25 \cars \\hilc the max is hi s life span. J-l owcnT, due to his eligibility ror pa role from his sentcncing, he is eligible for parole ;1ltcr a cc-nain time has 1x1ssed, c,-cn though it is ,-c1y un likely for a man with his crimes to be relca~ed 011 the fir.~t parole attempt. Officer Larry Cress went into further detail abot1t ,,hat the parole board lnok.~ for. H e said "The parole board look at 11 hat inmates or serial kilkrs hmc been doing during their time in p1ison. T her ~cc if they haw been attending different ani,1tics for their bcucrment such as bible studies or classes LO earn a degree or c-1-cn somc1hing like sc11ing or knit1ing." i\"01 on ly docs the parole board luok LO sec ir they arc working 011 becoming a changed person hut Officer Lany \\"Clll on to say that "th e parole buard looks to sec if" the inmate shm1s remorse and sho\\" cm1crea1c c1idcnee ror change.'' But ho\\" docs parole eligibility for a serial killer \\'Ork? Th e basic t<:rms of parole arc laid out by the L'S Departmcm or J ustice as such: \ \'hilc se\cral serial killers arc up ror parole this year and in the years lo come, it's up to our judicial and parole systems 10 decide if they arc reka~ed back into the public or not. \\'e ran unly wait and sec \\"hat is to come. "Cnlcss the coun has specified a minimum time for the offender Lo scn:e or has imposed an "indctermi- AccESSIBILITY ON CAMPUS Personalize Learning Center ccessibility i an issue on farian's campu . From Clare' non-functioning elevator to the lack of knowledge about individual with disabilitie there is room to improve. Th Per onaliz d Learning Center helps students n eding a ademi a commodation and sends out a commodation letters to fa uJty. However those letter don't di clo c the di ability to th faculty. A side effe t of thi i that teachers might look at a student and not s anything that O\" rtly points to a disability and not give them the help/re our e they n ed. ltimat 1), it can rnak p opl witl1 disabi.Jjties feel un een and i olated. , ,vhen I joined Marian my fre hrnan y ar I n cd d an accommodation letter that allowed for more time for te tino-; I thouo-ht I wa alon . I did not know another person , ho had accommodation , altl1ough there were many. Due to thi , I started a club for people witll disabiliti and allies: CCE . In the club, inruviduals with disabilitie can come to a afe pace and hare their ex-pe1iences at Marian. The goal of the club is to have a place where students won't be nervous to hare about their disabiLities and are unafraid to a k for help. Hadley Hawkin a rnor maJonng m Elementary Education uffi r from an autoimmun di ease, which impact her daily lifi through exhau tion and abdominal pain. H r autoimmune di ease can be prob) matic wh n it ome to teach r ' att ndan policie on campu and expectation for clubs. "I'm a very involv d per on, o mi catches up to me very quickly," Hawkin aid. 'It al o cau e a lot of pain, abdominally, at certain time when I at anything. ' Hawkins said that there are visible and invisible disabilitie : ''Di abilitie that allow u to till walk and move but still inhibit our daily fun rioning and way of life,' she said. She believes arian's campus does not have ujtable resources for people with di abilities. he cite tl1at there are no functioning elevators con istently, orking handicap en ors, a well a ramp that aren t covered in ice. "All of those thing matter" Hawkins aid. H r a commodations include extra time for restu1g and recovermg, a well a exten ion on d adlin , and tl1 ability to I ave la when she i g tting sick. he said that he had not had any problem g tting around arian lately, but the chool ould impro e by being accessible to all type of rusabilitie . he cites the Clare Hall elevator, which, she says, is locked half the time and doesn't work other time cau ing problems for those with mobility issues. he added that the opportunity for stud -nts to safely maneu er the campus and find accessible handicap parking i low. "'vVhil th y are great at supportu1g ome group of For u1di,idual a commodation , she said that profi or are g n rally well equipped to deal with students' need , saying that the Per onalized Learning enter ha help d but for di abilitie there i room for impro,emcm. tud nt they ar not for otl1 r group and I think di abili ac ommodations need to go acros the board Hawkins aid . 'You can't pick and hoo e which di abilitie you are going to upport. That's not adequate.' cc You can't pick and choose which disabilities you are going to support. That's not adequate. '' Vol. 4 The Marian Phoenix Spring 2022 "WOMEN OF MARIAN'" GIVING NEW OPPORTUNITIES TO STUDENTS Female students at Marian have a new organization that help further their profes ional aspiration. \\ omen of Marian founded in 2020 i a relati,ely new organization that offers scholar hips, ervice and leadership opportun.iti for students that join. T h organ ization holds mu ltiple ev nt through out the y ar that honor a pan I of p rofi sionals in different fi Id u h a nursing education, and mor . Thi giv tudent th opportunfry to n t\ ork, a. well a have a ,. a to a k profe ional que tion about their field . Linny Rou seau, th advi or for the student chapt r, ay , '"I om n will b abl to m ntor tud nt , and tud nt wiU b ab] to grow gr at r lation hip with women doing amazing profe ional things . There is a student and a professional chapt r encompa s din thi organization with th profe ional hapt r b ing all d th gr at r oci ty. Th tud nt chapter ncourage fi mal tud nt to learn about philanrhrop) and to ha tudent develop profe ional relationship with the greater ociety. ccording o J enn ifer \ ,Van.ing, advisor for non-stud n member there are givi ng circles within the oranization. The giving circle arc tiered, and gain more benefits widun the society wid1 each tier climbed. The fund . from the e giving circle go tov ard cholar hips and endino- philanthropic women to ifarian niver ity. Thi academic school ear d1ree incoming freshmen received the scholar hip, and the society would lik to expand t11is numb r in ears to come. There i an annual fee of less than $20 for tl1e student circle. The fee goe toward the scholarship fund or new students corning to farian . J ada Burton pre ident of the tudent society said "This gets students invoh ed with philanthropy and giving back to our community." Whil t11 o icty i till n w, it i kicking the me ter off trong. In the pa t w ek, they held a 'Galenti n ' D ay' b runch where a panel of nurses came and pok . There will be more events to ome in he future. .. 0 PINI ON: MARIAN GoT Rio OF THE POLITICAL SCIENCE PROGRAM AND FOR WHAT? By Julia Akre During the 2021 fall semester, the Board of Trustees at Marian ruled in favor of demolishing the Political Science major, displacing the teachers like Johnny Goldfinger who once had tenure . .Many student", faculty, and staff banded together to protest the proposal. Tht> whole event compelled students on campus to protest. The verdict shocked the protesters and left them feeling as though their work amounted to nothmg. I was briefly trying to help tl10sc protesting to save the m~jor since Goldfingcr prO\idcd one of the most informati\'c dass,s I han taken. Teachers voted I 04 to 2G in farnr of keeping the major according to the Applctreenc\,s website created to inform people about the situation. I talked \\ith Donna Proctor, Assistant Professor of Theology, one of the teachers who \"Otcd in fa\"Or of keeping tl1e program LO learn more. Proctor bcliews that the decision \ms. in short. bad. She felt as though the voices of the teachers and studems did not ha\"e any influence. AJJ the annues they used to comc) their thoughts did not matte1: She goes on to stress that a small number of indi,iduals arc actually capable of making decisions at :\Iarian and that it' especially bad when the decision takes away teachers with tenure. It's a tragedy and set an anxious ,rnrning to other departments that they may still lose their jobs with no reason giwn. The Board of Trustees does not have to explain why they make a decision . However, the provost seems to have a diffi.rcnt outlook on this event. A.Jan Silva, Executive Vice President and Provost, said that the Board looked at all the pros and cons of getting rid of the program and still decided to get rid of the program. H e said the voices of the students are very important but the success rate of the program was still weak. H e talked about how students showing up prmidcs a valuable learning experience e,en \,hen the outcome is not how you like it. The experience is not the only lesson that can be taken from this whole incident D i: Silva goes on to say. Ewn though the Board of Trustee~, according to Dr. Si va, docs not pro,idc any o cial statement as to why the close a program. Dr. Silrn i formed me that the progra as a whole was not heal for the school. The Tru. te goal is to examine the st dents, to determine what \\ attract them and retain the The political science maj Vol. 4 The Mari an Phoen ix he aid, was not a program chat could keep their tud nts to o-raduation. \ Vich a su cess rate of only four graduates per ear on averag ch T ru tee fi It it wa n't up to par with Marian tandard . The chool plans to replace the proo-ram with a lobal studies department. he . . government will be primarily tudied in hi tory la e now. How Y r, th program will also include ociology and, of cour , learning about global tudie . Howeve1; Proctor aid that the world i o divi ive that we need to teach our tud nt what i happ ning in our government. Goi1w o far a to a there i nothino- chat ay that political cience for tudent isn t impo rtant. he aid ' \ 1\ e have o many problems wid1 people under randing what government is about, and what politics i ab ut, and , ar uch a fra tur d country 1ight now that poJjtical s ience is needed more than ever. Marian it elf em to b going through a fra tur cl tate a it r build it If And I rn an that lit rally, a Ma1ian erects a new engineering building and take away our Arts and ience program. To me it app ar Mariani on a pad1 that, ou ld one day 1 ad to th di mantl m nt of tl1 origin 1 int nt of th ir of O ld -nburg. P roctor aid, "I am ad that w are discon inuing the legacy of tl1e i ters. ' place Spring 2022 that educates student to be well-rounded and ompa ionate people in touch with their humanity I c am disappointed that the Board of Trustee de ided to do tl1i . After talking to these indi,i duals I am not convinced anytl1ing could have truly been done to save the program it felt like, in these converation , th cl i ion wa air ady mad . I am al o di ati fi cl that global tudies i actino- as a replacement. Both topic are o-ood to have, yes, but getting rid of a traditional and valuable content-hea 'Y program i erring a bad exarnpl to other hool . I till hold tl1e belief that learning about the . . go ernment y tern can not be boiled clown to histo ry cla e . I t i a s tern we int ra t witl1 daily, not a fa t of the pa t. TRUE CRIME BREAK DoWN WITH MADELINE An Odd Upbringing H rb rt, a an odd child gr wing up. H , beha io1- r , ard d ach en ac a oung age. l~a c chem on hi teacher d k. ac n h dis rder. hilc he as caken a fr n alone and ca. c ur b his p er and hO\ ed di mrbing uppo edl he., a fa. cinaced, ich dead animal and, uld often \ as :11 dia n cd \ ir!;i s hiz phrenia an muJriple per nalir be seen he wa n r er a red for an f hi ailn,cnc . A Seemingly Normal life Lacer Herb, uld go on co college at Indiana ni ersiry and I . Boch times he ended trp dropping out. ftcr his second college scunc, He g c married t his ,olla es, eechearc Juliana Saicer. The , uld go on co have 1 child.ren laric (1979, rich (1<;181) and Emil (1984). Before hL children , ere born, he \J orked ac the Indianapolis scar asa runner for a horc time and also \J orked at che B l fr nine rears during the time hi s_children \Jere born. In 1988 he and hi. , ifc opened their chrifr core Sav- - L c. ,oncrar_ co a lot of ource chi is not che same a. che grocer scores char can be found in the mid-, e. c. His thrift st re, as chrivin in ch' beg ing and l;1cer on he, as viewed~,. ~m excr mcly uccessfi.tl . I le quick I) became rich , and bought a mansion in Jarmcl called Fox Holl , Farm, hid, st ill sta nd. co chis da . rial Kill r Warning Th lnve tigation Hi son, :n In 1977 irgil andagriff who was a retired Marian ouncy sheriff op ncd a missing p rsons inve. cigation flrm which was call d andagriff & sso iaces Inc. By 1994 andagriff , as r cei ing an alarming number of calls ab uc oung men, ho went missing going to and from popular ga bar . andagriff was th n ripped off , h n a man known onl as Ton came c him and aid a man b , che nam of Brian mare had cried co kill him by hoking him, id, a hose. fi:er rhe incident Ton couldn't find hL :icracker. They had cried to set up an operation to C:irch "B rian" in che ace bur he never ho, ed. ear lacer Bri:rn and Ton r:in into each ocher aga in, and Ton was able co gee his license place. Brian was then later identified as Herb. Herb, ould nae admit to doing an thing and wouldn't allow the investigators to earch hi house. lnvstigators hn w nc co his wife co scar h rhc hou. c and ac fl rsc she refus d but then sa, ho, weird her hu. b:md had b gun co ace, . o he Ice che invescigac r conduce their earch. Ir i during chac . e:i.rch , here me , found che fir t fi-:i.grncncs f bone. The Known I found kclccal remains in their ba k ard, hi h Herb claimed co hi lac Eich r' re. arch. In rca lic ir \ a. one othi I crb al. "r adkill." He had a , , dircy, unk pt h u c, e, cept for hi. p The 10 da s afrer the bones, ere di c su icide at Pin Roger G o lier Richard l lamilcon Stcv n 11:ile Jeff lien Jones lid,ad Kiern Manuel R ndez nceri f anada. \J a the ne lea ing bodie off Finding the Victim tttttt ttttt co po. itivd ' identify, ere: Park in of r-70. chis o man m n lo t th ir Ii .. The vi tims ch y "i r ahle Johnn , lhya cred at his home, Herbert was found dead ommitcd and p lice c uldnc 100% c nRrm char h to rim. ' adl becaus of All n '.; avn\rill give you Lhe best sour e of energy. Vol. 4 The Marian Phoenix Spring 2022 Music IN THE SACRED LITURGY AT MARIAN UNIVERSITY By Chance Jozsa I Written for Digital Journalism At 7 pm on unday , ning , Chartrand M emoria l C hapel u ed to e upward of t\ o hundr d p ople att nding ma . e . The wor hiping communfry r l\llarian i very p cial. Ov r th pa L few month thcr ha b' n a rapid d dine in wor hip attendan e and there i a trong ar ument th at t11e mu ic style for ma ha become too cont mporary. In the fall eme t I". the mu ic el ccions eemed to have been a perfect balance between traditional hymn and contemporary tyles of music aJJowinrr people of aJJ environments to be able to participate full in ma s while b in omfortable wirh what they had grown up witl1. \\ 1en Choir member Emily Taylor was a ked hO\ she felt about the mu ical elections at Marian, aylor aid, "I feel tliat the music i almo t alway one- ided, even when doincr a hymn we tend to do a contemporary tyle of the hymn. Sometimes the music i almost di tracting or done poorly. Ir takes awa t11 sa r dn . of th liturgy.' A king anoth r tud nt tl1 am qu tion garn r d a imilar r pon . H e aid " I fe I like havin a balan d liturgy p ifi ally at farian i o important be u e of th va t ar a f wor hip peopl am from . Howe, er, we r ally I an more toward cont mporary almost alway , and rarely have we been u ing the orcran t11i seme ter. E, en when rudents expr what they want we are never listened to. 1 feel v e have the opportunity co make somethincr beautiful here e,ery week but wear unable.' ather ]\llatthew pencer aid thi once ' orne are drawn co a 1v'la wi.d1 a tradition al choir mgmg hymn , others may be drawn to Gregorian ham p cifi all , while still other prefer a 'contempora ry' Ma wi th prai e and worship mu ic. There i an easy solution to fix thi problem. arian need to provide a truer balanced liturgy. Onl u ing the organ once e,e1. 3 weeks i noc a balanced Lin.irgy. Our attendance would go back up and more p ople would be happ .,,,~t11 tl1 mu ic choice . The job of a mu ic director i to make ure mu ic i being pro,ided that is both appropriate for the Liturgy and meet the wants and needs of the congregation. :M usic has uch an impact on th e way people wor hip, and we hould pro"id the be t that w an for people her . Lizzi Schmidt B lla Simons ( he/Her) can be described in Lhree words: oprimi tic hardworki11g, and fun. While he tarred her time at 1vfarian as an Elementary Education major, he is currently a junior, rudying Communi at.ion. ( he/ H er) is a enior mmuni ation major, with a minor in \i\ ricing. Bella i a member of the Marian Phoenix, T h ta Phi Alpha, and th A L club. Her fa\'orit how in Jude Th Haunting of Hill Hou. and The Haunting of ByJe Manor. he Jo\' watching anything cal")~including Th Conjuring her fa,orit rnovi . h i a cheerleader at ifarian . In addition, her favorite arti tis Taylor wift. If h could av anything fr m a fir , . h would ave her autographed Taylor \ ift CD . Schmidt loves barb qu hip and D i n y \ \'arid. J alynn Edwards ( he/ H er) is a junior at Marian nhersity. he liYes on campu as an AR for Do) 1 H all . Edwards ha Ii, ed in tl1e dorm for all her 3 years at arian asid fro m tl1i past ummer wh r Bella i a fan of romanh pent t\,vo montl1 ti comedi , and lo e in C lar H all. ' I Jove the movie,' Tag.' Her it .. . it' d fi ni t ly lik a favorite television show is econ d horn . ' currently, Psych." Bella enj oys reacting books J al nn is current! maand her favorite book jo1ing in Comrnuni ais, 'Brave Enough.' tion and ha t\1/0 min r : Bella is a fan of Di ney Pa toral Leader hip and and enjoys tl1e movie Peac and J u rice. he ' 11oaoa " as it reminds i currently working for her of her family trip to T h Marian Pho nix Hawaii. Bella loves her a taff wri t rand ho LS family and thinks very th podca t How to be a highly of them. Knio'ht. Emil Horn (She/Her) is a junior Bu ine s MarketiJ1g major vvitl, a minor in Communication. Thi i her fir t semester with the Pbo nix. \i\ h n he i n't at- tending cla e , or er ating ant nt for ilie Phoenix, you can find her doing one of her favorite tl1ings which inelude bakin hopping and cleaning. Emilee al o enjoys talking to her friend about wre cling, ince she used to manage her school' wre cling team in both middle school and high school. Follow her podcast Emilee' \\ arid to see all tlie difere1 t topics he covers tlii emeste1: Vol. 4 (H /Hirn) i a j unior Communication major with a minor in Busine at Marian Univerity. He is a Third Degree Senior Black Belt in Taekwondo and owns his own martial art school Grider's aekwondo in Fi h r Switch, Indiana. He loves auto-sport and love maki ng content. H can't wait for v ryone to li ten to the Indy Bo s: Racing Podca t! Spring 2022 Harpreet Sandhu Jaden Madlin Julia Wills Smith Akre ( he/Her) i a enior farketing major with minor in pani h and Communication. he enjoy watching Netflix how a well as readi1w books and listening to podcasts. he also loves creating graphic using anva and adob but also likes editing u ing Adobe P remi r for fun. (H e/ H im) i a enior Psychology and Philo ophy major here at Marian Univer ity. J aden i th r ator ru1d produser to th podca t he R unndown pubIi hed by The Marian Phoenix. he name is in pir d by hi pa tion for track where he talks about hi >..'Pfren a a Ma1ian th! t . ( he/ H er) i a nior Communication major wit11 minor in pa toraJ leadership and tJ1eater. he njoy , atching documentaries and shows as well as reading books and listening to podcasts on true crime. In addition h had a love for creating videos and working w:ith Adobe to create projects. Tiu is Madcli 's second year ontri bu ting to t1,e P heonix and her first m ter a ting a odito1~ ( h /H r) i a junior Communication maj or With a minor in Pa toraJ lead r hip and W1iting. he i a h uge marvel fan and ha been a fan since the fir t iron man movi released in 2008.Julia i in her 3rd y ar as a Marian Phoenix staff writer. Along "'rith that, she ha been working a an editor and grnphic d igner for th ne, spa.per for two years. Thi i Harpr t fiT t ear conaibuting to th Marian Phoenix . An intere ting fact aboutJ ad n i that he ha never d ropped a pair of k y when After he graduate to ed to him (t t hi tJ1i emester Harpr et abilitie if you see him hope to find a car r as around). a marketing coordinacor and ma be one da in graphic d ign/web deign! After she graduate t11i mester Madclie hop tofinda ar r in PR and maybe one day in videography! Julia a pires to be a new journalist for a Catholic organization after he graduates. The Marian Phoenix returns in September, 2022 Learn more on how to get involved with the newspaper by emailing marianstudentmedia@gmail.com or Register for COM-205 Visit all these stories and more by visiting our website!  ...

... Malnutrition Screening and Treatment in Pediatric Oncology: A systematic review Jessica 1 Franke , Chris Bishop, 1 MLS , Daniel V. Runco, MD, 2,3 MS 1. Marian University College of Osteopathic Medicine 2. Indiana University School of Medicine, Department of Pediatrics 3. Riley Hospital for Children at Indiana University Health, Department of Pediatrics, Division of Hematology/Oncology Indianapolis, IN Background Pediatric cancer is the leading cause of non-accidental childhood death in the United States[34] 80% of children experience malnutrition during cancer treatment[34] Malnutrition effects with cancer treatment: increases toxicities (neuropathy, infections, physical function, quality of life)[10] Exacerbates dietary and metabolic changes[5,30] Malnutrition is variable in diagnosis and interventions Standard screening and treatment are not widely agreed upon in pediatrics[25] Adult cancer cachexia is more studied and standardized [29] Nutritional needs are more static in adults, while protein and caloric needs change and evolve for the growing child [4] Purpose This systematic review aims to: summarize evidence-based studies of screening and nutritional intervention for children with cancer highlight the need for standardizing malnutrition assessment and treatment Table 1: Included studies nutritional interventions Publication Design or sample* Liang, et.al. (2018)[19] Quasi-experimental study Oral formula supplement 127 patients (intervention group n=67; control group n=60) Measures Results Biometrics: weight, hemoglobin, total protein, albumin, prealbumin Increase in weight, hemoglobin, with formula supplement (p<0.05) Formula supplement increased total protein, albumin, and prealbumin (p<0.001) Decreased complications in intervention group (p<0.05) Fewer blood and albumin infusions for intervention group (p<0.05) Complications: hypoalbuminaemia, gastrointestinal complications, and infections Gurlek Gokcebay, et.al. (2015)[13] Monitoring children during cancer therapy Biometrics: weight, BMI, WFH, MUAC, TSF, serum albumin, Isocaloric versus hypercaloric supplements prealbumin, protein for children with malnutrition Malnutrition criteria (at least 1 45 total patients (malnourished n=26; of the following): BMI <5%ile, hypercaloric supplement n=18; isocaloric WFH < 90%ile, TSFT or MUAC supplement n=8) <5%ile, or 5% weight loss No statistical difference between hypercaloric and isocaloric formula Decrease in malnutrition diagnosis with supplement (p=0.006) At 6 months, formula increased WFH (p=0.003), BMI (p=0.003), TSF (P=0.007), and MUAC (p<0.001) Also increased serum albumin levels (p<0.001) and prealbumin (p=0.005) at 3 and 6 months Cuvelier, et.al. (2014)[9] Randomized, double-blind, placebocontrolled study Biometrics: weight, WAZ, HAZ, BMI-Z, MUAC, TSF Megestrol acetate (MA) Secondary outcomes: body composition, toxicities MA associated with significant weight gain (p=0.003), WAZ (p=0.002), BMI-Z (p=0.006), and MUAC (p=0.01) No significant difference in HAZ or TSF Pilot study Proactive enteral tube feeding 53 patients (intervention group n=20; control group n=33) Couluris, et.al. (2008)[8] Open label phase 2 trial Cyproheptadine hydrochloride (CH) and megestrol acetate (MA) for CH failure Of the 251 articles found from the search results and external sources, 9 were included in this review (6 for nutritional intervention and 3 for nutritional screening tool implementation and validation) Interventions included: Appetite stimulants (megestrol or cyproheptadine) Nutritional supplementation (ready-to-use, iso- or hypercaloric) Proactive feeding tube placement Screening tools included: Nutritional support algorithm Nutritional support teams Nutritional screening tool for childhood cancer Figure 1: Article search results with reasons for exclusion 26 patients (intervention group n=13; placebo group n=13) Sacks, et.al. (2014)[28] Results Intervention group had less of a loss in WAZ than control group (19% decrease vs. 40% decrease, Secondary outcomes: infection respectively) from diagnosis to tube feeding initiation (p=0.037) No p-values were reported for changes in WFH and BMI No difference in infectious complications Biometrics: weight, growth rate, CH significantly increased weight (p=0.001), WAZ WFH, WAZ, prealbumin, leptin (p=0.001), serum leptin levels (p=0.0004) 76% treatment response with CH Treatment response (stable or 5 of 6 patients on MA responded to therapy increased weight) No significant difference in prealbumin Biometrics: WFH, BMI, WAZ CH intervention n=66; MA intervention n=6 Methods Databases searched: Ovid Medline, CINAHL, and Cochrane Library No statistical analysis was performed due to reported data heterogeneity [16,27] PICO Criteria Population Interventions Comparison Outcomes Pediatric patients (less than 20 years) undergoing cancer treatment Prasad, et.al. (2021)[22] Complications: infection, mucositis Table 2: Included studies screening tools Publication Design or sample Measures Quality improvement report (pre and post Survival, body measurements, Gallo, et.al. intervention) hospitalization and treatment (2021)[11] characteristics Nutritional support team Han, et.al. (2021)[14] Control group n=73; intervention group n=72 Quality improvement report (pre and post intervention) Nutritional screening tool for childhood cancer (SCAN) Primary: malnutrition (objective measurements) Secondary: validation of screening Biometrics: weight, nutritional status, fat mass Ready-to-use therapeutic food (RUTF) 260 patients (intervention group n=130; control group n=130) Weight loss treatments, cachexia screening tools Malnutrition and nutrition interventions Randomized, open-label phase 3 trial Totadri, et.al. (2019)[32] Intervention group n=267 Validation study SIOP-PODC algorithm 50 patients (intervention group n=25; control group n=25) Intervention increased weight gain (77.8% vs 64.2%) (p=0.025) Significant increase in fat mass (p=0.005) Increased number of patients with normal nutritional status (p=0.02) Decreased complications (infections: p<0.0001; mucositis: p=0.006) Results Decreased need for antibiotic treatment (p=0.036) Nutrition support decreased length of treatment (p<0.001) No significant improvement in survival, or hospital, treatment, and antibiotic days (p>0.05) Biometrics: weight, malnutrition Improved dietician referral and timeliness (from rates 36.4% to 85.7%; p<0.001) Improved percent weight change, but not Dietitian referral and timeliness significant (p=0.036) Biometrics: MUAC, weight Complications: mucositis, transfusions, febrile neutropenia No significant weight increase Significant increases in MUAC (p=0.02), and oral supplements (p=0.011) Fewer platelet transfusions in intervention group (p=0.02) No difference in mucositis occurrence WFH = weight-for-height; BMI = body mass index; MUAC = mid-upper arm circumference; MA = megestrol acetate, WAZ = weight-for-age z-score; ALL = acute lymphoblastic leukemia; TSF = triceps skinfold thickness; *sample included analyzed patients only Conclusion Nutrition intervention increases patient weight and decrease complications Screening tools decreased malnutrition risk with some weight gain Potential age- and disease-specific nutritional benefits exist Future Directions Studies are needed in order to standardized nutritional care and assessment QR code  ...

... Malnutrition Screening and Treatment in Pediatric Oncology: A systematic review Jessica Franke ( jfranke167@marian.edu ) Marian University College of Osteopathic Medicine https://orcid.org/0000-0001-9303-3669 Chris Bishop Marian University College of Osteopathic Medicine Daniel V. Runco Riley Hospital for Children at Indiana University Health Research Article Keywords: nutrition, malnutrition, pediatric, cancer cachexia Posted Date: April 25th, 2022 DOI: https://doi.org/10.21203/rs.3.rs-1499120/v1 License: This work is licensed under a Creative Commons Attribution 4.0 International License. Read Full License Page 1/17 Abstract Purpose Malnutrition and cachexia during pediatric cancer treatment worsen toxicity and quality-of-life. Clinical practice varies with lack of standard malnutrition definition and nutrition interventions. This systematic review highlights available malnutrition screening and intervention data in childhood cancer and the need for standardizing assessment and treatment. Methods Ovid Medline, CINAHL, and Cochrane Library were searched for studies containing malnutrition as the primary outcome with anthropometric, radiographic, or biochemical measurements. Secondary outcomes included validated nutritional assessment or screening tools. Two authors reviewed full manuscripts for inclusion. Narrative analysis was chosen over statistical analysis due to study heterogeneity. Results The search yielded 234 articles and 17 articles identified from external sources. Nine met inclusion criteria with six nutritional intervention studies (examining appetite stimulants, nutrition supplementation, and proactive feeding tubes) and three nutritional screening studies (algorithms or nutrition support teams) each with variable measures and outcomes. Both laboratory evaluations (albumin, prealbumin, total protein) and body measurement (weight loss, mid-upper arm circumference) were used. Studies demonstrated improved weight, without difference between formula or appetite stimulant used. Screening studies yielded mixed results on preventing weight loss, weight gain, and survival. Conclusion Our review demonstrated a paucity of evidence for malnutrition screening and intervention in pediatric cancer treatment. While a variety of malnutrition outcomes, interventions, and screening tools exist, nutritional interventions increased weight and decreased complications. Screening tools decreased malnutrition risk and may improve weight gain. Potential age- and disease-specific nutritional benefits and toxicities also exist, further highlighting the benefit of standardizing malnutrition definitions, screening, and interventions. Background Pediatric cancer is the leading cause of non-accidental childhood death in the United States with up to 80% of children experiencing malnutrition during cancer treatment[34]. Proper nutrition is fundamental to appropriate growth and development through childhood and adolescence[21]. More importantly, when Page 2/17 children with cancer experience malnutrition during treatment, they experience more treatment-related toxicity including neuropathy, infections, physical function, and quality of life[10]. The effects of poor nutrition are further magnified by potentially delaying or decreasing curative delivery[5, 18, 30]. Chemotherapy, radiation, surgery, and immunotherapy directly result in nausea, vomiting, and anorexia or other metabolic changes such as weight or muscle loss which are further exacerbated by malnutrition[5, 30]. Malnutrition during cancer treatment can lead to increased deleterious side effects due to decreased health tolerance which further worsens physical function and quality of life. Survival impact of malnutrition alone is challenging to quantify, but individual studies suggest lower survival for patients with poor nutrition[30]. Nutritional screenings for hospitalized pediatric patients are variable among geographic regions and hospitals with pediatric specialists and expertise. Many hospitals have individual, unique protocols for malnutrition screening and intervention. This results in diagnosis data that is difficult to compare and generalize and different thresholds for what nutrition supplementation to initiate and which criteria to base it on[25]. While professional organizations such as the American Society for Parenteral and Enteral Nutrition (ASPEN) have suggested decision trees for appetite stimulants, temporary nasoenteral feeds, or more durable percutaneous gastrostomy or jejunal feeds, the use of such decision tools remains underutilized, further contributing to lack of standardized nutrition support[20]. For adults with cancer, treatments for malnutrition are more standardized, with more readily available oral supplements, parenteral nutrition, and enteral feeding[29]. In comparison to adult patients, nutritional treatments amongst pediatric patients may be more difficult because protein and calorie needs change with the growing child making standardization difficult and more research needed to identify beneficial interventions and assessments at these variable time points in a childs development[4]. This review aims to summarize and compare evidence-based studies of screening and nutritional intervention for children with cancer. The necessity of proper nutrition during pediatric cancer treatment is crucial to improving toxicity from cancer treatment and potentially survival. Ultimately, this review will be helpful in standardizing protocols for effectively and accurately assessing and treating malnutrition. Methods PICO Criteria was utilized to create a research question and a focused systematic database search (Table 1)[17]. The original search included the electronic databases Ovid Medline, CINAHL, and Cochrane Library. No time limitations were placed on the search due to the very small number of pediatric nutrition studies that were identified. MeSH terms searched included cachexia, neoplasms, carcinoma, radiotherapy, immunotherapy, appetite, appetite regulation, malnutrition, nutritional status, weight-loss, body mass index, body weight, body composition, anthropometry, child nutrition disorders, nutrition assessment, Wilms tumor, and precursor cell lymphoblastic leukemia-lymphoma. Additional search terms included truncated forms of the following keywords: carcinoma, chemotherapy, radiation therapy, tumor, malignant, cancer, neoplasm, oncology, malnutrition, and appetite. Duplicate entries were removed after Page 3/17 exporting to EndNote. External sources were hand-searched for additional articles, and applicable articles were added to the pool of the database search results. Table 1 PICO Criteria for Guided Systematic Review[17] Population Pediatric patients (humans), less than 20 years, with cancer undergoing chemotherapy, radiotherapy and/or immunotherapy treatments Inclusion: children under 20 years undergoing chemotherapy, radiotherapy and/or immunotherapy Exclusion: adult or animal studies, observational or non-intervention studies Interventions Weight loss treatments Inclusion: nutrition interventions and cachexia screening tools Exclusion: studies without nutrition as primary outcome Comparison, Malnutrition and nutrition interventions Outcomes Primary outcomes: malnutrition (body measurements, radiographic, biochemical, etc.) Secondary outcomes: validated nutrition assessment or malnutrition screening tools Page 4/17 Table 2 Included Studies Nutritional Interventions Publication Design or sample* Measures Results Liang, et.al. Quasi-experimental study Increase in weight, hemoglobin, with formula supplement (p < 0.05) (2018)[19] Oral formula supplement Biometrics: weight, hemoglobin, total protein, albumin, prealbumin 127 patients (intervention group n = 67; control group n = 60) Gurlek Gokcebay, et.al. Monitoring children during cancer therapy (2015)[13] Isocaloric versus hypercaloric supplements for children with malnutrition 45 total patients (malnourished n = 26; hypercaloric supplement n = 18; isocaloric supplement n = 8) Cuvelier, et.al. (2014)[9] Randomized, double-blind, placebo-controlled study Megestrol acetate (MA) Complications: hypoalbuminaemia, gastrointestinal complications, and infections Biometrics: weight, BMI, WFH, MUAC, TSF, serum albumin, prealbumin, protein Malnutrition criteria (at least 1 of the following): BMI < 5%ile, WFH < 90%ile, TSFT or MUAC < 5%ile, or 5% weight loss Formula supplement increased total protein, albumin, and prealbumin (p < 0.001) Decreased complications in intervention group (p < 0.05) Fewer blood and albumin infusions for intervention group (p < 0.05) No statistical difference between hypercaloric and isocaloric formula Decrease in malnutrition diagnosis with supplement (p = 0.006) At 6 months, formula increased WFH (p = 0.003), BMI (p = 0.003), TSF (P = 0.007), and MUAC (p < 0.001) Also increased serum albumin levels (p < 0.001) and prealbumin (p = 0.005) at 3 and 6 months Biometrics: weight, WAZ, HAZ, BMI-Z, MUAC, TSF Secondary outcomes: body composition, toxicities MA associated with significant weight gain (p = 0.003), WAZ (p = 0.002), BMI-Z (p = 0.006), and MUAC (p = 0.01) No significant difference in HAZ or TSF 26 patients (intervention group n = 13; placebo group n = 13) WFH = weight-for-height; BMI = body mass index; MUAC = mid-upper arm circumference; MA = megestrol acetate, WAZ = weight-for-age z-score; ALL = acute lymphoblastic leukemia; TSF = triceps skinfold thickness; *sample included analyzed patients only Page 5/17 Publication Design or sample* Measures Results Sacks, et.al. Pilot study Biometrics: WFH, BMI, WAZ Intervention group had less of a loss in WAZ than control group (19% decrease vs. 40% decrease, respectively) from diagnosis to tube feeding initiation (p = 0.037) (2014)[28] Proactive enteral tube feeding 53 patients (intervention group n = 20; control group n = 33) Couluris, et.al. Open label phase 2 trial (2008)[8] Cyproheptadine hydrochloride (CH) and megestrol acetate (MA) for CH failure Secondary outcomes: infection No p-values were reported for changes in WFH and BMI No difference in infectious complications Biometrics: weight, growth rate, WFH, WAZ, prealbumin, leptin CH significantly increased weight (p = 0.001), WAZ (p = 0.001), serum leptin levels (p = 0.0004) Treatment response (stable or increased weight) 76% treatment response with CH CH intervention n = 66; MA intervention n=6 Prasad, et.al. Randomized, openlabel phase 3 trial (2021)[22] Ready-to-use therapeutic food (RUTF) 5 of 6 patients on MA responded to therapy No significant difference in prealbumin Biometrics: weight, nutritional status, fat mass Complications: infection, mucositis 260 patients (intervention group n = 130; control group n = 130) Intervention increased weight gain (77.8% vs 64.2%) (p = 0.025) Significant increase in fat mass (p = 0.005) Increased number of patients with normal nutritional status (p = 0.02) Decreased complications (infections: p < 0.0001; mucositis: p = 0.006) WFH = weight-for-height; BMI = body mass index; MUAC = mid-upper arm circumference; MA = megestrol acetate, WAZ = weight-for-age z-score; ALL = acute lymphoblastic leukemia; TSF = triceps skinfold thickness; *sample included analyzed patients only Page 6/17 Table 3 Included Studies Screening Tools Publication Design or sample Measures Results Gallo, et.al. Quality improvement report (pre and post intervention) Survival, body measurements, hospitalization and treatment characteristics Decreased need for antibiotic treatment (p = 0.036) (2021)[11] Nutritional support team No significant improvement in survival, or hospital, treatment, and antibiotic days (p > 0.05) Control group n = 73; intervention group n = 72 Han, et.al. (2021)[14] Nutrition support decreased length of treatment (p < 0.001) Quality improvement report Biometrics: weight, malnutrition rates (pre and post intervention) Dietitian referral and timeliness Nutritional screening tool for childhood cancer (SCAN) Improved dietician referral and timeliness (from 36.485.7%; p < 0.001) Improved percent weight change, but not significant (p = 0.036) Intervention group n = 267 Totadri, et.al. (2019)[32] Validation study Biometrics: MUAC, weight No significant weight increase SIOP-PODC algorithm Complications: mucositis, transfusions, febrile neutropenia Significant increases in MUAC (p = 0.02), and oral supplements (p = 0.011) 50 patients (intervention group n = 25; control group n = 25) Fewer platelet transfusions in intervention group (p = 0.02) No difference in mucositis occurrence Abstracts from the database search were independently and separately reviewed based on the inclusion criteria in Table 1 by two authors before comparing. Discrepancies were discussed and resolved based on the inclusion criteria. Full manuscript review was performed for included abstracts with a final determination made and agreed upon by two authors. The primary outcome for the articles included was the objective measurement of malnutrition in terms of body measurements, radiographic measurements, and biochemical measurements based on research demonstrating correlation between these measurements and malnutrition information[4, 15]. Secondary outcomes included validated nutritional assessment or malnutrition screening tools. Due to heterogeneity in the reported data and low numbers of published studies, no statistical analyses were performed similarly to previously published reviews on nutrition in pediatric cancer care[16, 27]. The results of each study were compared in a narrative manner to reach conclusions. Page 7/17 Results The systematic search yielded 234 papers (Fig. 1). In addition, 17 articles were found from other sources. A total of 251 article abstracts were reviewed. 231 were excluded (criteria listed in Fig. 1) resulting in 20 articles for full length review. Of the 20 articles fully reviewed, 9 met inclusion criteria (Table 1). Of the included articles, 6 studies described nutritional interventions with the remaining 3 describing implementation or validation of nutritional screening tools. Interventions Liang et al. (2018) evaluated adding Peptamen supplements to standard of care nutritional support in children with acute lymphocytic leukemia (ALL)[19]. The study consisted of 127 patients (intervention group n = 60; control group n = 67). The intervention group received a low-fat diet with 39.3 g of Peptamen in water 35 times per day. The control group received a low-fat diet 35 times per day. Peptamen supplements significantly increased the weight and hemoglobin levels in patients after 30 days of chemotherapy. Significantly higher total protein, albumin, and prealbumin at the end of the 30 days of chemotherapy were also present in the intervention group. Fewer complications of hypoalbuminemia, gastrointestinal complications (including weight loss), and infections were noted as well as fewer blood and albumin infusions needed in the intervention group. While the length of hospital stay was not statistically lower in the intervention group, statistically lower hospital costs were seen. Gurlek Gokcebay et al. (2015) examined the effects of 6 months of isocaloric (standard of care) and hypercaloric nutritional supplements[13]. There were 45 participants with 18 receiving hypercaloric supplements and 8 receiving isocaloric supplements. Malnutrition decreased from 3124% with any supplement use (no significant difference between hypercaloric and isocaloric). Malnutrition criteria for this study was based on patients having at least 1 of the following: body mass index (BMI) < 5th percentile, weight for height (WFH) < 90th percentile, tricep skinfold thickness (TSFT) or mean upper arm circumference (MUAC) < 5th percentile, or 5% weight loss. After 6 months, the following had a significant increase for the intervention group: WFH, BMI, TSFT, and MUAC. There was no significant difference between isocaloric and hypercaloric supplement usage in WFH, BMI, TSFT, and MUAC at 6 months. There was also a significant increase in serum albumin levels and prealbumin at the 3- and 6-month mark. Cuvelier et al. (2014) studied the use of megestrol acetate (MA) as an oral appetite stimulant in children diagnosed with cancer that suffered from weight loss, defined as 5% body weight or a history with anorexia, and compared it to standard of care[9]. Initially, there were 26 participants (intervention group n = 13; control group n = 13). 10 participants in the control group were able to complete the study. Children given MA had an increase in mean weight of 19.7% compared to baseline (p = 0.003). Children treated with standard of care had mean weight loss 1.2%. Weight-for-age z-score (WAZ), BMI z-score, and MUAC also significantly increased in the experimental group (p = 0.01). There was no significant difference in height-for-age z-score (HAZ) or TSFT for the intervention group. In terms of morning cortisol Page 8/17 levels, all intervention participants had at least 1 undetectable morning cortisol level while only one participant in the control group experienced similarly low cortisol. Sacks et al. (2014) studied proactive placement of feeding tubes for children with acute myeloid leukemia (AML) or myelodysplastic syndromes (MDS)[28]. 53 patients were enrolled in the study (intervention group n = 20; control group n = 33). The intervention group (those with proactive feeding tube placement) was compared to the control group (those receiving standard of care treatment and diet). WAZ was significantly lower from time of diagnosis to initiation of tube feeding in the intervention group (19% decrease) compared to the control group (40% decrease) (p = 0.037). Proactive feeding tube placement also resulted in less weight loss than the control group. Couluris et al. (2008) studied 70 patients comparing cyproheptadine hydrochloride (CH) versus MA in children diagnosed with cachexia to determine if treatment could prevent further cachexia (CH n = 66; MA n = 6)[8]. Documented cachexia was a requisite for enrollment in the study, defined as weight loss 5%, drop in growth rate two or more percentile ranks on standard growth charts, or a weight-for-height < 10th percentile on standard growth charts. Weight maintenance or weight loss less than 1 percentile was considered a patient response to the supplement. 76% of patients given CH (dose of 0.25 mg/kg/d) showed a response with the majority (48/50) gaining weight after 4 weeks (p = 0.001). WAZ also significantly increased with CH intervention, and serum leptin levels significantly increased for the CH group on average from 1.19 mg/dL to 1.83 mg/dL (p = 0.0004). Serum prealbumin levels did not statistically differ after 4 weeks of therapy. A unique finding of this study was that there was a statistically significant difference among patients with hematologic malignancies (response rate of 91.30%) compared to patients with nonhematologic malignancies (response rate of 67.44%). Patients older than 9 years of age typically gained more weight than those under 9 years of age. 5 out of 6 patients responded to MA therapy with an average weight gain of 2.5 kg. Prasad et al. (2021) studied the use of ready-to-use therapy food (RUTFs) compared to standard nutritional therapy (SNT) in 260 patients (intervention group n = 130; control group n = 130) for 6 weeks[22]. The experimental group used RUTFs to meet 50% of their caloric requirement and SNT for the other 50%. The control group was on a strict SNT diet. There was a statistically significant difference in weight gain between groups at 6 weeks (n = 126) with a weight gain > 10% in 77.8% of the RUTF group and 64.2% in the SNT group causing more children in the RUTF group to reach a normal nutritional status (based on BMI and MUAC). The RUTF group also had a significant increase in fat mass, and there was a significant difference between groups among children with ALL. 79% of children with ALL in the RUTF group had a weight gain > 10% at 6 weeks compared to 56% of children with ALL in the SNT group. The RUTF group also had fewer complications: infections (4% vs 19%, p < 0.001) and mucositis (7.9% vs 17.4%, p = 0.021); however, both groups showed similar statistics in death due to toxins. Screening Tools Gallo et al. (2021) evaluated the effects of adding a nutritional support team (NST) to aid 73 patients following CNS tumor diagnoses compared to 72 patients that served as a control group[11]. The addition Page 9/17 of the NST teams regular screening and therapy decreased malnutrition risk of patients from 65.332.6% indicating that more patients received nutritional therapy. The length of cancer treatment also decreased significantly but the use of chemotherapy (days) and antibiotics (days) did not statistically differ between groups. Patients treated by the NST team were more likely to reach a 4-year survival (35.6% vs. 25.0%); however, this was not statistically different. Han et al. (2021) implemented the nutritional screening tool for childhood cancer (SCAN) which significantly improved the frequency of dietician referral in patients at high risk of malnutrition[14]. After conducting a root-cause analysis, the study team identified malnutrition screening as a need for their patient population and implemented the use regardless of patient diagnosis. The study consisted of 267 patients. The study also utilized the PDSA cycle model (Plan, Do, Study, Act) with two improvement cycles to better implement the tool. The dietician referral occurred at a much faster rate (3 days post admission compared to 1 day). Earlier dietitian intervention led to significant increase in weight gain at 1 month and 3 months. Overall, SCAN improved the percent weight change in patients. Totadri et al. (2019) analyzed 50 patients with cancer (intervention group n = 25; control group n = 25)[32]. The intervention group consisted of validating a 3-month algorithm tool for determining when to initiate oral supplements, NG feeding, and parenteral nutrition based on the patients MUAC and physical health (wasting or eutrophic/overweight/obese). Weight measurements were monitored every 2 weeks. Based on the algorithm, intervention began if the patient was wasting and had a MUAC < 5th percentile. For severe wasting, NG feeding was started. In moderate wasting with a MUAC < 5th percentile, patients took oral supplements for 2 weeks. If patients did not have a significant weight gain, NG feeding was started. Eutrophic, overweight, or obese patients with MUAC > 5th percentile had no intervention unless they began wasting and met the prior criteria. There was no significant difference in weight gain or mucositis occurrence between the two groups. Compared to the non-interventional control group, the experimental group had a greater MUAC median increment and received fewer platelet transfusions and more oral supplements. Discussion Currently, there is a dearth of nutrition-based studies in pediatric oncology patients. Existing studies are primarily retrospective and secondary analyses nested within larger or therapeutic studies. We were able to identify nine prospective, interventional nutrition-focused studies. Of these, six included prospective, nutrition-based interventional studies and three involved validation or outcomes related to nutritional screening. Despite variation in study design and outcomes of interest, the overall findings suggest nutritional interventions increase weight and decrease complication during pediatric oncology treatment while nutritional screening decreases risk for malnutrition and potentially improves weight gain. Of the studies reviewed for nutritional intervention, five of the six examined the addition of nutrition supplementation including appetite stimulants and various formula compositions. Only one study aimed at proactive enteral tube placement as an intervention. This significant variability in the research Page 10/17 surrounding nutrition in children with cancer mirrors the inconsistency in nutritional screening and intervention in clinical practice[4]. While all the studies demonstrated improved weight, there was no significant difference seen in isocaloric versus hypercaloric formulas or ready-to-use therapeutic food versus traditional formulas. This potentially supports the notion that early and appropriate correction of malnutrition can have health benefits, including weight gain or decreased weight loss, regardless of the type of nutritional supplementation used. Similarly, Couluris et al. and Curvelier et al. both observed that cyproheptadine hydrochloride and megestrol acetate both have the potential to lead to improved weight gain compared to placebo[8, 9]. Current literature lacks a systematic, evidence-based and patient-centered approach into how and which appetite stimulants or nutrition support tools should be utilized in specific patients, diseases, or treatments. Additionally, the complexity of nutritional intervention to prevent malnutrition is hard to distinguish from support following a diagnosis of malnutrition. Regardless, proactive nutritional intervention including nasogastric tube placement, has been shown to be safe, feasible, and effective[28]. This study suggests pre-empting malnutrition is more effective than treating malnutrition once it has developed. Previous literature has suggested there are treatment- and disease-specific risk factors for malnutrition, and our study identified interesting findings based on the type of pediatric cancer. Couluris et al. found that patients with hematologic malignancy had improved weight gain on cyproheptadine hydrochloride compared to patients with non-hematologic malignancy also on cyproheptadine hydrochloride[8]. Also, Prasad et al. found greater response to ready-to-use therapy food by patients with ALL compared to standard nutritional therapy[22]. These two observations suggest appropriate interventions may be disease- and treatment-specific. Existing pediatric oncology literature emphasizes the importance of riskbased monitoring for toxicity including increased rates of ototoxocity and hematologic toxicity in teenagers with brain tumors along with more nausea, vomiting, and anorexia in different aged patients treated for lymphoma and rhabdomyosarcoma[3, 12]. Age and treatment intensity have also been shown to impact the risk of developing malnutrition, but we continue to lack prospective interventional studies or widely utilized tools for nutrition screening and intervention in pediatric oncology[24, 26]. Furthermore, in the development of novel therapeutics, documentation shows that changes in weight, specifically body composition, can alter the pharmacokinetics and pharmacodynamics of chemotherapy metabolism[18]. Specific and dedicated study of nutritional interventions directed towards age, disease, and treatment are essential and require further evaluation. Examining nutrition screening tools in pediatric oncology yielded even fewer studies. Despite multiple professional societies advocating for systematic and consistent nutritional screening, it remains underutilized in clinical practice and fails to account for the unique medical needs and physiologies of children and adolescents compared to adults[1, 2, 31]. Gallo et al. used implementation of a nutritional support team to decrease the risk for malnutrition and the length of cancer treatment[11]. Nutritional support team implementation also increased 4-year survival rates in patients, specifically with CNS tumor diagnoses. Han et al. found that the SCAN system improves dietician referral and increased weight gain[14]. Totadri et al. studied SIOP-PODC algorithm, which did not increase weight gain[32]. However, it did increase MUAC and supplement usage while decreasing platelet transfusions, but it did not decrease Page 11/17 other complications. Overall, the addition of a screening tool benefits patients by preventing weight loss or causing weight gain; but there are several important factors that have not been included in prospective studies. Data demonstrates that nutrition and feeding create significant anxiety in parents and caregivers[7, 33]. It also stands to reason that failure to lose weight or failure to gain weight may reflect earlier intervention and proper nutrition maintenance throughout. Additionally, inclusion of an improved study on nutrition screening could have impacts on quality of life and cancer survivorship. Adult oncologists have better incorporated appetite, body measurements, and function into cancer cachexia, but we have even less classification of the cancer cachexia phenotype in children[6, 23]. Limitations This systematic review focuses on finding malnutrition interventions and screening tools that adequately treat or prevent cancer-related cachexia. The following limitations should be acknowledged when reviewing the results. First, the frequency of cancer within the pediatric population is far less than the frequency within the adult population. This yields fewer studies regarding cancer cachexia for this systematic review. Second, due to the small number of articles present at the time of this study, the variables reported amongst each study were heterogeneous in comparison to one other. The heterogeneity of variables prevented an accurate meta-analysis to be conducted causing the findings to be conceptual instead of statistical. This is similar to previous cancer related nutritional reviews amongst pediatric patient care. Lastly, there is variability in treatment appropriateness within the pediatric population due to the vast developmental differences between the youngest and oldest patients within this population. The variability of needs within the pediatric population should not be neglected when looking at these results because developmental variability caused varying intervention and screening results based on age. This review intended to be as inclusive as possible amongst the pediatric population with cancer and cancer related cachexia without widening the scope past the reviews purpose. Conclusion This review highlights the few prospective, interventional trials for pediatric malnutrition screening and intervention that exist for children undergoing cancer treatment. Wide variability in assessment tools, target outcomes, and interventions make determinations about clinical effectiveness difficult. The inconsistency in defined outcomes of interest also limit the ability to standardize research in this field without more prospective nutritional intervention studies in pediatric patients treated for cancer. Specifically, a critical need exists for randomized control trials examining the independent effect of nutrition alongside therapeutic studies. While it is challenging to do isolated nutrition studies, incorporating upfront nutritional intervention in pediatric clinical trials is a potential area of focus. Standardizing malnutrition screening and nutritional intervention and supports will be vital in continuing to improve our cancer-directed therapies for children while minimizing toxicity and improving survival. Page 12/17 Declarations Author contributions Daniel Runco was responsible for the study concept. Jessica Franke and Daniel Runco designed the review. Chris Bishop performed the literature search. Jessica Franke and Daniel Runco selected articles that met inclusion criteria. Jessica Franke performed data extraction. Jessica Franke and Daniel Runco analyzed the data. Jessica Franke and Daniel Runco drafted the manuscript and performed critical revisions. All authors read and approved the final manuscript. Funding No funding was received to assist in this manuscript. Availability of data and material N/A Code availability N/A Ethics approval N/A Consent to participate N/A Consent for publication N/A Conflict of interest The authors have no competing interests. References 1. Arends J, Baracos V, Bertz H, Bozzetti F, Calder PC et al (2017) ESPEN expert group recommendations for action against cancer-related. malnutrition Clin Nutr 36:11871196. doi: 10.1016/j.clnu.2017.06.017 2. August DA, Huhmann MB, American Society for P, Enteral Nutrition Board of D (2009) A.S.P.E.N. clinical guidelines: nutrition support therapy during adult anticancer treatment and in hematopoietic cell transplantation JPEN. J Parenter Enter Nutr 33:472500. doi: 10.1177/0148607109341804 3. 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Cohen J, Wakefield CE, Tapsell LC, Walton K, Cohn RJ (2017) Parent, patient and health professional perspectives regarding enteral nutrition in paediatric oncology. Nutr dietetics: J Dietitians Association Australia 74:476487. doi: 10.1111/1747-0080.12336 8. Couluris M, Mayer JL, Freyer DR, Sandler E, Xu P et al (2008) The effect of cyproheptadine hydrochloride (periactin) and megestrol acetate (megace) on weight in children with cancer/treatment-related cachexia. J Pediatr Hematol Oncol 30:791797. doi:10.1097/MPH.0b013e3181864a5e 9. Cuvelier GD, Baker TJ, Peddie EF, Casey LM, Lambert PJ et al (2014) A randomized, double-blind, placebo-controlled clinical trial of megestrol acetate as an appetite stimulant in children with weight loss due to cancer and/or cancer therapy. Pediatr Blood Cancer 61:672679. doi:10.1002/pbc.24828 10. Evans WJ, Lambert CP (2007) Physiological basis of fatigue. Am J Phys Med Rehabil 86:S2946. doi:10.1097/phm.0b013e31802ba53c 11. Gallo N, Czuppon K, Tomsits E, Garami M, Hauser P et al (2021) The Effect of Nutritional Support on the Disease Progression and Survival in Pediatric Patients with Solid Tumors Nutr Cancer. 19. 10.1080/01635581.2020.1869275 12. Gupta AA, Anderson JR, Pappo AS, Spunt SL, Dasgupta R et al (2012) Patterns of chemotherapyinduced toxicities in younger children and adolescents with rhabdomyosarcoma: a report from the Children's Oncology Group Soft Tissue. Sarcoma Comm Cancer 118:11301137. doi: 10.1002/cncr.26358 13. Gurlek Gokcebay D, Emir S, Bayhan T, Demir HA, Gunduz M et al (2015) Assessment of Nutritional Status in Children With Cancer and Effectiveness of Oral Nutritional Supplements Pediatric hematology and oncology. 32:423432. 10.3109/08880018.2015.1065303 14. Han WM, Koo JY, Lim YY, Iyer P, Ong C et al (2021) Implementation of a nutrition screening tool to improve nutritional status of children with cancer in Singapore's largest paediatric hospital BMJ Open Qual 10. 10.1136/bmjoq-2020-000944 15. Ilhan IE, Sari N, Yesil S, Eren T, Tacyildiz N (2015) Anthropometric and Biochemical Assessment of Nutritional Status in Pediatric Cancer Patients Pediatric. Hematol Oncol 32:415422 16. Joffe L, Schadler KL, Shen W, Ladas EJ (2019) Body Composition in Pediatric Solid Tumors: State of the Science and Future Directions J Natl Cancer Inst Monogr 2019: 144148. doi:10.1093/jncimonographs/lgz018 17. Klionsky DJ, Abdelmohsen K, Abe A, Abedin MJ, Abeliovich H et al (2016) Guidelines for the use and interpretation of assays for monitoring autophagy (3rd edition) Autophagy 12: 1-222. doi: 10.1080/15548627.2015.1100356 18. Ladas EJ, Sacks N, Meacham L, Henry D, Enriquez L et al (2005) A multidisciplinary review of nutrition considerations in the pediatric oncology population: A perspective from children's oncology group Nutrition in clinical practice: official publication of the American Society for Parenteral and Enteral Nutrition. 20:377393. 10.1177/0115426505020004377 Page 14/17 19. Liang R, Chen GY, Fu SX, Zhong J, Ma Y (2018) Benefit of oral nutritional supplements for children with acute lymphoblastic leukaemia during remission-induction chemotherapy: a quasi-experimental study Asia Pac. J Clin Nutr 27:144147. doi:10.6133/apjcn.032017.04 20. Mehta NM, Compher C (2009) A.S.P.E.N. Clinical Guidelines: nutrition support of the critically ill child. JPEN J Parenter Enter Nutr 33:260276. doi:10.1177/0148607109333114 21. Prado EL, Dewey KG (2014) Nutrition and brain development in early life. Nutr Rev 72:267284. doi: 10.1111/nure.12102 22. Prasad M, Tandon S, Gala R, Kannan S, Chinnaswamy G et al (2021) Efficacy of ready-to-use therapeutic food in malnourished children with cancer: Results of a randomized, open-label phase 3 trial. Pediatr Blood Cancer 68:e29197. doi: 10.1002/pbc.29197 23. Roeland EJ, Bohlke K, Baracos VE, Bruera E, Del Fabbro E et al (2020) Management of Cancer Cachexia: ASCO Guideline. J Clin oncology: official J Am Soc Clin Oncol 38:24382453. doi: 10.1200/JCO.20.00611 24. Runco D, Wasilewski-Masker K, McCracken CE, Mazewski CM, Patterson BC, Mertens AC (2018) Impact of tumor type and treatment intensity on weight-for-age through cancer therapy in children less than 3 years old. In: Editor (ed)^(eds) Book Impact of tumor type and treatment intensity on weight-for-age through cancer therapy in children less than 3 years old, City.. doi: 10.1002/pbc.27057 25. Runco DV, Stanek JR, Yeager ND, Belsky JA (2022) Malnutrition identification and management variability: An administrative database study of children with solid tumors JPEN Journal of parenteral and enteral nutrition. 10.1002/jpen.2329 26. Runco DV, Wasilewski-Masker K, McCracken CE, Wetzel M, Mazewski CM et al (2020) Normalized measures and patient characteristics to identify undernutrition in infants and young children treated for cancer. Clin Nutr ESPEN 38:185191. doi: 10.1002/cncr.2635810.1016/j.clnesp.2020.05.005 27. Runco DV, Yoon L, Grooss SA, Wong CK (2019) Nutrition & Exercise Interventions in Pediatric Patients with Brain Tumors: A Narrative Review J Natl Cancer Inst Monogr 2019: 163168. doi:10.1093/jncimonographs/lgz025 28. Sacks N, Hwang WT, Lange BJ, Tan KS, Sandler ES et al (2014) Proactive enteral tube feeding in pediatric patients undergoing chemotherapy. Pediatr Blood Cancer 61:281285. doi:10.1002/pbc.24759 29. Sadeghi M, Keshavarz-Fathi M, Baracos V, Arends J, Mahmoudi M et al (2018) Cancer cachexia: Diagnosis, assessment, and treatment. Crit Rev Oncol Hematol 127:91104. doi:10.1016/j.critrevonc.2018.05.006 30. Sala A, Pencharz P, Barr RD (2004) Children, cancer, and nutritionA dynamic triangle. Rev Cancer 100:677687. doi: 10.1002/cncr.11833 31. Sung L, Zaoutis T, Ullrich NJ, Johnston D, Dupuis L et al (2013) Children's Oncology Group's 2013 blueprint for research: Cancer control and supportive care. Pediatr Blood Cancer 60:10271030. doi: 10.1002/pbc.24426 Page 15/17 32. Totadri S, Trehan A, Mahajan D, Viani K, Barr R et al (2019) Validation of an algorithmic nutritional approach in children undergoing chemotherapy for cancer. Pediatr Blood Cancer 66:e27980. doi: 10.1002/pbc.27980 33. Yildirim Sari H, Yilmaz M, Ozsoy S, Kantar M, Cetingul N (2013) Experiences of parents with the physical care needs at home of children with cancer: A qualitative study Cancer nursing. 36:385 393. 10.1097/NCC.0b013e3182a0e221 34. Zimmermann K, Ammann RA, Kuehni CE, De Geest S, Cignacco E (2013) Malnutrition in pediatric patients with cancer at diagnosis and throughout therapy: A multicenter cohort study. Pediatr Blood Cancer 60:642649. doi: 10.1002/pbc.24409 Figures Page 16/17 Figure 1 Article search results with reasons for exclusion Page 17/17  ...

... HOAGY CARMICHAELS HIDDEN MANUSCRIPT: THE DISCOVERY OF OLD GLORY FOR CHILDRENS CHOIR AND CHAMBER ORCHESTRA Shawn Lynn Royer Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music, Indiana University April 2022 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _____________________________________ Lauren Kapalka Richerme, Ph.D. (chair) __________________________posthumously Patrice Madura Ward-Steinman, D.M.E. (co-chair) _____________________________________ Frank Diaz, Ph.D. _____________________________________ Lissa May, D.M.E. _____________________________________ Patrick Harbison, M.M. April 8, 2022 ii Copyright 2022 Shawn Lynn Royer iii It is my honor to dedicate this dissertation to the living memory of Dr. Patrice Madura WardSteinman. Dr. Madura first shared the story of Maduras Danceland with me in my historical research in music education course at the Indiana University Jacobs School of Music. Her narrative entailed the famous jazz musicians that performed at her fathers dance hall through the decades, how much the musicians were paid, and how the historical context of the Great Depression impacted those amounts. All of this was fantastically intriguing to me, and when she passed the old photographs and notebooks around the room which were her primary sources, I was so moved emotionally that I cried. At that moment, I knew I wanted to become a historical researcher. Dr. Madura taught me about the exciting and rewarding processes that encompass historical research in music education. She was a master of historical research and an incredible mentor. Dr. Madura inspired and encouraged me to pursue my research interests in Hoagy Carmichaels compositions which are the basis for this dissertation. She was my first Research Committee Chair during which time she edited and approved the first two chapters of this document before her tragic passing in the spring of 2020. I am forever grateful for her inspiration, her guidance, and her memory. iv Acknowledgments I would like to acknowledge and thank the members of my dissertation committee for their support and assistance throughout the creation of this document. I was very fortunate to work with such an incredibly knowledgeable and well-versed committee of scholars that was willing to share their time and wealth of expertise: Dr. Madura Ward-Steinman, Dr. Diaz, Dr. May, and Professor Harbison. I would also like to extend an extra special acknowledgement to my Research Committee Chair, Dr. Richerme, for her outstanding guidance and for the many hours she spent reading and editing this document. I cannot thank her enough for her thoroughness throughout this process, for the generous giving of her time, and for her consistent commitment to my success. I would also like to thank Allison McClanahan at the Archives of Traditional Music, the members of the SYO Summer Music Programs, the Indianapolis Childrens Choir, and the many volunteer musicians that agreed to rehearse and record Old Glory for my dissertation defense. Thank you also to my friends, Edward Zlaty and Craig Parmerlee, for volunteering to record and master the recording. Finally, I want to thank my wonderful familymy wife, Sarah Breann Royer; our daughter, Miriam Pinkus; and my parents, Andrzej and Lu Plonskifor their love and support throughout my many educational and musical endeavors. v Shawn Lynn Royer HOAGY CARMICHAELS HIDDEN MANUSCRIPT: THE DISCOVERY OF OLD GLORY FOR CHILDRENS CHOIR AND CHAMBER ORCHESTRA While looking through the Hoagy Carmichael Collection at the Archives of Traditional Music at Indiana University in Bloomington, Indiana, I came across a musical manuscript that featured a childrens choir with chamber orchestra. I could find no mention of this work, Old Glory, in the published literature. The discovery of Old Glory prompted the proposition of three questions: 1) What evidence suggests that Hoagy Carmichael was the composer of Old Glory? 2) For what person or purpose was Old Glory written? 3) Why was Old Glory never published or recorded? To answer these questions, I engaged in historical research processes involving emersion, intensive study of primary and secondary sources, a process of verification as prescribed by Gottschalk, and harmonic analyses of Old Glory and other works by Carmichael. The findings of this research support the conclusion that Hoagy Carmichael likely composed Old Glory and may have worked in collaboration with an orchestrator for its creation. Old Glory is patriotic and bears similarities to other works by Carmichael including the final movement of his Johnny Appleseed Suite, a multi-movement work for which Old Glory may have originally been composed. Carmichael did not publish or record any of his orchestral works, demonstrating an established precedence. Possible reasons that he did not publish Old Glory could include the technical difficulties inherent in the work or feelings of self-doubt caused by negative reviews of his first orchestral composition, Brown County Autumn. The discovery of Old Glory constitutes a valuable addition to music education as a new work that should be taught and performed. This research also contributes to the literature by identifying the orchestrator of Brown County Autumn as Eugene Zdor. vi Table of Contents Chapter 1: Statement of the Problem ............................................................................................ 1 Rational .............................................................................................................................. 1 Background ............................................................................................................ 1 Pilot Study .............................................................................................................. 4 Authentication...................................................................................................... 10 Purpose Statement .......................................................................................................... 14 Research Questions .......................................................................................................... 14 Chapter 2: Methodology .............................................................................................................. 15 Historical Research Inquiry............................................................................................... 15 Data Sources, Locations, and Natures .............................................................................. 15 Overview of Analysis Process ........................................................................................... 17 Descriptions of Pertinent Materials ................................................................................. 18 Data Interpretation and Organization .............................................................................. 21 Presentation of Findings .................................................................................................. 22 Chapter 3: Verifying the Authenticity of the Manuscript............................................................. 24 Is the Handwriting Consistent with Other Identifying Marks? ......................................... 25 Are there Autographs or Other Identifying Marks? ......................................................... 34 vii Does the Estimated Age of the Item Match the Record? ................................................. 41 Does any Information Within the Document Aid in Establishing the Missing Date? ....... 45 Are there any Indications in Diaries, Newspapers, Programs, or Other Contemporaneous Materials that such an Item Existed? ............................................................................... 50 Where was the Item Originally Located? ......................................................................... 65 Where is the Item Now? Is this Document a Variant Version or a Copy? Is there any Reason to Suspect that this Item may not be Genuine? ................................................. 66 Are parts of the document or set of documents missing, illegible, or out of order? Can an Original Order or Appearance be Discovered? ................................................................ 67 Does an Original or Earlier Document Exist?.................................................................... 70 Does the Document have Multiple Authors? ................................................................... 74 Could this have been Written by Someone Else Imitating the Purported Authors Style? ......................................................................................................................................... 76 Summary .......................................................................................................................... 82 Chapter 4: Score Analysis ............................................................................................................. 84 Score Analysis Narratives ................................................................................................. 86 Old Glory ........................................................................................................... 86 Brown County Autumn ..................................................................................... 93 The Star Spangled Banner ................................................................................. 95 viii Fulfillment ......................................................................................................... 99 Ballad .............................................................................................................. 105 Mr. Music Master............................................................................................ 112 Comparative Analysis ..................................................................................................... 124 Parallel Motion ................................................................................................... 125 Altered Chords ................................................................................................... 127 Melody Changes Chord by Descending from Root to Flatted Seventh .............. 129 Chords Voiced Over Extensions .......................................................................... 130 Missing Notes and Wrong Notes ........................................................................ 131 Chord Substitutions ............................................................................................ 132 Chords that Progress in Odd Ways ..................................................................... 134 Differences ......................................................................................................... 136 Summary ........................................................................................................................ 136 Chapter 5: Summary, Conclusions, and Implications ................................................................. 141 Summary of Sources and Methodology ......................................................................... 141 Summary of Findings and Conclusions ........................................................................... 143 Research Question 1 .......................................................................................... 143 ix Harmonic Analysis .................................................................................. 149 Research Question 2 .......................................................................................... 151 Research Question 3 .......................................................................................... 155 Discussion ....................................................................................................................... 160 Implications for Music Education ................................................................................... 162 Limitations and Recommendations for Future Research ............................................... 169 Bibliography ............................................................................................................................... 172 Appendix A: Old Glory Harmonic Analysis .............................................................................. 181 Appendix B: Old Glory Analysis Notes .................................................................................... 196 Appendix C: The Star Spangled Banner Harmonic Analysis .................................................... 201 Appendix D: The Star Spangled Banner Analysis Notes .......................................................... 203 Appendix E: Fulfillment Harmonic Analysis ............................................................................ 204 Appendix F: Fulfillment Analysis Notes................................................................................... 221 Appendix G: Ballad Harmonic Analysis ................................................................................... 224 Appendix H: Ballad Analysis Notes ......................................................................................... 240 Appendix I: Mr. Music Master Harmonic Analysis .................................................................. 243 Appendix J: Mr. Music Master Analysis Notes ........................................................................ 248 Appendix K: Old Glory Copyright Deposits, 1937-1956 .......................................................... 256 x Appendix L: Old Glory Copyright Deposits, 1957-1981 ........................................................... 257 Appendix M: Lesson Plan Ideas for Teaching Old Glory ......................................................... 260 Appendix N: Revised Violin A part to Old Glory ...................................................................... 266 Appendix O: Revised Violin B part to Old Glory ...................................................................... 267 Appendix P: Revised Violin C part to Old Glory ...................................................................... 268 Appendix Q: Revised Violin D part to Old Glory...................................................................... 269 Appendix R: Suggested Edits to Individual Old Glory Parts .................................................... 270 Appendix S: Star Spangled Banner arrangement by Hoagy Carmichael ................................. 272 Curriculum Vitae xi Chapter 1 Statement of the Problem Rationale Many works by Hoagy Carmichael have come to be considered part of the Great American Songbook, The canon of the most important and influential American popular songs and jazz standards from the early 20th century.1 As a result, these works have become an important part of the jazz repertoire performed by big bands, combos, and choirs in middle schools, high schools, and colleges. Some of Carmichaels most well-known works include Stardust, Skylark, Georgia on my Mind, Heart and Soul, I Get Along Without You Very Well, and The Nearness of You.2 In this dissertation, I document my discovery of a composition that was likely written by Hoagy Carmichael but has never been published, recorded, or performed. Such a finding could make a substantial contribution to music and jazz education. Further, the historical narrative surrounding that work would constitute new knowledge to American music history and historical research in music education. Background Hoagy Carmichaels life and published musical output have been extensively documented by Richard Sudhalter.3 Hoagland Hoagy Carmichael was born in Bloomington, 1 Michael Feinstein, What is the Songbook? The Great American Songbook Foundation. http://thesongbook.org. Richard Sudhalter, Stardust Melody The Life and Music of Hoagy Carmichael. (New York: Oxford, 2002); Work List of Hoagy Carmichael. Hoagy Carmichael Collection. IU Libraries. 3 Richard Sudhalter, Stardust Melody The Life and Music of Hoagy Carmichael. (New York: Oxford, 2002). 2 1 Indiana, in 1899. He graduated from Bloomington High School in 1920 and received the Bachelor of Laws degree from Indiana University (IU) in 1926.4 During his time at IU, Carmichael formed Carmichaels Collegians, a small ensemble that performed jazz at dances on campus and regionally. His reputation as an entertainer began to grow beyond the region, and eventually Carmichael went on to have a prolific career as a jazz composer and pianist, composing at least 650 songs,5 many of which are widely known and performed in jazz and films today. As a jazz musician, I have enjoyed performing works by Hoagy Carmichael for many years. I became interested in researching Carmichaels compositional processes while working on a project for a Historical Research in Music Education class at the IU Jacobs School of Music in 2017. My research began in the IU Archives at the Herman B. Wells Library in Bloomington, Indiana. There, I was reviewing correspondence between the University and Carmichael. I found a letter indicating that one of his well-known works, Skylark, was premiered at an IU event. On 10 August 1941, in a letter addressed to Dixie Heighway, Carmichael wrote of his upcoming performance at an Indiana University alumni benefit dance to be held in Fort Wayne, Indiana: The new songs I will have arranged and play at the dances are called Skylark and Mr. Music Master.6 This letter held within it a potential clue about the world premiere of one of Carmichaels most well-known jazz compositions of his prolific career (Skylark), and it also 4 Correspondence from LD to Mrs. Ira Lunn, February 17, 1939, C58, The Hoagy Carmichael collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. 5 Richard Sudhalter, Stardust Melody The Life and Music of Hoagy Carmichael (New York: Oxford, 2002). 6 Correspondence from Hoagy Carmichael to Dixie Heighway, August 10, 1941, C58, The Hoagy Carmichael collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. 2 mentioned Mr. Music Master, a song that I, a professional jazz musician and fan of Carmichaels music, had never encountered. I did not previously know that Skylark was first premiered at an IU event in 1941, and I wondered if this was public knowledge. I then began searching secondary sources to find out what information was already in the public domain about Skylark. I found that this information was not published elsewhere, and I realized that I had stumbled upon information that could be a valuable contribution to music education. I then sought to find more information about both Mr. Music Master and the premiere of Skylark in my pilot study. This led me to the Archives of Traditional Music in Bloomington, Indiana, where I was able to compare that manuscript with many others to learn more about that piece and to discover patterns in his compositional process. In my pilot study,7 I compared works by Hoagy Carmichael with somewhat similar titles to recordings and handwritten manuscripts to determine a potential pattern in his musical compositional process. I found that he often changed the titles of pieces, sometimes even after their premieres.8 I was also able to corroborate correspondence,9 found at the Indiana University Archives in Bloomington, Indiana, with newspaper clippings,10 found on microfilm from 1941 at the Allen County Public Library in Fort Wayne, to determine that both Skylark and Mr. Music Master11 were first premiered at an Indiana University (IU) Alumni Association 7 Shawn Goodman, A Discovery of New Works by Hoagy Carmichael: An Historical Research Inquiry (2018). Ibid. 9 Correspondence from Hoagy Carmichael to Dixie Heighway, August 10, 1941, C58, The Hoagy Carmichael collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. 10 Fort Wayne Journal-Gazette, August 27, 1941. Hoagy Works On New Hits, p. 18, and Hoagy Carmichael Plays Tonight For I.U. Benefit Dance, p. 13. Allen County Public Library genealogy center, microfilms (1941). 11 Correspondence from Hoagy Carmichael to Dixie Heighway, August 10, 1941, C58, The Hoagy Carmichael collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. 8 3 scholarship dance on August 27, 1941. The results of the pilot study have been presented at a public lecture at IUs Music Education Research Colloquium on October 26, 2018, at the Archives of Traditional Music Special Collections lecture on November 15, 2018, on a WFIU radio broadcast in celebration of Carmichaels birthday on November 22, 2018,12 and at the Jazz Education Network (JEN) National Conference on January 12, 2019. Embarking on a quest to learn more about these two pieces and their premieres led me to discover unique trends that were related to Carmichaels compositional process and output, previously unpublished information about the premiere of the two works mentioned, and a piece of music written for chamber orchestra and childrens choir titled Old Glory that he potentially composed. Pilot Study In a review of published literature, I was unable to find any remarks concerning the premiere of Skylark. What is known is that it was originally called the Bix Lix theme and was written for a motion picture production called Young Man with a Horn.13 Correspondence between Hoagy Carmichael and George Dixie Heighway, the President of the IU Alumni Association,14 suggested that Skylark and Mr. Music Master may have been premiered at the IU dance on August 27, 1941.15 By reviewing newspapers from that date in 1941 on microfilm at the Allen County Public Library in Fort Wayne, Indiana, I was able to confirm that both of these pieces were premiered that evening. One article read, Hoagy Carmichael takes 12 David Brent Johnson, A New Hoagy Carmichael Song? interview, WFIU Radio broadcast, recorded November 19, 2018, aired November 22, 2018, posted online January 7, 2019. http://indianapublicmedia.org/arts/a-newhoagy-carmichael-song.php. 13 Richard Sudhalter, Stardust Melody The Life and Music of Hoagy Carmichael. (New York: Oxford, 2002), 216. 14 Ibid, 255. 15 Correspondence from Hoagy Carmichael to Dixie Heighway, August 10, 1941, C58, The Hoagy Carmichael collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. 4 time out from his favorite pastime cooking to compose two new songs, Skylark and Mr. Music Master, which he will introduce tonight at the Indiana University Alumni Association scholarship dance.16 The article additionally stated that the event was held at the Waco Dance Pavilion at Lake Wawasee, just outside of Fort Wayne. While the correspondence and newspaper article present important information about two of Carmichaels songs, I was unfamiliar with Mr. Music Master and was unable to find Mr. Music Master or Mister Music Master listed in the comprehensive song index of Sudhalters Stardust Melody.17 A search of YouTube18 revealed an album by Carmichael titled Mr. Music Master, but there was not an individual piece by this title. However, there was a piece titled The Old Music Master on that album. I wondered if these two titles were in fact the same work. To find out if Mr. Music Master and The Old Music Master were actually the same piece, I visited the Archives of Traditional Music (ATM) in Bloomington, Indiana, home to the Hoagy Carmichael Collection. This collection contains approximately 3500 items, including manuscripts, photographs, recordings, films, correspondence, scrapbooks, and more, and represents the largest holding of materials pertaining to Hoagy Carmichael available anywhere in the world.19 This is where I found Carmichaels handwritten musical manuscripts. There, I 16 Written with this capitalization in The Fort Wayne Journal-Gazette, August 27, 1941. Hoagy Works On New Hits, p. 18, and Hoagy Carmichael Plays Tonight For I.U. Benefit Dance, p. 13. Allen County Public Library genealogy center, microfilms, 1941. 17 Richard Sudhalter, Stardust Melody The Life and Music of Hoagy Carmichael (New York: Oxford, 2002). 18 Hoagy Carmichael, Mr. Music Master, Brunswick record 08752-A on YouTube, 2:24. Posted January 22, 2013, https://www.youtube.com/watch?v=_Pb8CyXD5as. 19 Hoagy Carmichael Collections, Archives of Traditional Music, 2011. http://www.indiana.edu/~libarchm/ index.php/atm-collections/highlights/hoagy-carmichael-collections.html 5 located the original handwritten manuscript of Mr. Music Master20 and compared it to the audio recording of Carmichael playing The Old Music Master on the Mr. Music Master album.21 Using these materials, I was able to confirm that the melody and text to Mr. Music Master matched the audio recording of The Old Music Master. Although the piece was premiered as Mr. Music Master in 1941 at the IU alumni event in Fort Wayne and was also titled as Mr. Music Master on Carmichaels handwritten manuscript, it was eventually renamed and recorded in 194222 and copyrighted in 1943, when it was officially titled The Old Music Master. I was able to confirm this information by searching the online copyright registrations23 and traveling to the Library of Congress in Washington D.C. on August 31, 2018, to view the deposits that were submitted for copyright.24 This evolution of Carmichaels titles suggests that other songs he wrote may have changed titles as well. In his undated and unpublished autobiographical memoirs, Carmichael wrote about a new piece he had just composed entitled Phrases, a work he referred to as: The only thing I have composed of which I am at all proud. It was my attempt at an advanced type of jazz a melody built on phrases. 25 In a letter of correspondence written in 1933, Carmichael again referred to Phrases, calling it, the best thing Ive done in a long time and 20 Mr. Music Master, MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 21 Hoagy Carmichael, Goody Goodtimer, Mr. Music Master, Brunswick record 08752-A on YouTube, 2:24. 22 January 2013, https://www.youtube.com/watch?v=_Pb8CyXD5as. 22 Carmichael, Mercer, Paul Whiteman and his Orchestra, The Old Music Master, June 12, 1942, CAP-31-A, 137, Capitol Records, http://archive.org/details/78_the-old-music-master_paul-whiteman-and-his-orchestracarmichael-mercer-johnny-merce_gbia0026247a. 23 The copyright entry can be found on p. 1219 of the Catalog of Copyright Entries, pt.3 v.38 no.2, 1943, Music. 24 The Old Music Master, words by Johnny Mercer and music by Hoagy Carmichael, for the film True to Life. Deposit number E pub 116360. 25 Hoagy Carmichael, JAZZBANDERS: A Rhapsody in Mud, 17. Hoagy Carmichael Collection, Series V, A. Box 1: Jazzbanders. Archives of Traditional Music, Indiana University, Bloomington. 6 his attempt at a new style of jazz. No set melodyjust a group of phrasesand a heavy background rhythm such as in the Bolero.26 I then discovered another mention of bolero in an undated newspaper clipping in one of Carmichaels scrapbooks I studied at the ATM. At the time, Mark Barrons NEW YORKER at Large referred to a piece called Cosmics as a high-brow jazz-bolero experiment.27 Upon further inspection of his autobiographical memoirs at the ATM, I realized that he had handwritten Phrases above something that had been scribbled out.28 The scribbled out word was Cosmics, and he had written Phrases over it (fig. 1.1), although the piece ultimately ended up being titled Cosmics. It appears that Carmichael may have been indecisive about the title of this piece, apparently switching back and forth between the two titles. Cosmics is not well-known today, but Carmichael recorded it in 1933.29 The tune is up-tempo and maintains a bolero-like ostinato over which the piano improvises varying phrases. Figure 1.1. Handwritten corrections in Carmichaels personal memoirs.30 26 Correspondence from Hoagy Carmichael to Tom, New York, Monday, 1933, 2. MC 2 Hoagy Carmichael Collection, Series IV, Correspondence and Papers, Box 1, Folder 2: 1930s. Archives of Traditional Music, Indiana University, Bloomington. 27 Mark Barrons NEW YORKER at Large. Scrapbook 1, 1930s. MC 2 Hoagy Carmichael Collection, Series VI, Publicity, A. Scrapbooks. Archives of Traditional Music, Indiana University, Bloomington. 28 Hoagy Carmichael, JAZZBANDERS: A Rhapsody in Mud, 17. Hoagy Carmichael Collection, Series V, A. Box 1: Jazzbanders. Archives of Traditional Music, Indiana University, Bloomington. 29 Work List of Hoagy Carmichael, Hoagy Carmichael Collection, IU Libraries, last modified May 18, 2017, http://www.dlib.indiana.edu/collections/hoagy/research/discography/. 30 Hoagy Carmichael, 17. 7 The history of these pieces demonstrates what appears to be somewhat of a trend in Carmichaels titling process. It seems that he would occasionally change the name of his compositions, even after their premieres, between the time of their inception and their ultimate publishing or recording. Understanding that this could potentially be a pattern for the composer, I ventured back into the archives. This visit was used to examine more of his handwritten manuscripts and look for additional seemingly unfamiliar works. A box of oversized manuscripts was found in the Hoagy Carmichael Collection at the Archives of Traditional Music that contained a few more works with which I was unfamiliar. These pieces included Down in Bimini Bay and Old Glory.31 A search of the ATMs online database revealed a published piece, When the Wild Women Go in Swimmin' Down in Bimini Bay, recorded in 195032 and originally written for a motion picture, Gentlemen Prefer Blondes.33 This published piece shared the same words and melody as the handwritten manuscript of Down in Bimini Bay, suggesting that the title of this piece expanded after it was written and before it was published. This further supported my finding that retitling works was a trend. Whether these title changes were made because of Carmichaels own indecisiveness or that of the publishers marketing strategy is unclear. A review of additional secondary sources offered no definitive answers to this question. Further research is needed to determine if other composition titles by Carmichael evolved in the same way as the pieces I described. I wondered if the other unfamiliar score, Old Glory, might have a similar story. 31 Down in Bimini Bay, and Old Glory, MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 32 Work List of Hoagy Carmichael, Hoagy Carmichael Collection, IU Libraries, last modified May 18, 2017, http://www.dlib.indiana.edu/collections/hoagy/research/discography/. 33 Richard Sudhalter, Stardust Melody The Life and Music of Hoagy Carmichael (New York: Oxford, 2002), 394. 8 The handwritten manuscript to Old Glory was different from the other manuscripts surrounding it in that it was arranged for choir and chamber orchestra, and the folder contained an original handwritten score as well as parts for each instrument that were stamped and dated by a copyist. The stamps include, AMERICAN FEDERATION OF MUSICIANS, 47, LOS ANGELES, CALIF, LELA LYMAN, Copyist, 1/14/53. More information about Lela Lyman could not be found in a review of secondary sources. The AFM Local 47 Los Angeles could not offer any information about Lela Lyman or what years Carmichael was a member of Local 47, stating that they do not keep membership records dating that far back.34 The work presents an odd instrumentation, specifically three flutes, three clarinets, a bass clarinet, four trumpets, three trombones, a harp, a piano, four-part violins (labeled a, b, c, d), violi, celli, bass, voices specifically labeled girls and boys, and two percussionists playing the following: timpani, bass drum, snare drum, chimes, and cymbals.35 The lyrics to Old Glory suggest that it is an American patriotic piece. The piece begins with a brief orchestral fanfare followed by the girls singing the following lines, included here, as handwritten in the manuscript: Hail to our Old Glor-y. Were proud to pledge al-leg-iance to our glo-re-ous [sic] Red White and Blue in free-doms [sic] hol-y name, sweet free-dom.36 34 Email correspondence between Roxanne Castillo and myself, September 3, 2019. Instrumentation appears here as listed in Old Glory score. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 36 Old Glory, MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 35 9 The piece is also unusual in that the boys part is written in bass clef, suggesting that it was intended for post-puberty males. Additionally, the parts split into eight-part harmony at times, a difficult task for even the best childrens choirs. A search of the ATMs database37 did not offer any additional information about this piece. A search of secondary sources and online databases did not uncover any information about the existence of this piece. If it was published by another name, it is unclear what that name would have been. I searched online Google databases for Old Glory, patriotic melodies by Carmichael, excerpts from the lyrics, and for anything he may have written for choir or children. Nothing resembling Old Glory or its lyrics came up in any of these searches. I then sought to verify that it was indeed actually written by Carmichael. Authentication To authenticate Old Glory, I first discussed the issue with the librarian at the ATM, Allison McClanahan. She is responsible for the maintenance of the Carmichael collection, among her many other tasks. She informed me that everything in the collection came directly from Hoagy Carmichaels estate and that this particular piece would have been given to the ATM in 1998.38 McClanahan reached out to Carmichaels son, Hoagy Bix, via email in early January of 2018. He told her, I have looked at our database and can find no mention of Old Glory, nor have I ever heard of a song with that title. I doubt very seriously that it was written by Hoagy 37 Work List of Hoagy Carmichael, Hoagy Carmichael Collection, IU Libraries, last modified May 18, 2017, http://www.dlib.indiana.edu/collections/hoagy/research/discography/. 38 Email correspondence between Allison McClanahan and myself from December 14, 2017. 10 Carmichael.39 I then asked her if she could think of any reason that the ATM would have the original manuscript for this piece and original parts written out for the instrumentalists by the copyist if the piece was not composed by Carmichael. She responded that, I suppose its plausible he could have acquired it from a musical friend if he liked the piece, however unlikely.40 I then attempted to compare the handwriting on the Old Glory score with the handwriting on his other manuscripts in the same collection. In doing this, I noticed that Carmichael used different styles of handwriting on different manuscripts. For example, sometimes he wrote in all caps, sometimes he did not. In pieces that were slower or more legato, his handwritten manuscript seemed to imitate that style. In pieces that were quicker with detached melodic lines, his manuscript looked more separated with notes hardly flagged together at all.41 Sometimes he printed the text and therefore the words were easy to read, while other times the text was in sloppy cursive and nearly illegible. Because of these inconsistencies, it is difficult to draw any obvious conclusions when comparing his manuscript and handwriting in Old Glory with his other works. Perhaps a handwriting analyst could assist in this determination. I was able to make comparisons using other clues, however. In the score to Old Glory, the words Red White and Blue are capitalized.42 Similarly, in the typed words to Mister, He 39 Email correspondence between Allison McClanahan and Hoagy Bix Carmichael from January 2, 2018, copied and forwarded to me on January 2, 2018. 40 Email correspondence between Allison McClanahan and myself, March 8, 2018. 41 Mr. Music Master, MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 42 Old Glory, handwritten score, 3. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 11 Kissed Her, Carmichael typed a sentence using this similar capitalization scheme, Scarlet White and Green.43 This might suggest a pattern in the way he capitalized names of colors in songs and could be a clue that suggests that the same person may have written both pieces. While working to visually authenticate the musical score, I reached out to the Library of Congress, in Washington D.C., to locate the copyright application and the materials deposited there that were submitted for copyright for this piece. The date on the instrumental parts in the archive lists January 10, 1953 and January 14, 1953 as the dates that the copyist completed the parts.44 Given Carmichaels habit of not always copyrighting a work as soon as it was performed (he did not copyright The Old Music Master until two years after its premiere), I worked in the Library of Congress to search for all pieces titled Old Glory that were submitted for copyright between 1937 and 1956 in hopes that one of the manuscripts would be the same as the one in the Carmichael collection (see Appendix K). I began with 1937 as the first search year because this was four years before Mr. Music Master was premiered, and the Mr. Music Master score seemed to be the oldest piece in that particular oversized manuscripts folder in his collection based on the discoloration of the paper. I ended with the search year 1956 because this was three years after the copyists handwritten date on the Old Glory instrumental and vocal parts. The other works in that specific oversized manuscripts folder were copyrighted in the 1940s and 1950s.45 43 Mister, He Kissed Her, typed song text. Folder 35, 1. Hoagy Carmichael Collection, Sketches, Box 9. Archives of Traditional Music, Indiana University, Bloomington. 44 Old Glory, copyists parts for each instrument and voices. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 45 Music scores. A Woman Likes to Be Told (1950), The White World of Winter (1965), Old Glory, Down in Bimini Bay (1950), Dear Friends and Gentle Hearts (1943), Mr. Music Master (1943). MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. These 12 Between the years of 1937 and 1956, there were nineteen pieces titled Old Glory submitted for copyright to the United States Copyright office. During my visits to the Library of Congress, I was able to review sixteen of the nineteen manuscripts that were submitted for copyright. None of the manuscripts I reviewed matched the text, melody, or instrumentation of the manuscript in the Carmichael collection. I was unable to view either of the deposits from 1937, both submitted by Herman Mieth.46 A Librarian at the Library of Congress, Paul Sommerfeld, stated in an email to me that these 1937 deposits appear to be the same piece and that they were added to the Music collection, but that they could not be tracked down. They were listed in the card catalog but not in the online catalog and were probably returned to the copyright owner long ago, as that was common practice at that time.47 Mr. Sommerfeld has recently located the two deposits from 1956 written by Imogene Harriet Mattice and Bernice Lassond.48 After my visit to the Library of Congress, I determined that it is possible that Old Glory was submitted for copyright anytime after its initial authorship. For this reason, I then searched the Library of Congresss online database for pieces entitled Old Glory that were submitted for copyright anytime between the years 1957-1981 (see Appendix L). Due to the COVID-19 pandemic and a small budget for this research, I was not able to visit the Library of Congress a second time to review the later manuscript submissions. However, given the information copyright dates were confirmed via Work List of Hoagy Carmichael, Hoagy Carmichael Collection, IU Libraries, last modified May 18, 2017, http://www.dlib.indiana.edu/collections/hoagy/research/discography/. 46 Old Glory, Herman Mieth, EU 147245 and EP 63092. Paul Sommerfeld at the Library of Congress Performing Arts Reading Room wrote in an email correspondence to me on July 26, 2018 that these two deposits appear to be the same piece, first submitted before publication, then again after publication. 47 Email correspondence between myself and Paul Sommerfeld, July 26, 2018. 48 Old Glory, 1956 Imogene Harriet Mattice EU 442772, 1956 Bernice Lassond EU 442433, manuscript deposits submitted for copyright, Library of Congress, Washington D.C. 13 provided about each manuscript, including number of pages or instrumentation, I believe it is unlikely that any of these manuscripts are the same Old Glory that was found in the Carmichael Collection. However, I believe that a review of these manuscripts would be valuable. More research is needed to verify Carmichael as the composer of Old Glory, and to determine why or for whom it was written, and why it was never published or recorded. Purpose Statement The purpose of this archival study is to authenticate the authorship of Old Glory. The secondary purpose is to uncover the historical background of Old Glory. Finally, pedagogical implications for the performance of Old Glory will be presented. Research Questions 1. What evidence suggests that Hoagy Carmichael was the composer of Old Glory? 2. For what person or purpose was Old Glory written? 3. Why was Old Glory never published or recorded? 14 Chapter 2 Methodology Historical Research Inquiry Rainbow and Froehlich address the process of conducting historical inquiry in music education. They state, Historians who engage in research pose questions about the past and assemble data to answer the questions.49 According to Heller and Wilson, historical research in music education involves the careful, systematic, reflective, and objective pursuit of information and understanding.50 This is a historical research study specifically utilizing what Therese Volk referred to as immersion or saturation, a technique that involves gathering and reading all relevant primary sources, organizing the data, then writing a narrative.51 Data Sources, Locations, and Natures This study involved the review and analysis of various primary and secondary sources. The primary sources included autobiographical materials,52 handwritten musical manuscripts,53 49 Edward L. Rainbow and Hildegard C. Froehlich, Research in Music Education (New York: Schirmer, 1987), 107. George N. Heller and Bruce D. Wilson, Historical research, in Handbook of Research in Music Teaching and Learning (New York: Schirmer, 1992), 103. 51 Therese Volk, "Looking Back in Time: On Being a Music Education Historian," Journal of Historical Research in Music Education 25, no. 1 (2003): 49-59. 52 Hoagy Carmichael, JAZZBANDERS: A Rhapsody in Mud. Hoagy Carmichael Collection, Series V, A. Box 1: Jazzbanders. Archives of Traditional Music, Indiana University, Bloomington; Hoagy Carmichael, Stardust Road & Sometimes I Wonder (New York: DaCapo Press, 1999). 53 Various authenticated manuscripts will be analyzed to find compositional patterns and differences as compared to Old Glory. All manuscripts are located in the Archives of Traditional Music in Bloomington, Indiana. 50 15 newspaper articles,54 recordings,55 and correspondence56 from the Archives of Traditional Music (ATM) in Bloomington, Indiana and from the Indiana University Library Archives. Copyright applications and deposits were reviewed at the Library of Congress in Washington, D.C. online and in person during two separate visits. I also viewed newspapers on microfilm at the genealogy center at the Allen County Public Library in Fort Wayne, Indiana. In addition, I ordered archived government documents from the California Secretary of State, which were mailed to me, and I purchased a copy of fact: magazine on Ebay, which contained a relevant article and Carmichaels arrangement of The Star Spangled Banner. I also visited the Indianapolis Symphony Orchestras music library at Hilbert Circle Theatre to review their holdings of the Johnny Appleseed Suite and Brown County Autumn. Secondary sources were also used to confirm the existence of materials in the public domain. These included online databases, including those operated by the IU Libraries, the Library of Congress, archive.org, and the U.S. Government. Two published books57 were also consulted. Additionally, I reached out to various experts and people familiar with the details related to this investigation to confirm findings and inquire about various information relevant to this research. 54 Newspaper clippings will be reviewed at the ATM to look for indications of intent to compose or publish Old Glory, and to develop an understanding of the cultural, political, and economic conditions during the period under investigation that may have influenced the composition of Old Glory. 55 Recordings online and at the ATM will be reviewed to listen for patterns in Carmichaels compositional style and to establish a baseline for comparison. Recordings will also be reviewed to determine if Old Glory was published and recorded under a different title. 56 Correspondence will be reviewed at the ATM to find information regarding a potential commission agreement or discussions about the composition of Old Glory. 57 Richard Sudhalter, Stardust Melody The Life and Music of Hoagy Carmichael (New York: Oxford, 2002); Hoagy Carmichael, Stardust Road & Sometimes I Wonder (New York: DaCapo Press, 1999). 16 Overview of Analysis Process To complete the research proposed for this study, I reviewed the primary and secondary sources previously mentioned and Carmichaels compositional output, including music he wrote for movies and television, to find any discussion of Old Glory or similar patriotic compositions. I then analyzed the handwritten score and individual parts to Old Glory to verify the documents authenticity and determine when the work was composed and who composed it. For this analysis of authenticity, I followed the process first outlined by Gottschalk in his discussion of the problem of authenticity, or external criticism.58 This process included a series of questions that necessitated the examination of the mediums (the handwritten scores and the individual parts) for clues, including stamps, handwriting, dates, and other information, to determine the probable time frame in which the documents were likely created and by whom. The process also required research into where the document was located and how it got there. Additionally, I had considered the possibilities of forgery or imitation. The specific questions outlined in Gottschalks inquiry-based process of external criticism include the following: 1) Is the handwriting consistent with other identifying marks? 2) Are there autographs or other identifying marks? 3) Does the estimated age of the item match the record? 4) Does any information within the document aid in establishing the missing date? 5) Are there any indications in diaries, newspapers, programs, or other contemporaneous materials that such an item existed? 58 Louis Gottschalk, Understanding History: A Primer of Historical Method (New York: Alfred A. Knopf, 1951). 17 6) Where was the item originally located? 7) Where is the item now? 8) Are parts of the document or set of documents missing, illegible, or out of order? 9) Can an original order or appearance be discovered? 10) Is this document a variant version or a copy? 11) Does an original or earlier document exist? 12) Does the document have multiple authors? 13) Could this have been written by someone else imitating the purported authors style? 14) Is there any reason to suspect that this item may not be genuine? To continue this authentication process, I also visited the Library of Congress in person and online to view the copyright applications and deposits for other pieces titled Old Glory that were submitted for copyright from 1937 through 1981 to determine if any of these deposits matched the Old Glory manuscripts contained at the ATM. I also compared the Old Glory manuscripts with other pieces contained within the Hoagy Carmichael Collection at the ATM to look for similarities on the mediums. Descriptions of Pertinent Materials While engaging in the Gottschalk process of inquiry and analysis to confirm the authenticity of the manuscripts, I closely examined the paper upon which Old Glory is written. The bottom of each sheet of manuscript paper of the score includes the words, Property of VOGUE RECORDS, INC. This phrase is printed on the pages in the same ink as the manuscript lines and is not a stamp. I also closely examined the manuscript paper upon which 18 the individual parts (vocal and instrumental) are written to look for similarities. Each of these parts have purple copyist stamps on them that include a copyists name and a handwritten date. In addition to the Old Glory score and the individual parts, I reviewed several important documents that provided contextual clues regarding the likely purpose for and circumstances under which Old Glory may have been composed and why it was never published or professionally recorded. One of these documents is an arrangement of The Star Spangled Banner that Carmichael had arranged as an attempt to make the national anthem easier to sing.59 This arrangement is two pages long and appeared in a 1965 publication of fact: magazine. I also reviewed the fact: magazine article, which included Carmichaels own narrative about the arrangement, and I completed a harmonic analysis of the arrangement. I first viewed a copy of the arrangement at the ATM but later located an original copy of the magazine which I purchased on Ebay. I also reviewed all of the other musical manuscripts contained within the Hoagy Carmichael Collection at the ATM to look for similarities to Old Glory. Included in this collection are handwritten manuscripts and arrangements of Carmichaels popular songs, sketches of short musical ideas, and alternate lyrics for songs. One of the pieces that was contained in the same oversized folder as Old Glory was Mr. Music Master. I chose to complete a harmonic analysis of this piece due to finding it in the same folder as Old Glory. I 59 Photocopy of The Star Spangled Banner, MC 2 Hoagy Carmichael Collection, Box 6, item 11. Archives of Traditional Music, Indiana University, Bloomington; I also found a copy of the complete magazine on Ebay, which I now own. Charles Braun, Lets Waive The Star-Spangled Banner, fact: 2, no. 1, 1965, 2-15. Carmichaels arrangement of The Star Spangled Banner, 10-11. 19 also chose to analyze this piece because it seemed to differ in many ways from the setting, nature, and orchestration of Old Glory, and it seemed likely that there would be value to analyzing and comparing such different works. Also included in this collection at the ATM is the handwritten score to the Johnny Appleseed Suite from the 1964 Bell Telephone Hour production. This piece is a multimovement work written for orchestra which tells the story of the legend of Johnny Appleseed. This particular production also included parts for a baritone vocal soloiost and choral accompaniment. I completed a harmonic analysis of two movements from this work to compare with Old Glory. I chose these two movements for analysis because they seemed to be very similar to Old Glory in their instrumental and choral settings and their patriotic natures. In addition to musical manuscripts, the ATM also contained signed and handwritten letters and postcards in which the handwriting was confirmed to have been written by Carmichael. These letters were written over the course of his entire career. I was able to compare the handwriting on some of these documents that were composed close to the time in which Old Glory was likely composed with the handwriting that appeared on the front and back of the musical manuscripts to Old Glory. Specifically, I selected a letter that was handwritten by Carmichael in the 1960s60 and a handwritten postcard written by Carmichael in 1964.61 60 Correspondence from Hoagy Carmichael to Dominique Ren De Lerma from the 1960s. Hoagy Carmichael Collection, Folder 22 item 2-1, Archives of Traditional Music, Bloomington, Indiana. 61 Correspondence from Hoagy Carmichael to Georgia Maxwell, 1964, Folder 22 item 2-4. Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. 20 Data Interpretation and Organization To authenticate Old Glory, I completed a thorough harmonic analysis of the piece and of four other works composed by Carmichael. These works included Mr. Music Master, two movements from the Johnny Appleseed Suite, and Carmichaels arrangement of The Star Spangled Banner. During this analysis process, I labeled every chord using both Roman numeral analysis with figured bass as well as chord symbols. I also noted and labeled all nonharmonic tones, extensions, and any interesting melodic characteristics. To prepare the data for analysis, it was necessary to identify the emergent themes. To accomplish this, I first listed all of the findings of interest for each piece on documents that I titled Analysis Notes (Appendices B, D, F, H, and J). I then implemented a coding system that allowed me to label, group, and reduce those interesting characteristics into themes that I color-coded. The categories that emerged are notated within the Analysis Notes and appear as follows: Melody line descends from root to b7, changing the chord function Awkward or uncommon movement, voice leading, or harmonic progression Parallel motion Left out a symbol (chord, clef, etc.) Chord voicing and/or label issue and/or possible wrong note Interesting or uncommon extension or color-tone Usage of chord substitution Chord voiced over extension (altered or unaltered) 21 After coding the emergent categories for each piece, I continued my analysis by comparing the findings from each piece with those in Old Glory and reflecting deeply to discern possible relationships.62 The harmonic analysis also included the identification of chordal inversions used in each piece. I created a chart to aid in the comparison of the frequency of these inversions as they appeared throughout each work. I documented how many inversions of each common type (first inversion, second inversion, third inversion) were used in each piece. I then looked for and identified trends in the frequency of each specific inversion-type between the pieces. In addition to the data gathered through the harmonic analyses, I also gathered contextual information from primary and secondary sources to answer the research questions regarding the purpose behind the composition of Old Glory and information related to why the piece had never been published or professionally recorded. I photographed many of these documents, including newspapers, correspondences, and musical manuscripts, and stored these pictures and relevant PDFs in a Google Drive folder. I also collected physical books, a magazine, and government documents, which I kept in a fireproof bag at my home. Presentation of Findings To present my findings, it was necessary to create a detailed and thorough narrative detailing my process, findings, conclusions, and my interpretation of the importance and implications of this research to the field of music education. To organize this presentation, I followed the guidelines for the presentation of historical research dissertations as discussed by 62 Johnny Saldaa, The Coding Manual for Qualitative Researchers 2nd edition (California: SAGE Publications Inc, 2014), 34-5, Google Play Books. 22 Rainbow and Froehlich.63 They recommend that the dissertation narrative be arranged in a way that makes sense thematically or chronologically. Therefore, the following chapters are organized thematically. Specifically, chapter three employs the inquiry-based process of external criticism to address the question of authenticity as developed by Gottschalk. That chapter is organized in such a way that each question posed by Gottschalk is answered in the order in which the questions were initially posed. Some of the questions were combined in that chapter when two questions seemed to address the same information. Those specific instances are detailed in chapter three. The answers to each question in chapter three are presented in a way that takes the reader chronologically through the process of inquiry, discovery, analysis, and interpretation. Chapter four, which addresses the harmonic analyses of Old Glory and other works, is also organized thematically. For each analyzed work, a narrative analysis is presented in which the unique characteristics of each work are discussed. Then, a comparative analysis section follows in which the emergent themes are identified and compared between the pieces. The final chapter includes my conclusions in relation to the research questions. These conclusions are then followed by my interpretation of the importance of this research and implications for the field of music education. To identify those implications, I addressed the specific challenges and benefits for teaching Old Glory. I also developed ideas for lesson plans for teaching the work in various ways to young music students. These ideas are included as Appendix M. 63 Rainbow and Froehlich, Research in Music Education (New York: Schirmer Books, 1987). 23 Chapter 3 Verifying the Authenticity of the Manuscript To tell the story of Old Glory, I first had to address the first research question, What evidence suggests that Hoagy Carmichael was the composer of Old Glory? To determine authorship, it was necessary to verify the general authenticity of the manuscript which includes looking for evidence of authorship. The manuscript in this case includes both the handwritten score and the individual written parts for each instrument. While working to verify authorship, information pertaining to the second research question, For what person or purpose was Old Glory written, and the third research question, Why was Old Glory never published or recorded, was also explored. Citing Gottschalk, Heller and Wilson propose fourteen questions to consider when analyzing a document for authenticity.1 Those questions include: 1) Is the handwriting consistent with other identifying marks? 2) Are there autographs or other identifying marks? 3) Does the estimated age of the item match the record? 4) Does any information within the document aid in establishing the missing date? 5) Are there any indications in diaries, newspapers, programs, or other contemporaneous materials that such an item existed? 6) Where was the item originally located? 1 George N. Heller and Bruce D. Wilson, Historical Research, in Handbook of Research in Music Teaching and Learning (New York: Schirmer, 1992), 106, citing Louis Gottschalk, Understanding History: A Primer of Historical Method (New York: Alfred A. Knopf, 1950), 118-38. 24 7) Where is the item now? 8) Are parts of the document or set of documents missing, illegible, or out of order? 9) Can an original order or appearance be discovered? 10) Is this document a variant version or a copy? 11) Does an original or earlier document exist? 12) Does the document have multiple authors? 13) Could this have been written by someone else imitating the purported authors style? 14) Is there any reason to suspect that this item may not be genuine? This chapter will address each of these considerations in detail. A few of these questions will be combined because they are similar in nature and the same process was used to consider them. I combined the following three questions into one section: 7) Where is the item now? 10) Is this document a variant version or a copy? 14) Is there any reason to suspect that this item may not be genuine? I also combined the following two questions into one section: 8) Are parts of the document or set of documents missing, illegible, or out of order? 9) Can an original order or appearance be discovered? Is the Handwriting Consistent with Other Identifying Marks? This first topic for consideration addresses handwriting. Specifically, the handwriting must be compared with authenticated specimens by the suspected author and with the handwriting throughout the document itself.2 When addressing consistency of the handwriting, a researcher would normally expect that a document would be written by only one person. 2 Louis Gottschalk, Understanding History: A Primer of Historical Method (New York: Alfred A. Knopf, 1951), 122. 25 However, in the case of musical manuscripts, it is possible that a document may have additional markings on it beyond what may have been written by the initial composer or copyist. I will determine if other people marked on these manuscripts besides the composer and copyist, and if so, I will draw on primary and secondary sources to speculate about who and for what purpose the markings were made. Handwriting analysis is most often undertaken in the field of forensic inquiry. The questioned-document examination known as handwriting analysis employs an examiner who compares characteristics of the questioned document with those of a document known to have been written by the suspected author. A handwriting analysis examiner must undergo an apprenticeship and practice for years to learn this craft.3 A universal standard for the number of similar characteristics that must be present between two handwriting samples for authorship to be confirmed does not exist. Instead, the forensic handwriting examiner uses their best judgement and years of experience to determine authorship. It is often not possible to answer these questions definitively. The examiners also look at characteristics of the document in question, including erasures and chemical analysis, to determine the age of the ink and the medium.4 In an attempt to have the scores professionally analyzed, I spoke with an expert professional forensic analyst, Leann Harmless. She works with the Indianapolis Forensics Team and has more than twenty years of experience. The cost to have the document professionally analyzed would have been about $6000. This amount was outside of the budget for this 3 Jay A. Siegel, Forensic Science, Encyclopedia Britannica online, June 01, 2020, accessed July 14, 2020, https://www.britannica.com/ science/forensic-science. 4 Ibid. 26 research. However, she agreed to allow me to consult with her when I had questions as I completed this research. While I appreciated her gesture, I did not ultimately reach out to her again during or after completion of my research. When considering the Old Glory manuscripts, there are noticeable similarities between the vocal and instrumental parts as compared to the score. At first glance, my general impression is that the manuscript of the instrumental and vocal parts looked very similar and, unlike the complete score, the parts are all stamped with the copyist stamp. These clues suggest that the same copyist wrote out all of the instrumental and vocal parts. For these reasons, I analyzed the vocal and instrumental parts together and then addressed the full score separately. This first part of the handwriting analysis focuses solely on the instrumental and vocal parts. The handwriting on all of the instrumental and vocal parts has several commonalities. All parts have the title written with a thicker marker than the manuscript, and the manuscript is neatly and legibly written. There is additional handwriting on some of the parts that does not appear at first glance to match the copyists writing. Usually the thickness of the markings differs from that of the printed parts and seems a bit sloppy, as if written quickly. Some examples of this additional handwriting that appear to be added after the initial copying can be found in the Voices part. The Voices part has 8va along with lines and arrows written in various places, including on page two at rehearsal C; on page three, two measures before rehearsal D; on page three, six measures after rehearsal D; on page three, eight measures after rehearsal D; and on page four at rehearsal G (fig. 3.1). The notation 8va indicates that the musicians should take the section up the octave. The Voices part also has a 27 .34;#84&!78.%)&38%!78.%)!$'%!,a1!+#)!a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bQ!$3>%!(3;84$7)%! @%853&%.!38!4$!$'%!F%;38838; `+3;E OEMLE "'3(!?)3$38;!3(!&3;'$%)!38!5#&#)!$'48!$'%!5#@*3($C(!?)3$38;E! 6X*-!"*$%R5: Y$30#4!L+%75!DOT(!Z[!D!)$+&R![+%A309+#*![$**#073$,5!@#%3#4 W5!Z/4305!.$\!N!$]#%43^#(!I%093]#4!$J! _%+-373$,+*!Z/4305!W,-3+,+!`,3]#%437R5!.*$$A3,&7$,( % "' The copyist also wrote a C for common time in the other parts, rather than 4/4. While they both mean the same thing, the difference is notable. This handwriting also seems more rounded than the added writing in the vocal part.6 Figure 3.2. Key signature (two flats) and time signature (4/4) added into the String Bass part Some of the instrumental parts only appear to have one or two markings added into them, and some do not have any. For example, the Viola part only has an alto clef added three measures before rehearsal G.7 The Clarinet 2 part has one alteration, a natural sign added in front of a note in the fifth measure after rehearsal B.8 This was not a correction of a mistake in the part, but rather was added as a courtesy to the musician because the note right before it was marked as a sharp. Although the sharp would normally be cancelled out at the barline, there could be a question as to whether the sharp should carry over the barline, especially given that both notes are written under a slur. For this reason, including a courtesy accidental in the part would make sense (see fig. 3.3). 6 Old Glory, Str. Bass part. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 7 Old Glory, Violi part, 2. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 8 Old Glory, 2nd Clarinet part, 1. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 29 Figure 3.3. Courtesy accidental added in the Clarinet 2 part, page 1, fifth measure after rehearsal B The Flute 2 contains many handwritten markings. All of the markings are note changes that represent the same harmonizations that appear in the Flute 3 part. Notably, in the sections that have been handwritten into the Flute 2 part, the Flute 3 part is written higher than the Flute 2 part. These markings include the trill note in the measure before rehearsal A, the note in the last measure of the piece, and the sixteenth notes in the two measures before rehearsal G.9 However, all of the Flute 3 parts have not been handwritten into the Flute 2 part; instead, only the parts of the piece where the Flute 3 pitches are higher than the Flute 2 parts have been written into the Flute 2 part (fig. 3.4 and 3.5). These markings may have been written into the Flute 2 part so that these notes would have been covered if there was not a Flute 3 player in the ensemble. Another possible explanation is that someone realized that the Flute 3 had the higher notes and was trying to move the higher notes to the Flute 2 part, which traditionally has the higher notes. It is also possible that a Flute 2 player that played this part just wanted to know what notes were contained in the Flute 3 part. 9 Old Glory, Flute II part. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 30 !!!!!! G3;7)% OEQE C96,&(A()*+,(8$,=(=*5;8+$,,&5(5#,&'((((((((((((((((G3;7)% OERE >%#+&-()*1&(BD-(/96,&()*+,' 28!$'%!@%853&%.Y38!'48.?)3$38;!$'4$!4@@%4)(!38!$'%!$)7>@%$!@4)$(0 $')%%!#+!$'%!+#7)! $)7>@%$!@4)$(!4&&!'4:%!,#@%81!?)3$$%8!38!4$ )%'%4)(4&!d0!* >%4838;!$'4$!$'%!$)7>@%$(!('#7&.! )%>#:%!$'%3)!>7$%(!4$!$'3(!@#38$!38!$'%!@3%5%E!"'%!38$%)%($38; $'38;!4F#7$!$'3(!3(!$'4$!$'%! '48.?)3$38;!4@@%4)(!$#!F%!:%)*!.3++%)%8$!38!%45'!#+!$'%!$')%%!@4)$(E!"'%!")7>@%$!K!@4)$!'4(! ,-edc1!@)38$%.!38!4&&!54@3$4&!&%$$%)( 48.!(&48$%.!7@!48.!$#!$'%!)3;'$0!$'%!")7>@%$!M!@4)$!'4(! ,#@%81!?)3$$%8!38!&#?%)Y54(%!57)(3:% (&48$%.!7@!48.!$#!$'%!)3;'$0!48.!$'%!")7>@%$!O!@4)$!'4(! ,#@%81!?)3$$%8!38!&#?%)Y54(%0!?3.%)0 >#)%!48;7&4) 57)(3:% $'4$!3(!8#$!(&48$%.E!c#$4F&*0!$'%! ")7>@%$!K!@4)$!'4(!,-edc1!?)3$$%8!38!Z7($!F%+#)%!)%'%4)(4&!d0 ?'3&%!$'%!#$'%)!@4)$(!'4:%!3$! ?)3$$%8!Z7($!4+$%)!)%'%4)(4&!d0!%:%8!$'#7;'!4&&!#+!$'%!@4)$(!%8$%)!4$!)%'%4)(4&!dE!N!>7(35348! >3;'$!.#!$'3(!(#!$'4$!$'%*!8#$35%!$'%!>4)D38;!%4)&3%)!$#!4&&#?!>#)%!$3>%!+#)!)%>#:38; $'%!>7$%! `+3;E!OESLE G3;7)%!OESE E+60)&,()*+,'(B-(A-(*5;(D-(9&/,(,#(+$1=,(+&')&%,$F&94-(*,(+&=&*+'*9(9&,,&+(GH 6X*-!"*$%R5: B-. _%/AL#75!D)* _%/AL#75!P/* _%/AL#75!T.0 _%/AL#7 L+%74(!Z[!D!)$+&R![+%A309+#*![$**#073$,5!@#%3#4! W5!Z/4305!.$\!N!$]#%43^#(!I%093]#4!$J!_%+-373$,+*!Z/4305!.*$$A3,&7$,5!W,-3+,+( !, )+ These differences suggest that the markings were probably written in by three different musicians who were playing the parts. Notably, open was not written into the Trumpet 4 part, although the trumpets have the same line harmonized homophonically in this section. Although the score does not indicate where the trumpets should be sans mute, there is no indication that the Trumpet 4 would not remove their mute at the same time as the other trumpets. This may suggest that the ensemble that played through this piece did not have a fourth trumpet player, or perhaps the fourth trumpet player did not have a pencil or had a good memory. I also compared the handwritten score to Old Glory with its vocal and instrumental parts and with other musical manuscripts found within the Carmichael archive, specifically Carmichaels musical sketches. When compared with the vocal and instrumental parts to Old Glory, the score contains a different pattern of capitalization. Specifically, OLd GLory appears at the top of the score, while OLD GLORY appears at the top of the individual parts. The handwriting of the individual parts is generally more curvy, with the notes spaced apart, while the writing contained within the score is generally less curvy and closer together. An example can be found by comparing the ff dynamic marking that appears in the first measure in the individual parts to the score (fig. 3.7). The ff in the bass clarinet part is curvy and appropriately spaced with both horizontal crosses tilted up to the right. However, the ff markings that appear in the score both have an angular hook at the top, and are so close together that the horizontal lines almost touch; while most of the crossed lines are horizontal, the horizontal line on the bottom one right f actually points down and to the right. 32 Figure 3.7. Marking in first measure on bass clarinet part (left) compared with marking on score (right). The handwriting found throughout the Old Glory score appears to be written much neater than Carmichaels musical manuscript and, while there are indications of erasure in some of his sketches, there is no indication of erasure in the Old Glory score. This suggests that the score may have been written out by someone other than Carmichaelperhaps an orchestrator or copyist. The lack of erasures also could indicate that an earlier version of the work may have existed. The handwriting characteristics within Old Glory will be examined more in the section that addresses the question, Does the document have multiple authors? In summary, it appears that the same copyist handwrote the manuscript on all of the individual instrumental and vocal parts to Old Glory. However, there are various words and symbols that have been penciled in on some of those parts. These markings seem to indicate instructions to the musician who would be playing those parts. The many differences apparent in those markings between each part indicate that a different person marked on each part. This suggests that these markings were probably made by the musicians who were rehearsing the music. The penciled markings, while different between parts, show consistency throughout each part. This suggests that each part may have only had one musician who marked on it and therefore, it is possible that only one ensemble ever played from these original parts. Further, 33 the handwriting throughout the Old Glory score does not seem to match Carmichaels handwriting that appears in his musical sketches, which supports the possibility that another composer or perhaps an orchestrator may have written out this score. The lack of erasure also suggests that an earlier version of the score may have existed. Are there Autographs or Other Identifying Marks? The instrumental and vocal parts to Old Glory are all stamped with the same stamp. These stamps appear on the front of the manuscripts and include the name Lela Lyman stamped in purple. The stamp includes the title Copyist, which indicates that Lela is not the composer but rather a copyist. The stamp also includes the words, American Federation of Musicians 47 and LOS ANGELES, Calif., suggesting that the copyist was a member of the Local 47 Musicians Union in Los Angeles, California (fig. 3.8).11 This stamp suggests that a copyist may have been contracted to write out the parts for a composer to save that composer the time of writing out the parts themself. Copyists typically have neat and legible handwriting when creating their musical manuscripts. Figure 3.8. This Lela Lyman Copyist stamp appears on many of the instrumental and vocal parts to Old Glory. 11 These stamps can be found on all of the instrumental and vocal parts and are usually located on the last page of each. Old Glory, MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. The same stamps are also found on other pieces in the Carmichael Collection, including Hong Kong Blues (Box 3, #3-8) and In The Cool, Cool, Cool of the Evening (Box 3, #25-28). 34 I found that the individual instrumental parts to a few other pieces within the Carmichael collection at the ATM also bear the same copyist stamp with Lela Lyman as Copyist. Those pieces are Hong Kong Blues,12 Cool, Cool, Cool of the Evening,13 Medley,14 Ole Buttermilk Sky,15 The Sad Cowboy,16 Shh, the Old Mans Sleepin,17 and The Whale.18 The dates written on the copyist stamps on these pieces indicate that they were all copied around the same time as Old Glory, specifically various dates within January of 1953. All of the instrumental parts to the above mentioned pieces were also written on paper with the same Hollywood logo as the parts to Old Glory. Interestingly, The Sad Cowboy was written on paper with a Vogue Records logo at the bottom, similar to the Vogue Records logo that appears on the score to Old Glory. It is also interesting to note that the handwritten score to Brown County Autumn, another orchestral work by Carmichael, also contains a similar stamp (fig. 3.9). The stamp on Brown County Autumn is purple and similarly specifies Local 47 in Los Angeles. However, this stamp does not denote a copyist, but instead denotes an orchestrator, Eugene Zdor. This is a significant finding since none of the published literature about Brown County Autumn credits an orchestrator. According to the Berklee College of Music in Boston, an orchestrator takes a 12 MC 2 Hoagy Carmichael Collection, Series I, Music, Box 3, #4-7. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 3, #25-28. 14 MC 2 Hoagy Carmichael Collection, Series I, Music, Box 4, #3-7. 15 MC 2 Hoagy Carmichael Collection, Series I, Music, Box 5, #7-11. 16 MC 2 Hoagy Carmichael Collection, Series I, Music, Box 5, #53-58. 17 MC 2 Hoagy Carmichael Collection, Series I, Music, Box 5, #65-70. 18 MC 2 Hoagy Carmichael Collection, Series I, Music, Box 7, #43-47. 13 35 5#>@#(%)C(!>7(354&!(D%$5'!48.!$7)8(!3$!38$#!4!(5#)%!+#)!#)5'%($)40!%8(%>F&%0!#)!5'#)4&!;)#7@0! 4((3;838;!$'%!38($)7>%8$(!48. :#35%(!455#).38;!$#!$'%!5#>@#(%)C(!38$%8$3#8(E1!) "'3(!($4>@!#8! ,a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`+3;E!OEKWLE "'%!38($)7>%8$( &3($%.!4)% ,S!($)38;(0!T!(4H0! T!a)4((0!R!`3&&%;3F&%L!f*$'>!`(35L0!#8&*!KW!^#54&(1!+#&&#?%.!F*!=4)>35'4%&C(!4..)%((0!,KWMUK! ='4)38;!=)#((!f#4.0![NYMQ0!=4&3+1E"* 3+!#8%!5#8(3.%)(!'#?!4!Z4II!>7(35348!>3;'$!:3%?!#)5'%($)4&!>7(35348(0!$'%8!$'%!&3($%. 38($)7>%8$4$3#8!#8!$'%!F45D!#+!$'%!(5#)%!(%%>(!$#!4&3;8 ?3$'!$'%!38($)7>%8$4$3#8!#+!,-&.! /&#)*E1 X@%53+354&&*0!$'%!(3H!($)38;(!>%8$3#8%.!5#7&.!F%!)%+%))38;!$# $'%!+#7)!:3#&38(0!#8%!:3#&40! 48.!#8%!5%&�!?'3&%!$'% (%:%8!(4H%(!5#7&.!F%!$'% $')%%!+&7$%(0!$')%%!5&4)38%$(0!48.!#8%!F4((! 6[+%##%![$AA/,373#45:!.#%>*##![$**#&#!$J Z/4305!*+47!A$-3J3#-!Q+,/+%R!B5!BCCM5! 977L4?UU<<<(V#%>*##(#-/U0+%##%4U%$*#4U$%09#47%+7$%( ", _9#4#!A+%>3,&4!+%#!*$0+7#-!$,!79#!V+0>!$J!79#!*+47!L+&#!$J!79#!40$%#!7$!6X*-!"*$%R5: Z[!D!)$+&R![+%A309+#*! [$**#073$,5!@#%3#4!W5!Z/4305!.$\!N!$]#%43^#(!I%093]#4!$J!_%+-373$,+*!Z/4305!.*$$A3,&7$,5!W,-3+,+( !+ 5&4)38%$E!-8%!@#((3F&%!%H@&484$3#8!+#)!?'*!$'%*!4)%!)%+%))%.!$#!4(!,(4H%(1!'%)%!3(!F%547(%!$'%! (4H!@&4*%)(!38!Z4II!%8(%>F&%(!4$!$'4$ $3>%!?%)%!%H@%5$%.!$#!.#7F&%!#8!#$'%)!?##.?38.! 38($)7>%8$( `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i7(35 4$!28.3484!]83:%)(3$*!38!a&##>38;$#80!28.3484E!"'%!+3)($!$'38;!2! +#78.!?4(!$'4$!=4)>35'4%& 7(74&&*!?)3$%(!'3(!#?8!84>%!38!57)(3:%E!"'3(!>3;'$!F%!.7%!$#!$'%! 84$7)%!#+!$'%!$*@%(!#+!.#57>%8$(!$'4$!?%)%!38!$'%!N)5'3:%(E!X@%53+354&&*0!$'%(%!?%)%!>#($&*! 5#))%(@#8.%85%!F%$?%%8!=4)>35'4%& 48.!#$'%)!@%#@&%0 38!?'35'!54(%( (3;838;!38!57)(3:%!3(! )& standard practice. However, usually he would type the correspondence and type his name without signing. In all of the documents in which Carmichael wrote his own name, his signature was always in cursive. Figure 3.11 shows examples of both of these situations. The letter on the left, correspondence from Carmichael to Miss Grace Troutner from May 13, 1947,21 is typed and includes a typed signature. The letter on the right, correspondence from Carmichael to Dominique Ren De Lerma from the 1960s,22 is completely handwritten and includes a cursive autograph. This is the fourth page of this four-page letter. Figure 3.11. Comparisons of a typed letter and a handwritten letter from Hoagy Carmichael. 21 Correspondence from Hoagy Carmichael to Miss Grace Troutner from May 13, 1947. Hoagy Carmichael Collection, Folder 7 item 2-1, Archives of Traditional Music, Bloomington, Indiana. 22 Correspondence from Hoagy Carmichael to Dominique Ren De Lerma from the 1960s. Hoagy Carmichael Collection, Folder 22 item 2-1, Archives of Traditional Music, Bloomington, Indiana. 38 Sometimes, Carmichael would use a combination of print and cursive in his correspondence. An example of this can be seen in Figure 3.12. In this case, the message and his signature are both cursive, but the address to which the postcard is addressed is printed. It is notable that, in this case, the print is in all capital letters. This contrasts with the address found on the back of the Old Glory score, which is mostly capital letters but contains some lower-case letters are lower-case. Figure 3.12. Postcard correspondence from Carmichael to Georgia Maxwell, 1964.23 This is an example of a combination of printed and cursive words both used on the same document. Interesting similarities and differences exist between this postcard and the writing on the back of the Old Glory score (fig. 3.13). All of the numbers seem to be tilted ever so slightly to the right on both documents. The Old Glory document address includes a mixture of 23 Correspondence from Hoagy Carmichael to Georgia Maxwell, 1964, Folder 22 item 2-4. Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. 39 capital letters and lower case letters while the postcard address has all capital letters except for the lower case is. For this reason, I compared all of the letters with similar capitalization between the Old Glory address and the postcard address to note all similarities and differences. The letters that both documents have in common as capitalized include the letters A, C, R, N, S, L, and D. Both documents have lower cased is. The letter As that appear on the Old Glory score are more rounded, while the As on the postcard are more angular. Unlike the Old Glory As, which seem to only have two strokes, the As in the word CALIFORNIA look like they were written with three different strokes. The letter C in the words Cross and Calif from the back of the Old Glory score both have a little curl on the top of them. Similarly, the C on the word CALIFORNIA on the postcard has the same little curl on the top of it. The Rs on the Old Glory document seem to have been drawn with a downward stroke first, then that stroke was retraced as the pencil moved upward. The Rs on the postcard do not connect the first stroke to the top circle, indicating that the pencil was lifted and replaced for the next stroke. However, on both documents, the last stroke of the R curves out and to the right rather than being a straight line. This is interesting, especially given the otherwise angular nature of the letters on the postcard. Both of the documents have similar looking Ns that appear angular. I am unable to draw any conclusions about the Ss. Most of the Ls on the back of the Old Glory score are lower case, except for the L in LA. In this L, I noticed that the bottom left corner has a tiny little loop where the pencil changed directions. On the postcard, there is a similar loop on the L of LOS ANGELES. It is difficult to tell if the D on the Old Glory document was drawn with two separate strokes or just with one. 40 G3;7)%!OEKOE R(%#0)*+$'#5(K&,8&&5(,=&(=*5;8+$,$51(#5 ,=&(K*%J(#/(,=&(N9;(O9#+4('%#+&(8$,=(*( )#',%*+;(/+#0(BUV2E"$ 28!('#)$0!<#4;*!=4)>35'4%&!+)%67%8$&*!4&$%)84$%.!F%$?%%8!@)38$38;0!#+$%8!7(38;!>#($&*! 54@3$4&!&%$$%)(0!48.!?)3$38;!38!57)(3:%E!9'%8!2!5#>@4)%.!$'%!'48.?)3$38;!#8!$'%!F45D!#+!$'%!,-&.! /&#)*1 >487(5)3@$!?3$'!=4)>35'4%&C(!'48.?)3$38;!#8!#$'%)!.#57>%8$(0!$'%)%!4)%!F#$' (3>3&4)3$3%(!48.!.3++%)%85%(E!i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b$48!$'48 ?'3$%E!"'3(!3(!5#8(3($%8$! ?3$'!>#($!#+!$'%!'48.?)3$$%8!>487(5)3@$(!2!'4:%!?#)D%.!?3$'!38!$'%!=4)>35'4%&!=#&&%5$3#8E! [$%%#4L$,-#,0#!J%$A!)$+&R![+%A309+#*!7$!"#$%&3+!Z+\<#**5!BCGT5!S$*-#%!DD!37#A!DOT(!)$+&R![+%A309+#*! [$**#073$,5!I%093]#4!$J!_%+-373$,+*!Z/4305!W,-3+,+!`,3]#%437R5!.*$$A3,&7$,( "% H$/34!"$77409+*>5!6#$+-,7"#$0#4(!0,7&-89(:(;-0<+-(&)(!0,7&-0."=(1+7/&$ ;'#?!I*J%#-!I(!K,$LJ5!BCMBE5!BDD( "$ #+ <#?%:%)0!$'3(!.#%(!8#$!>%48!$'4$!$'%!@4@%)!?4(!#)3;384&&*!?'3$%!48.!*%&&#?%.!?3$'!4;%E!i48*! >487(5)3@$!@4@%)(!4)%!#)3;384&&*!@)38$%.!38!$'3(!('4.%!#+!*%&&#?b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`+3;E!OEKQLE -8!$'3(!@4;%0!$'%!(673;;&%!>4)D38;(!)78!.#?8!$'%!@4;%!48.!4&(#!53)5&%! 4)#78.!>4)D38;(!,PYV01!,PYKW01!48.!,PYKKE1!"'3(!)%.!5#&#)%.!@%853&!3(!5#8(3($%8$!?3$'!>4)D38;(! +#78.!#8!#$'%)!=4)>35'4%&!(5#)%(!38!$'%!4)5'3:%(0 385&7.38;!$'%!(5#)%(!$#!$'%!,k#'88*! N@@&%(%%.!X73$%E1 G3;7)%!OEKQE Z*1&(/#6+,&&5 #/(,=&(MN9;(O9#+4! '%#+&H #" The red pencil also seems to be similar to the red writing on the back of the score, which reads only 10 Vocals and includes a circle around 10. The number 10 seems to be written in a more vibrant shade of red than the other markings that appear on the document. The other writing on the back of the manuscript appears to be in blue colored pencil. The part in blue states the rest of the instrumentation and Carmichaels address. There is one word in either black ink or a sharp, thin black pencil, and it appears to be a clarification of sloppy handwriting. Next to an illegible word in blue, Rythm is written, and there are also check marks in black beside each instrument type. In the case of the Old Glory manuscripts, there is no known historical record of the piece with which to compare the manuscript. However, the address that appears on the back of the score, 10281 Charing Cross Road in LA-24, Calif, can be compared against the historical record to estimate the age of the document. A review of voter registration records confirmed that Carmichael lived at that location during the years 1946, 1948, 1950, 1952, and 1956.26 This suggests that he likely resided at the Charing Cross address during the years between 1946 and 1956. Therefore, the piece was not composed before 1946, and it was likely composed between the years 1946-1956. This date range is also consistent with the year, 1953, that appears on the copyist stamp. I also attempted to compare the information in the copyist stamp against the historical record. A symphony program from a 1954 concert entitled Springtime in Paris stated that 26 These records were confirmed by searching AncestryLibrary.com databases for the terms Hoagland, Carmichael, and Los Angeles, accessed March 26, 2020. 43 Carmichael was, a member of the A. F. M. (Local 47).27 This year falls within the ten-year period that Carmichael lived at the Charing Cross address and confirms that he was affiliated with the musicians union for at least part of this time period. I also wanted to compare the information on the copyist stamp with the historical record. To compare this information, I reviewed both the Yellow and White pages from the Los Angeles area from the years 1946-1956 but was unable to find any records for Lyman. I then contacted Local 47 via email to inquire about Lyman. The response I received stated, I apologize but we dont keep membership information going that far back.28 I followed up on this with Local 47 at a later date to confirm that they really could not access this information. I was fortunate during my most recent inquiry to reach someone that seemed interested in my research. Rick Baptist is currently the staff Historian at Local 47. Rick explained that contracts for commissions of works and copyist services would have been private between the two involved parties and would not be something that the union oversaw or for which they would have paper trails. Rick also said that hundreds of movies and recording sessions took place in 1953 in the Los Angeles/ Hollywood area, and that without more details about the specific sessionsuch as the exact date or movie titlethat it was not possible to even begin looking for more information in their records. He also mentioned that there was a fire in their building in the 1970s in which many of the documents, including membership records, that had been stored on site were lost.29 27 Concert Program for Springtime in Paris concert, 1954-1955, LMC 1174, Carmichael Box 1, Folder 4, Lilly Library, IU Libraries University Archives, Bloomington, Indiana. 28 Email correspondence between myself and Roxanne Castillo, Director, Electronic Media Division, AFM Local 47, sent to me on September 03, 2019. 29 Phone interview with Rick Baptist, Local 47 Historian, September 2021. 44 To find further information about Lela Lyman, I did a search on Ancestory.com and a general Google search with various spellings of Lela Lyman. However, I was unable to find any information about this person. One possible reason for this may be that this person was using a pen name as a copyist and Lela Lyman may not have been the copyists real name. Some copyists and composers used pen names for various reasons. For example, Eugene Zdor, who orchestrated Brown County Autumn for Carmichael, went by the penname Edward Kane during the Holocaust to protect his family in Europe. Since he used a pen name, much of his work orchestrating for films is uncredited.30 To summarize, while there is no historical record describing Old Glory specifically, there are clues that speak to the estimated age of the documents. Specifically, the copyist stamps on the individual parts include dates in January of 1953. Additionally, the name Hoagy Carmichael and an address, 10281 Charing Cross Road in LA-24, Calif, are written on the back of the score. A search of government records confirms that Carmichael resided at that address from 1946-1956. These findings all suggest that the score was likely created sometime between 1946-1953 and the individual parts were likely copied in January of 1953. Does Any Information Within the Document Aid in Establishing the Missing Date? The Old Glory manuscript contains several clues regarding its age that independently suggest a range of possible dates of authorship. It is common for historical researchers to identify a probable date range when it is not possible to pin-point a specific date of authorship. Gottschalk discussed this process: 30 Biography, Eugene Zdor, accessed October 9, 2021, https://eugenezador.com/about/. 45 One has frequently to resort to the conjectures known to the historian as the terminus non ante quem (the point not before which) and the terminus non post quem (the point not after which). These termini, or points, have to be established by internal evidence by clues given within the document itself.31 The Old Glory manuscripts contain many printed markings on the medium itself that suggest the time in which the piece was composed. Those will be examined here. The copyist stamps that appear on the instrumental and vocal parts have one of two dates printed on them, 1/10/53 or 1/14/53.32 This suggests that the copying of these parts was completed by January 14, 1953. It can reasonably be assumed that the parts were drawn from the completed score since this is common practice. Therefore, the terminus non post quem of the composition of Old Glory is January 14, 1953. Determining the terminus non ante quem of the Old Glory manuscripts was a bit more involved. The clues that suggest the earliest possible dates the piece could have been composed were found printed on the manuscript papers themselves. These markings were part of the original printed manuscript papers, not markings written by the composer. By dating the paper medium itself, I was able to determine the earliest possible year that Old Glory could have been composed. The full score has a Property of VOGUE RECORDS, INC. printed on the bottom-center of each page (fig. 3.15). I searched several online databases for more information about VOGUE RECORDS, INC. and found an advertisement in Billboard Magazine from February of 1953. The 31 Louis Gottschalk, (New York: Alfred A. Knopf, 1951), 147. Some of the parts to Old Glory are dated 1/10/53 and some are dated 1/14/53. Old Glory, MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. 32 46 4.:%)$3(%>%8$!3(!+#)!$?#!=&47.%!/#).#8!)%5#).(0 48.!3$!&3($(!$'%!4..)%((!+#)!^-/]d!fd=-fPX0! 2c=E!4(!,=)#(()#4.(!#+!$'%!9#)&.0!<#&&*?##.0!=4&3+E1!`+3;E!OEKSLE## G3;7)%!OEKRE!R))&*+' #5(,=&(K#,,#0W%&5,&+(#5(&*%=()*1&(#/(,=&(/699('%#+&(,#(MN9;(O9#+4! G3;7)%!OEKSE C+#0(?$99K#*+;(I*1*\$5&-(C&K+6*+4(]-(BUXD "'%!=)#(()#4.(!#+!$'%!9#)&.!3(!48!#7$.##)!>4&&!6$%.!38!<#&&*?##.0!=4&3+#)8340!$'4$! ?4(!F73&$!38!KVOSE#$ "#!+7)$'%)!@38@#38$!$'%!$3>%!@%)3#.!38!?'35'!,-&.!/&#)*1 ?4(!5#>@#(%.0!2! 8%%.%.!$#!D8#?!?'%8!^-/]d!fd=-fPX0!2c=E!+3)($!#@%8%.!4$!$'%!=)#(()#4.(!#+!$'%!9#)&.E!"#! [HI`1b!"X81X'!+-]#%734#A#,7!3,!3/+(@0==%&"-$ A+&+^3,#5!S#V%/+%R!c5!BCMP5!TD(!bOV$$>!+00#44#-!$,!"$$&*# .$$>4( #$ 6[%$44%$+-4!$J!79#!2$%*-5:!H$4!I,&#*#4![$,4#%]+,0R5!+00#44#-!@#L7#AV#%!BF5!DFBC5! 977L4?UU<<<(*+0$,4#%]+,0R($%&U*$0+73$,4U0%$44%$+-4O<$%*-( ## #& .%$%)>38%!$'3(!48(?%)0!2!)%:3%?%. #8&38%!>35)#+3&>(!#+![#(!N8;%&%(!g%&&#?!@4;%(!+)#>!$'%!*%4)(! KVOUYKVROE!"'%)%!?%)%!8#!&3($38;(!+#)!^-/]d!fd=-fPX0!2c=E!78.%)!$'%!'%4.38;(! ,@'#8#;)4@'01!,@'#8#;)4@'!f%5#).(!o f%$43&01!#)!,e'#8#;)4@'!f%5#).(!o 9'(&%!p!i+)(1!+)#>! KVOUYKVRKE!^-/]d!fd=-fPX!+3)($!4@@%4)%. 38!$'%!@'#8%F##D!38!KVRM!78.%)!,e'#8#;)4@'! f%5#).(!o 9'(&%!p!i+)(1E!"'%!&3($38;!385&7.%(!$'%!4..)%((!,KRKW =)#((!f.(!#+!9)&.qEE!<&&(.%! TKVO1#% `+3;E!OEKTLE!N&$'#7;'!$'%!@4;%!(%%>%.!$#!F%!(&3;'$&*!+#&.%.!Z7($!#:%)!$'%!+3)($!+%?!&%$$%)(! #+!$'%!$%&%@'#8%!@)%+3H0!2!?4(!4F&%!$#!5#8+3)>!$'%!@)%+3H!7(38;!$'%!"%&%@'#8%!N)%4(!e)%+3H!i4@! 4$!$'%!+)#8$!#+!$'%!@'#8%F##DE#& G3;7)%!OEKTE E=&(BUXA(L#'(R51&9&'()=#5&K##J($5%96;&'(*(9$',$51(/#+("NO^G(_G@N_`>(aS@H "#!5#8+3)>!$'4$!^#;7%!f%5#).(0!285E!.3.!8#$!%H3($!78$3&!KVRM0!2!)%:3%?%.!;#:%)8>%8$! .#57>%8$(!$')#7;'!=4&3+#)834C(!X%5)%$4)*!#+!X$4$%E!X@%53+354&&*0!2!?4(!&##D38;!+#)!4)$35&%(!#+! 385#)@#)4$3#8!+#)!^#;7%!f%5#).(0!285E0!48.!48*!F7(38%((!%8$3$*!)%@#)$(0!)%;7&4)!+3&38;(0!#)! ($4$%>%8$!#+!.3((#&7$3#8!.#57>%8$(!+#)!48*!F7(38%((%(!54&&%.!^#;7%!f%5#).(E!2!?4(!4F&%!$#!+38. $'4$!^#;7%!f%5#).(0!285E!?4(!4!.3++%)%8$!5#>@48*!$'48!$'%!^#;7%!f%5#).(!('#@(!`^#;7%!a##D(! A"=0)&-#0"(B C+==&D(;"4+,(B 5&,(:#4+=+,(A+#7-"=(:-+"(E :242,7(1:A(7/-&24/(F(![+*3J$%,3+5!BCMD(!WA+&#!BBN(! 977L4?UU<<<(*$0(&$]U37#AU/47#*#-3%#0FDPBNU( #& A"=0)&-#0"(B C+==&D(;"4+,(B 5&,(:#4+=+,(A+#7-"=(:-+"(E :242,7 :(7/-&24/(561(![+*3J$%,3+5!BCMD(!WA+&#!BT(! 977L4?UU<<<(*$0(&$]U37#AU/47#*#-3%#0FDPBGU( #% #' and Records, Inc.) that operated in California in the 1960s and 1970s. By reviewing the business entity reports, articles of incorporation, and the articles of dissolution, I discovered that Vogue Records, Inc. was incorporated on January 10, 1952.37 Since Vogue Records, Inc. was incorporated in 1952, their manuscript paper could not have existed before 1952. However, music could have been written on their paper anytime after 1952, regardless of when the company ceased operations. Since the paper upon which the composition was written could not have existed before 1952, then the terminus non ante quem of Old Glory is 1952. Since the instrumental and vocal parts were dated January of 1953, then the terminus non post quem of Old Glory is January of 1953. This suggests that Old Glory was most likely composed in 1952 and possibly not completed until as late as January of 1953. These years, 1952-1953, fall within the date range, 1946-1956, that Carmichael resided at the Charing Cross address. To summarize, the information that was printed on the bottom of the manuscript paper of the score suggests that the manuscript paper itself originated from VOGUE RECORDS, INC., a business that operated from 1952-1954. The copyist stamps on the individual vocal and instrumental parts indicates that the copying of the parts was completed in January of 1953. The 1952-1953 time period was compared to the historical record by verifying the dates that Carmichael lived at the Charing Cross address that appears on the back of the score. Carmichael lived at the Charing Cross address from 1946-1956. This comparison confirms the validity of 37 Business Search Results, Dr. Shirley N. Weber California Secretary of State, accessed September 11, 2021, https://businesssearch.sos.ca.gov/CBS/SearchResults?filing=&SearchType=CORP&SearchCriteria=Vogue+Records& SearchSubType=Keyword 49 these findings. Therefore, it can be reasonably assumed that Old Glory was composed between 1952-1953. Are there any Indications in Diaries, Newspapers, Programs, or Other Contemporaneous Materials that Such an Item Existed? This question directly addresses the first research questions regarding authenticity, as well as the second research question addressing for what person or purpose Old Glory was written, and the third research question probing why the work was never published or recorded. Any indication of this work in diaries, newspapers, programs, or other contemporaneous materials could help determine for whom or what purpose Old Glory was written. Additionally, any documentation of similar works or intentions to compose works with similar instrumentation or similar content could also indicate possible answers to these research questions. To answer the question of if there were any indications regarding this composition in any contemporaneous materials, I first reviewed secondary sources looking for any mention of Old Glory or other similar works from the same time period by Carmichael or other composers. Second, I reviewed scrapbooks, correspondence, concert programs, recordings, and other related artifacts available at both the Archives of Traditional Music at Indiana University and at the Indiana University Archives and looked for any mention of Old Glory, works with similar instrumentation, or works with a similar patriotic element. Third, I examined the projects that Carmichael was working on in the early 1950s to find possible links to this piece. Finally, I reviewed scans of newspapers from 1945-1965 looking for stories about Carmichael, 50 or for a mention of Old Glory or of patriotic music that might indicate that this piece was composed by Carmichael. A review of secondary sources revealed that Carmichael starred in a few movies during this time period. In 1950, he appeared in Young Man With a Horn, and in 1951 he won an Oscar for his piece In the Cool, Cool, Cool of the Evening, which was performed by Bing Crosby and appeared in the motion picture Here Comes the Groom. Carmichael was also featured in the motion pictures Las Vegas Story and Belles on Their Toes in 1952. In 1953, Carmichael appeared in the motion picture Gentlemen Prefer Blondes, and one of his songs was featured in Those Redheads from Seattle.38 I reviewed each of these movies and their soundtracks and did not find Old Glory used in any of them. Carmichael also hosted his own TV show on NBC, The Saturday Night Revue, that ran from 1953-54. This was a comedic show where he entertained his friends from his penthouse apartment (a set) and it was also a talent show for up-and-coming entertainers. 39 The show was not particularly popular. Jack Gould, a critic with the New York Times, wrote of the premiere, If N. B. C. [sic] wanted to prove what a show can be when you dont spend money and dont particularly care, it succeeded admirably.40 Carmichael left the show after only one year. There were no orchestral performances on this show, and the shows theme music was not Old Glory. 38 Timeline of Hoagy Carmichaels Life from the Archives of Traditional Music, The Hoagy Carmichael Collection (updated May 18, 2017). http://www.dlib.indiana.edu/collections/hoagy/research/timeline/index.html 39 Tim Brooks and Earle F. Marsh, The Complete Directory to Prime Time Network and Cable TV Shows, 1946Present (United States: Random House Publishing Group, 2009), 1197. E-book accessed on Google Books. 40 Jack Gould, TELEVISION IN REVIEW: Hoagy Carmichael Begins Summer Chores Over N. B. C. in Saturday Night Review, New York Times, June 8, 1953. Accessed through New York Times online archives, July 21, 2020. www.nytimes.com/1953/06/08/archives/television-in-review-hoagy-carmichael-begins-summer-chores-over-nb.html. 51 The review of the materials at the Archives of Traditional Music turned up many artifacts of interest. I first found a Xerox copy of The Star Spangled Banner that Carmichael arranged.41 I was later able to find and purchase an original copy of the magazine in which the arrangement was printed. The arrangement appeared in a 1965 issue of fact: [sic] magazine, as a contribution within an issue in which various famous artists, musicians, and political figures were engaging in a discussion about possibly replacing the national anthem. Carmichael mentioned in his commentary that he first began thinking about and working on The Star Spangled Banner arrangement Nearly 30 years ago.42 While this is not a direct mention or reference to Old Glory, it does suggest that Carmichael may have been thinking about writing and arranging patriotic melodies during the time period he suggested in the article, from 1935 through 1965. The finding of The Star Spangled Banner arrangement and Carmichaels commentary provides support for the theory that Carmichael composed Old Glory, and it also suggests a possible motive for composing the piece. Specifically, the commentary accompanying the arrangement states that Carmichael was trying to make the national anthem more singable.43 Whether or not he accomplished this goal with his arrangement is arguable. However, it does appear that Carmichael took an interest in at least arranging patriotic vocal music during the time period in which Old Glory appears to have been composed. If he was arranging patriotic music during that time, then it is logical to assume that he may have also been composing 41 Photocopy of The Star Spangled Banner. MC 2 Hoagy Carmichael Collection, Box 6, item 11. Archives of Traditional Music, Indiana University, Bloomington 42 Charles Braun, Lets Waive The Star-Spangled Banner, fact: 2, no. 1 (1965): 2-15. Hoagys arrangement of The Star Spangled Banner and commentary appears on 9-11. 43 Carmichaels commentary appears on p. 9 of Charles Brauns, Lets Waive The Star-Spangled Banner, fact: 2, no. 1 (1965): 2-15. 52 patriotic music during that time. If he was composing patriotic music during the focus time period, then it is possible that Old Glory could have been one of his compositions. The secondary sources that I reviewed all stated that Carmichael only composed two major works for orchestra. Those pieces are Brown County [in] Autumn and Johnny Appleseed Suite. I was unable to find a score for Brown County Autumn at the Archives of Traditional Music. I also looked through the Library of Congress online database and, although they have a recording of the piece, they do not possess a copyright deposit or application for Brown County Autumn. I eventually located the handwritten score and instrumental parts at the Indianapolis Symphony Orchestra music library at Hilbert Circle Theatre in Indianapolis. Figure 3.18. Concert program from the world premiere of Brown County [in] Autumn, December 17 and 18, 1949 53 Brown County Autumn was premiered by the Indianapolis Symphony Orchestra on December 17 and 18, 1949, at the Murat Theatre in Indianapolis (fig. 3.18).44 It should be noted that this concert program states that the title of the piece is Brown County in Autumn. However, the handwritten title on the original score and the original parts, which all currently reside in the Indianapolis Symphony Orchestra library, all state the title as Brown County Autumn.45 The concert was very well-received by the Indianapolis audience. Corbin Patrick, a music critic for the Indianapolis Star, said of the performance: Its a work of which he can be justly proud.46 The next week after the concert, Carmichael was interviewed by a young journalist at Shortridge High School in Indianapolis. In her article, Carmichael mentioned that upon arriving at his Los Angeles home, he would begin work on a second classical piece, and that he anticipated that piece would be about the California redwoods.47 Shortly after the December 20, 1949 Shortridge High School article, TIME magazine published an article on December 26, 1949. The article discussed the Indianapolis premiere of Brown County Autumn. In this article, Carmichael stated that he was invited to compose the piece by Fabien Sevitsky, the Conductor of the Indianapolis Symphony Orchestra, to honor the centennial of Hoosier Poet James Whitcomb Riley (1849-1916). The article respectfully referred to this composition as Hoagys first serious composition. Carmichael is also quoted as saying 44 Concert Program for Indianapolis Symphony Orchestra concert, "Fourth Pair," December 17 & 18, 1949, LMC 1174, Carmichael mss. Box 1, Folder 4, Lilly Library, IU Libraries University Archives, Bloomington, Indiana 45 The original score and parts located in the Indianapolis Symphony music library in Indianapolis, Indiana. 46 Associated Press, Carmichael Makes His Classical Debut, Decatur Herald (Indianapolis, IN), December 19, 1949. Newscomwc.newspapers.com. 47 Gretchen Heinke, Hoagy Carmichael Plans to Compose Classical Piece About California Redwoods, Shortridge Daily Echo (Indianapolis, IN), December 20, 1949. https://www.digitalindy.org/digital/collection/shs/id/44797/ 54 he was already at work on a second similar composition about the California redwoods that would be a sort of austere, with an ecclesiastic, cathedral-like quality. Lofty I think would be a good word.48 On January 16, 1950, the Indianapolis Symphony Orchestra performed Brown County Autumn at Carnegie Hall in New York. Following this performance, a prominent critic wrote a harsh review of the piece. Olin Downes, a music critic with the New York Times, wrote, The composer [Hoagy Carmichael] has neither the technique nor the mind of musical thought which makes it possible for him to express himself adequately in this medium.49 Olin recommended that Carmichael should stick to writing popular music and leave classical music to other composers. Even before the Carnegie Hall debut, Hoagy lamented in the Time magazine article, I know my limitations. Im not a student of music.50 Carmichaels statement may reflect the insecurities he felt at the time about entering the world of long-haired composition, as it was referred to by the author of the Time magazine article, given his lack of formal training in compositional techniques or music theory as a law major during his university studies. 48 Indiana Melody, TIME, December 26, 1949, 33. http://www.time.com/vault/issue/1949-12-26/page/35/ Buttermilk Sky Curdles, Terre Haute Tribune, (Terre Haute, IN), Jan. 17, 1950. 50 Indiana Melody, TIME, December 26, 1949, 33. 49 55 Figure 3.19. Hoagy Carmichael rehearsing with Fabien Sevitzky and the Indianapolis Symphony Orchestra. Photo retrieved from TIME magazine, December 26, 1949, p. 33. Whether because Carmichael felt disheartened because of the harsh critique or for other reasons, Brown County Autumn all but disappeared after that Carnegie Hall performance. I searched the Library of Congress online Catalogues of Copyright Entries for all published and unpublished music by Carmichael for the years 1949-1959 and separately for the search term Brown County from 1949-1981. It appears that the piece was never published and never submitted to the Library of Congress for copyright. I visited the Indianapolis Symphony Orchestra (ISO) music library at the Hilbert Circle Theatre in Indianapolis. Susan Grymonpre, a Librarian with the ISO, was able to confirm that the ISO performed the piece several times in 1950mostly at high schoolsas part of a tour throughout the United States and Canada. The tour began on January 3 of that year with a performance in Lancaster, Ohio; then they performed on the fifth and sixth of January in Ottawa and Montreal, Canada. These performances were followed by the Carnegie Hall performance on January 16. The Orchestra 56 then returned to Indianapolis for a performance of the piece on January 24 at the Murat Theatre. This was followed by ten performances over a three-week period at various Indianapolis high schools and at the Indiana University Auditorium in Bloomington, Indiana. During the first two weeks of March, they continued performing the piece on tour, this time heading west to Racine, Wisconsin, then moving on to Ft. Dodge and Waterloo in Iowa. The Waterloo, Iowa performance on March 9, 1950 was the last performance of this work during Carmichaels lifetime. In 1989, the ISO performed the piece three times, then in 1999, fifty years after its premiere, the ISO performed the work four times.51 Brown County Autumn has not been performed by the ISO since then, and because they hold the only copies of the work the handwritten originalsother performing and educational ensembles cannot currently access or perform the work. If Carmichael felt disheartened or lacked confidence about his abilities as a composer in the classical genre, as evidenced by his I know my limitations52 comment, then it is possible that these feelings may have continued for an extended period of time beyond 1950. If so, then this could be one possible reason that he may have chosen not to publish Old Glory after its composition in 1953. This theory is supported by the fact that he also did not publish Brown County Autumn. While he did not publish any classically orchestrated works in his lifetime, he did continue working on composing music for classical instrumentation for several years after the Brown County Autumn premiere in 1949. 51 These dates and locations were retrieved from the Indianapolis Symphony Orchestras music library tracking system. Susan Grymonpre, the ISO Librarian, explained that the older information was entered into the computer system in the 1980s. 52 Indiana Melody, TIME, December 26, 1949. 57 Carmichael had already begun research for another classical composition upon his return to California before the Carnegie Hall concert. A letter from his cousin Ruth, dated January 11, 1950, implied that Carmichael must have asked Ruth to research the legend of Johnny Appleseed (John Chapman) for a composition project upon which he was embarking. Johnny Appleseed is known as the man that traveled throughout the Midwest, from Pennsylvania to Ohio, Indiana, and Illinois, planting and tending to apple tree saplings that eventually became about 1,200 acres of apple orchards.53 The letter from Ruth to Carmichael stated that she had researched Johnny Appleseed at the Indiana State Library and was sending Carmichael photostats of a November 1871 article from Harpers New Monthly Magazine54 as well as something from a Source Book and her own notes. At the end of the letter, Ruth stated, Twas fun to read and know you can weave his life threads into a Suite or who knows even an Ole Settlers Opera?55 The letter suggests that his inspiration for the classical composition either changed from his initial inspiration the California redwoodsto Johnny Appleseed, or that he was simultaneously working on two different pieces. Given the short turn-around between the premiere of Brown County Autumn (December 17 and 18, 1949) and the date of Ruths letter (January 11, 1950), and given the similarities of content (California redwood trees and the legend of a man that traveled the Midwest planting trees), it seems likely that she was 53 Johnny Appleseed: A Pioneer Hero, Environmental Issues: Essential Primary Sources. Encyclopedia.com. (July 14, 2020). https://www.encyclopedia.com/environment/energy-government-and-defense-magazines/johnnyappleseed-pioneer-hero 54 This seems to refer to an article by W. D. Haley, Johnny Appleseed: A Pioneer Hero, Harpers New Monthly Magazine (November, 1871). 55 Ruth Carmichael, correspondence to Hoagy Carmichael, January 11, 1950. Folder 10, Item 3, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. 58 researching for his next big classical undertaking and that Carmichael was probably not working on two separate classical compositions during those three-and-a-half weeks. Instead, Carmichael likely changed his focus away from California redwood trees, in which case he may have worried that his new composition might have been too similar to Brown County Autumn. Brown County in Indiana is well-known for the vibrant colors of its beautiful leaves in the autumn. Carmichael may have decided to move his focus away from the trees in favor of telling a different story through music. More than ten years after he first began discussing his plans, the first premiere of his new composition, the Johnny Appleseed Suite, took place on December 8, 1962, with Charles Bud Dant directing the Indianapolis Symphony Orchestra. However, this premiere was incomplete, according to Carmichael. As part of his introduction to the concert attendees, he said the following: About the piece. You said you were going to hear a suite? Well, youre not going to hear an entire suite because of lack of time and partially because I hadnt finished it, youre only going to hear a few parts of it. And what youre going to hear, mostly the melody parts. People say they want to hear some melody so I wrote some melody for this thing. . . . We do have the opening theme which is Johnny Appleseed, in my imagination, returning from the wars of 1812. Hes coming home, hes happy, and we hear the marching music, a little regimen, and we hear his whistling theme. . . . Now, the heroic music, which would depict the struggle of the times, is all missing, naturally, but we finally get to, what I call, the fulfillment music.56 According to Carmichaels prologue, the five movements featured in this performance included Marching Music (Opening Theme/ Whistling Theme), Prayer Theme/ Cathedral Music, , Serenade, Christmas Party, , Fulfillment Music. 56 Transcribed from audio recording of Johnny Appleseed Suite performance with Indianapolis Symphony Orchestra, December 8, 1962. Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. https://media.dlib.indiana.edu/media_objects/cv43nx055 59 The Suite was orchestrated with the help of Nathan Van Cleave. This was noted by Carmichael in his opening remarks at the concert and was confirmed in a letter written by Charles Dant from January of 1983, in which Dant stated: Im trying to find the orchestration which I had made (and Hoagy paid for) by Nathan Van Cleve [sic], top orchestrator for the Hollywood Studios, for the concert in 62. The Indianapolis Symphony does not have these orchestrations.57 Notably, all of the movements in this performance were only instrumental (no vocals). In this way, this orchestration contrasts with that of the next public performance of the Johnny Appleseed Suite. The next recorded performance of this Suite was for the Bell Telephone Hour television program produced by the National Broadcasting Company (NBC-TV) over a year later on April 7, 1964. This performance was also apparently incomplete, according to the spoken prologue: Hoagy has written the Johnny Appleseed Suite, telling, in music, the legend of the man who devoted most of his life to planting apple trees throughout this new frontiers of this great land. The Bell Telephone Hour commissioned the television adaptation of this Suite containing the major portion of this musical work, which Hoagy Carmichael will narrate.58 This performance included two ballet dancers, Robert Merrill (a baritone soloist with the Metropolitan Opera), and the Bell Telephone Orchestra, under the direction of Donald Voorhees. The Suite was narrated throughout by Carmichael. In this performance, the Suite opened with a wistful introduction under Carmichaels narration of the setting, then Robert 57 Correspondence between Charles Bud Dant and Herman B. Wells, January 11, 1983. MC 2 Carmichael Series I Music, Box 15, Archives of Traditional Music, Bloomington, Indiana. 58 Transcribed from audio recording of Johnny Appleseed Suite performance on the Bell Telephone Hour television broadcast, NBC-TV, April 7, 1964. Bell telephone hour / [produced by] NBC-TV, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. https://media.dlib.indiana.edu/ media_objects/kd17d134k 60 Merrill sang a very patriotic movement, referred to in the score simply as Ballad.59 Here is an excerpt of the words to this movement: Now it is ours, and this is our America, Strong as the golden apple tree. More dear to our hearts than our Motherland, No other land can be. Shall we be worthy of our nation now, With love that towers to the skies. Praise our land, bless all the people there, And the great American Dream that never dies.60 After this movement, the orchestra played the Marching Music, which was previously the first movement when the Indianapolis Symphony first premiered the work a year and a half prior. Carmichael narrated under the next section a story about how Johnny is probably lonely and misses one special girl. The final movement, referred to in the score as the Fulfillment,61 has Merrill singing the verse written above, but this time with choral accompaniment.62 The movement ends with a big brassy fanfare, with the brass ending in unison, the harp running up and down the instrument, and cymbal crashes. It seems that the Johnny Appleseed Suite was never performed again as a complete work during Carmichaels lifetime. He continued to tinker with it over the years, coming back to it at various times with the intention of eventually finishing it.63 At one point, his son, Hoagy 59 Ballad from Johnny Appleseed Suite, Box 10, #3, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. 60 These words were sung by Robert Merrill in the 1964 Bell Telephone Hour performance of Johnny Appleseed. The heard lyrics were then compared with a handwritten draft of the lyrics found in the Hoagy Carmichael Collection to clarify the diction that was difficult to decipher. Build a Cabin in the Wilderness, Version 2, Lyric Sheets: Series A-H, Box 1 #86, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. 61 Fulfillment from Johnny Appleseed Suite, Box 10, #12, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. 62 This piece begins at 19:48 in the 1964 Bell Telephone Hour performance of Johnny Appleseed. NBC-TV, April 7, 1964. Bell telephone hour / [produced by] NBC-TV, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. https://media.dlib.indiana.edu/ media_objects/kd17d134k 63 Richard Sudhalter, p. 324. 61 Bix, tried to raise funds to turn Johnny Appleseed into a fully realized dramatic work. This project, however, was not actually realized until after Carmichaels death. After Carmichaels death in 1981, Charles Bud Dant and Nathan Van Cleave attempted to finish the Suite. To do this, they worked in cooperation with Hoagy Bix, the Archives of Traditional Music, and the Indiana Arts Commission64 to compile all of Carmichaels sketches and notes and combine them with Dants own creative revisions and additions. Dant discussed his revisions with Jay Harvey of the Indianapolis Star in 1990: Carmichael admitted that what he considered the most important movement titled Dream, Daybreak and Work was incomplete, and the matter nagged at him for many years until the famed composer got all the music down on tape. Furthermore, when given the opportunity to revive the complete work by ISO library manager Michael Runyan, Dant felt that the orchestrations originally presented needed some revision, too. Some of the movements are fine, but it needed to be more pop-sounding, Dant said. It didnt sound like Hoagy at all. Now that symphonic pops are the big thing, I suggested that I should write (two movements) as more pops.65 In 1984, Dant conducted the Suite for two Jubilee Concerts of Hoagy Carmichaels Music, presented by the Indiana University Alumni Association. The first concert was presented at the Murat Temple in Indianapolis on Thursday, October 18, then the next concert was held at the Indiana University Auditorium on Saturday, October 20. Both concerts featured Phil Harris, Alice Faye, Bud Dant, the Singing Hoosiers directed by Robert Stoll, the Indiana University Jazz Ensemble directed by David Baker, and Al Cobine.66 It is unclear how much of the Johnny Appleseed Suite was performed at these concerts and exactly who performed the piece. 64 In correspondence between Frank B. Jones and Charles Bud Dant, May 19, 1987, Frank stated that the President of the Indiana Arts Commission agreed to make a grant to cover 50% of the cost of completing the suite. MC 2 Carmichael Series I Music, Box 15, Archives of Traditional Music, Bloomington, Indiana. 65 Jay Harvey, Hoagy pal brings his legacy to ISO, Indianapolis Star, March 2, 1990. 66 Bill Roberts, A Hoagy Celebration, Indianapolis News, October 12, 1984. 62 In 1990, Dant pushed to have the Johnny Appleseed Suite performed in Indianapolis with the Indianapolis Symphony Orchestra (ISO) under the direction of Erich Kunzel. In an article in the Indianapolis Star, Dant describes how he first began working with Carmichael on the Johnny Appleseed Suite several years prior. Dant said that Carmichael contacted him and said, Ive got this Johnny Appleseed Suite on tape. Id like to have you orchestra it.67 This statement suggests that Carmichael recorded himself playing the themes to the piece on piano and shared that recording with him. In the article, Dant stated that he was too busy working as a record producer for Decca at the time, so he (Dant) asked someone else to orchestrate the tunes. The credit for the orchestrations was later given to Nathan Van Cleave, which Carmichael discussed in his opening commentary at the 1962 premiere of the Suite: The arrangement was made by one of the finest arrangers in Hollywood, Mr. Nathan Van Cleave. Now, Mr. Van Cleave not only loved the work and wanted to do it, and, although hes not from Indiana, I must tell you that he did actually do some of the work just for this project free of charge.68 The 1990 performances occurred on March 2, 3, and 4 at the Circle Theatre in Indianapolis under the direction of Erich Kunzel. Dant stated in the Indianapolis Star article that he was given the opportunity to revive the complete work by the ISO library manager, Michael Runyan.69 This suggests that the ISO still had possession of the Johnny Appleseed scores from their previous performance, presumably the 1962 premiere. I reached out to the ISO to view any deposits of which they may still be in possession of Brown County Autumn and/or of the Johnny Appleseed Suite. I was able to view these 67 Jay Harvey, Hoagy pal brings his legacy to ISO, Indianapolis Star, March 2, 1990. Transcribed from audio recording of Johnny Appleseed Suite performance with Indianapolis Symphony Orchestra, December 8, 1962. Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. https://media.dlib.indiana.edu/media_objects/cv43nx055 69 Jay Harvey, March 2, 1990. 68 63 deposits in October of 2021, at which time I confirmed that Dants 1990 version was a revision of the 1962 version for full orchestra without voices and was not a revision of the 1964 version with voices. In summary, while I was unable to find any direct mention in diaries, newspapers, programs, or other contemporaneous materials that Old Glory was composed by Hoagy Carmichael, I was able to find evidence suggesting that Carmichael was composing other orchestral works before and after the time in which this piece was composed. These works include Brown County Autumn and the Johnny Appleseed Suite. Further, I found Carmichaels arrangement of The Star Spangled Banner and its accompanying commentary, which suggested that Carmichael had an interest in composing patriotic music during the time period of interest. The Johnny Appleseed Suite, as performed in the 1964 Bell Telephone Hour performance, included two movements that featured full orchestra with patriotic vocals, one of which also featured chorus. These arrangements were composed with the assistance of Nathan Van Cleave, a Hollywood arranger. This suggests that Carmichael was composing patriotic melodies for orchestra and voices during the time period of interest. Finally, although Carmichael continued to work on his next major composition after the premiere of Brown County Autumn in 1949, he did not perform another piece of a classical nature for another twelve years. One possible reason for this could be because he lost confidence in his abilities after receiving a negative review of his compositional abilities after the Carnegie Hall debut of Brown County Autumn in 1950. 64 Where Was the Item Originally Located? The copyist stamps on the instrumental and vocal parts to Old Glory indicate that the copyist who wrote out the parts was a member of Local 47 Musicians Union, which is located in Los Angeles, California. Additionally, the manuscript paper upon which the instrumental and vocal parts are written has Hollywood Music Papers HE-7493 printed in the bottom left corner. The HE phone prefix, short for HEmpstead, indicates that the location at which the manuscript paper originated was located in the northwest part of Los Angeles near Hollywood, Hillside, and Beverly Hills.70 Additionally, the paper upon which the full orchestra score was written has PROPERTY OF VOGUE RECORDS, INC. printed on the bottom center of the paper. Vogue Records, Inc. was located at 1510 Crossroads of the World in Hollywood, California. Additionally, on the back of the full orchestra score, the words, Hoagy Carmichael 10281 Charing Cross Road LA-24, Calif appear. All of these clues suggest that the piece was most likely composed and the parts transcribed in the Los Angeles area. I also examined the manuscript paper upon which the instrumental and vocal parts to Old Glory were written. These papers were different than the score because they contained a stamp in the bottom-left corner that read, HOLLYWOOD MUSIC PAPERS HE-7493 (fig. 3.20). The HE-7493 is another telephone prefix, short for HEmpstead. An establishment with this prefix would have been located in the northwest part of Los Angeles, near Hollywood, Hillside, 70 California Yellow Pages Los Angeles Central Area AugustA through LUM. California, 1952. Image 14. https://www.loc.gov/item/usteledirec02316/. 65 and Beverly Hills. This prefix was in use during this same time period.71 However, I was unable to determine the exact establishment from which these papers originated. Figure 3.20. This printing appears on the bottom-left corner of all of the instrumental and vocal parts to Old Glory. Where is the Item Now? Is this Document a Variant Version or a Copy? Is there Any Reason to Suspect That this Item May Not be Genuine? The Old Glory manuscripts currently reside in the Oversized Manuscripts box (Series I Music Materials, Box 8) in the Hoagy Carmichael Collection at the Archives of Traditional Music (ATM) in Bloomington, Indiana, on the campus of Indiana University. The Carmichael Collection began accumulating material in 1986 when the Carmichael family donated a large amount of the late composers possessions to the ATM. The initial donation included music manuscripts, recordings, pictures, and films as well as other random items like paintings and sketches.72 In an email correspondence, Allison McClanahan, a Librarian at the ATM, stated that the Carmichael estate donated items to the collection at various times. The years of accession with which she was familiar include 1986, 1998, and 2005. She believes that the Old Glory 71 California Yellow Pages Los Angeles Central Area AugustA through LUM. California, 1952. Image 14. https://www.loc.gov/item/usteledirec02316/. 72 Mary E. Russell, The Hoagy Carmichael Collection, RESOUND A Quarterly of the Archives of Traditional Music, Volume VI, Number 1, January 1987. https://scholarworks.iu.edu/journals/index.php/ resound/article/view/26282/31907 66 manuscripts were most likely given to the Archives in 1998 by the Carmichael Estate because that is the year that the music boxes that contain the Old Glory scores were inventoried.73 In Gottschalks discussion of verification of authenticity of manuscripts, he stated: If the document is where it ought to befor example, in a familys archives (but not merely because it is in a library)its provenance (or its custody, as the lawyers call it), creates a presumption of its genuineness.74 This statement implies that, while a piece may reside in an archive at a library, this does not automatically confirm its authenticity. However, when the manuscript in question came directly from a persons estate, the presumption is that the document is genuine. In summary, the Old Glory scores currently reside at the Archives of Traditional Music at Indiana University in the Hoagy Carmichael collection. The ATM confirmed that they received this deposit directly from the Carmichael family in 1998. Therefore, because the document was given to the Archives directly by the Carmichael family, one can reasonably assume the items authenticity. Are Parts of the Document or Set of Documents Missing, Illegible, or Out of Order? Can an Original Order or Appearance be Discovered? There does not appear to be anything missing, illegible, or out of order in the Old Glory manuscripts. All of the pages of the Old Glory score are in order. This can be verified by the page numbers written in the upper right corner of each page of the score. However, there are some measures of the music that are missing from the score. 73 Email correspondence between the author and Allison McClanahan, Librarian at the Archives of Traditional Music, December 14, 2017. 74 Louis Gottschalk, Understanding History: A Primer of Historical Method (New York: Alfred A. Knopf, 1951), 123. 67 On the penultimate page of the score, page 14, the first three measures are missing the vocal parts. Instead, the symbols D-9 D-10 and D-11 appear in those measures, respectively. The bass clarinet and string parts that enter on the last beat of the second measure on that page are also missing from the parts (fig. 3.21). Figure 3.21. Page 14 of the Old Glory score includes many red colored pencil markings. I had never seen these symbols before, so I reached out to a professional composer and arranger, Ryan Fraley. Fraley is an accomplished ASCAP composer and recording engineer who has written works for instrumental ensembles with voice, and his works have been published by The FJH Music Company Inc. as well as by his own publishing company, HX Music. In text message correspondence, Fraley said that the wavy red lines are shorthand for copy some other measure, and that the D-9, D-10, and D-11 specify which measures to copy. In this case, 68 they are specifying to copy the ninth, tenth, and eleventh measures after rehearsal D. Fraley said that this type of marking is a common shorthand that is still used by contemporary composers who write music with a pencil.75 Regarding the red pencil, Fraley believes that the composer may have been using the red pencil to flag the copyist to notice the markings. When I compared the ninth, tenth, and eleventh measures that appear after rehearsal D in the score to the music that appears in the instrumental and vocal parts in these final measures of the piece, they are the same notes and words (fig. 3.22). This confirms that Fraleys assessment of the markings was correct and that this was the intention of the composers shorthand. The copyist, then, followed these instructions when they copied the individual parts. Figure 3.22. Page 9 of the Old Glory score shows the ninth, tenth, and eleventh measures after rehearsal D. These are the measures from which the composer indicated to copy the material from into the measures on page 14 of the score. 75 Text message correspondence between Ryan Fraley and myself, December 20, 2020. 69 Other than these few measures that were missing some musical notes and words, there are no pages missing from the score. All of the instrumental and vocal parts have been compared with the score. All of the vocal and instrumental parts that are indicated in the score have corresponding individual parts included in this collection. Notably, all of the girls and boys vocal parts appear together on one part entitled VOICES. This part includes notation beside each staff, G for girls and B for boys, rather than having separate parts for each vocal range. The full orchestra score appears to be in its complete and unaltered order and in its original condition. Besides the additional pencil markings on the instrumental and vocal parts that were presumably made by the musicians who rehearsed this music (as discussed earlier in this chapter), the parts seem to be in their original condition. The alterations marked on the instrumental and vocal parts still allow for the original form to be visually distinguished. Does an Original or Earlier Document Exist? To determine an answer to this question, it is necessary to review Carmichaels compositional process for composing other major symphonic works. For example, when he composed the Johnny Appleseed Suite, Carmichael used his piano to find melodies and motifs, or themes, which he recorded on tape and jotted down on manuscript paper. He then sent the tape to Bud Dant to ask him for assistance in orchestrating the piece. Ultimately, Nathan Van Cleave helped Carmichael orchestrate the suite.76 Given this process as precedence, it is possible that an earlier version exists, if only as skeletal sketches of melodies or tape-recorded themes. 76 Jay Harvey, Hoagy pal brings his legacy to ISO, Indianapolis Star (March 2, 1990). 70 To find earlier versions of Old Glory, I reviewed all of the sketches in the Sketches box, Box 9, at the Archives of Traditional Music and compared the unfamiliar ones with the melodies in Old Glory. While I did not find any that matched the themes, melodies, or chordal structures found in Old Glory, I did find some sketches that demonstrated classical genre influence. These included sketches labeled Rachmaninoff, Opery, and Fanfare. The Rachmaninoff sketch is interesting because, like Old Glory, it begins with an eighth-note pickup (fig. 3.23). Also, this sketch involves many augmented chords, a less commonly used chord quality that also occurs throughout Old Glory. I showed the Rachmaninoff sketch to the piano professor at Marian University in Indianapolis, Maureen Walton. She recognized it immediately as a transcription of part of Rachmaninoffs Prelude in C# Minor. While not a sketch of Old Glory, this sketch suggests that Carmichael was either interested in learning about non-jazz compositions or that he may have just really liked this piece in particular. Figure 3.23. Rachmaninoff sketch. Sketches box 9, #20.2, Archives of Traditional Music. 71 The Opery sketch is similar to Old Glory because it has a unique, reduced instrumentation. Specifically, this score calls for Violins OR CELLOS, PIANO, HORNS, BASS, FLUTE OBOE, and DRUMS (fig. 3.24). Later, on page two, music for HARP is written into the Violins OR CELLOS line.77 One might otherwise expect arrangements for orchestra to be written for the traditional instrumentation of flutes, clarinets, oboes, bassoons, trumpets, horns, trombones, violins 1 and 2, viola, cello, bass, and some assortment of percussion instruments, perhaps including harp and/or piano. Both Old Glory and Opery call for a much smaller orchestra than is typical for orchestral pieces. Like Old Glory, Opery begins with a four-measure fanfare. Additionally, Opery begins at a forte dynamic and employs a sixteenth note glissando in the piano, which grows to a fortissimo in the third measure. Likewise, most of the instruments begin at a forte or fortissimo dynamic marking in Old Glory, and the composer utilizes a sixteenth note run in the flute parts, which crescendos to the sustained chord in the fourth bar of the introductory material. Furthermore, Opery employs a kettle drum rolling in the last bar of the introduction, and Old Glory has timpani rolling throughout the introduction. 77 Opery, Sketches Box 9, #22.1-22.2. Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. 72 Figure 3.24. OPERY, page 1. Sketches box 9, #22.1-22.2, Archives of Traditional Music The sketch entitled simply Fanfare also displays a few similarities to Old Glory (fig. 3.25). Like Old Glory, it is written with two flats in the key signature. However, while Old Glory is in the key of Bb major, this piece is not in Bb major. The sketch begins in G minor and eventually progresses to Eb, D, G, and F major chords before ending with the marking etc.78 Old Glory does not have these frequent, drastic key center changes, and instead the piece stays in the key of Bb major throughout the piece. Fanfare begins with a pickup note in the bass part followed by chords on beats two and three in the first measure. Old Glory also begins with a pickup note and has moving notes on beats two and three in the harp and chimes parts in the first measure. 78 Fanfare, Sketches box 9, #26.3. Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. 73 Figure 3.25. Fanfare sketch. Sketches Box 9, #26.3, Archives of Traditional Music To summarize, while there is no direct evidence that an earlier version of Old Glory exists, some of the musical sketches in the Carmichael Collection at the Archives of Traditional Music suggest that Carmichael may have been thinking about many of the same musical ideas that appear within Old Glory. Specifically, Rachmaninoff, Opery, and Fanfare each demonstrate some similarities to Old Glory, with similar instrumentation, key signatures, and/or rhythmic structure. Since there is no evidence of erasures in the score to Old Glory, it seems likely that an earlier version or sketch may have existed. However, I was unable to find such sketches or earlier versions of Old Glory in the Archives of Traditional Music. It is possible that any earlier versions of Old Glory may have been tape recorded in the same way that Carmichael recorded his first melodic ideas for the Johnny Appleseed Suite. However, I was unable to locate any such recordings within the holdings of the Archives of Traditional Music. Does the Document have Multiple Authors? As previously discussed, it appears that one person wrote out all of the musical manuscript that appears in the score to Old Glory, while a different person, the Copyist, 74 wrote out all of the musical manuscript that appears in each vocal and instrumental part. It is possible that more than one person collaborated to create the music itself. For example, a composer may have been sitting at a piano while another person transcribed the sounds into symbols. However, the handwriting is consistent throughout the score, suggesting that only one person wrote down the music into the score. Figure 3.26. Carmichael would alternate between printing in all caps and writing in cursive. This page was located in Box 9 Sketches, #20.2, Archives of Traditional Music. When I reviewed other full scores in the archives, I found that Carmichaels own handwriting was inconsistent. Sometimes he would print in all capital letters and sometimes he 75 would write in cursive. For example, in figure 3.26, Carmichael printed KANTOR SONG and RACHMANINOFF but wrote all of the other titles and words in cursive. The chord symbols on this page are all printed, and the first A of A verse idea is printed while the rest of the sentence is cursive. These types of inconsistencies in handwriting appear throughout the works contained in the Carmichael Collection within the Archives of Traditional Music. For this reason, it is difficult to determine which scores were written down by Carmichael and which may have been written down or transcribed by someone else. Given that Carmichael did not have much formal training in music composition and that he reached out for help from Bud Dant and Nathan Van Cleave when arranging the Johnny Appleseed Suite,79 it seems very plausible that if Carmichael composed the piece, then someone else may have helped him arrange and transcribe his musical ideas into the score of Old Glory. Could this have been Written by Someone Else Imitating the Purported Authors Style? It is possible that Old Glory was composed by someone other than Hoagy Carmichael and that the composer of Old Glory was imitating Carmichaels style. However, the theory that another composer was purposefully trying to imitate Carmichaels compositional style for orchestra seems unlikely. To reason with this possibility, I examine the possible motives a composer might have for imitating Carmichaels style and consider whether those motives are logical and plausible. Old Glory was probably composed by someone without academic training, but it was also not composed by a novice. This theory is supported by the fact that the arrangement 79 Jay Harvey, Hoagy pal brings his legacy to ISO, Indianapolis Star, March 2, 1990. 76 includes instances of parallel motion, something not typically seen in this genre of music by composers with academic training. Also, the vocal parts present some interesting challenges to the singers, specifically that the intervals and range make it quite difficult to sing. These specifics will be discussed in more detail in the next two chapters. Additionally, neither the score nor the parts indicate a composer. If someone was imitating Carmichaels style, they were not overtly trying to pass off their work as his. If a composer other than Carmichael wrote Old Glory, they may have sent it to Carmichael for feedback or perhaps in hopes that Carmichael would like the composition so much that he would somehow help that composers career. In either of these possibilities, what would be the motivation for a composer to not claim credit for the piece by signing or otherwise indicating authorship? I will first consider the possibility that a composer other than Carmichael wrote Old Glory and sent it to Carmichael for feedback or in hopes that Carmichael would help to further that composers career. If this is what happened, it seems odd that the composer did not include their name on the composition. Sending something away for feedback would ultimately require a response, in which Carmichael would have had to return that score to the composer. If that score were separated from its original packaging, presumably an envelope including a return address, Carmichael may have forgotten who the composer was and how to return the score. So, since the score from 1952 was still within Carmichaels estate when he passed away in 1981, it is possible that a composer simply forgot to indicate authorship on the score and perhaps never followed up with Carmichael to remind him to return the score. 77 However, instead of offering feedback and returning the score to its composer, a copyist who wrote out parts for some of Carmichaels other pieces wrote out the parts for Old Glory.80 If someone wanted feedback, it seems unlikely that Carmichael would instead have his copyist write out parts for the piece. It seems that these parts were then performed or at least rehearsed as indicated by the different pencil markings throughout the instrumental parts. This suggests that a composer felt the composition was beyond the point of needing feedback and was ready to hear how the piece sounded. Another possibility was that a composer with musical knowledge but not academic training reached out to Carmichael with this composition in hopes that he would help further their career. This seems possible since many people were known to have reached out to Carmichael over the years suggesting different lyrics to his works and manuscripts of music.81 This scenario is a self-serving one in which the composer sends the score away in hopes of receiving a personal benefit of career advancement. However, if this is what happened, then why would the composer not sign or otherwise indicate authorship on the piece? If the ultimate goal behind sharing the work with Carmichael was personal benefit, then it seems very unlikely that the composer would leave their name off of the score. 80 Other pieces found within the Carmichael Collection that included the Lela Lyman copyist stamp on the instrumental parts included Hong Kong Blues (Box 3, #3-8) and In The Cool, Cool, Cool of the Evening (Box 3, #25-28). The stamp is hard to read on Hong Kong Blues but is clearly dated 1/13/53 on the parts to In The Cool, Cool, Cool of the Evening. 81 Several letters are contained within the Carmichael Collection at the Archives of Traditional Music from fans and associates suggesting other lyrics for his pieces and sharing manuscripts with him. Examples include the letter from Grace Troutner suggesting lyrics (response from Hoagy dated May 13, 1947, Box 1, Folder 7, #2, in response to her letter with suggested lyrics dated May 6, 1947), a letter from Alan Gaila containing lyrics (dated July 7, 1955, Box 1, Folder 11, #3) and a letter from Herb Sanford containing a musical manuscript to Trail of a Rainbow (letter dated October 26, 1949, Box 1, Folder 9, #4) 78 It is also possible that Carmichael asked a composer with musical knowledge but not academic training to compose a piece in which the composer imitated Carmichaels style. This could have been done as a purely academic exercise or perhaps because Carmichael intended to take credit for writing the piece. If this were done as an academic exercise, then that implies that Carmichael was working with at least one composer at the time and specifically teaching them how to write for an orchestra. This seems unlikely given the fact that Carmichael was seemingly not very confident in his abilities as a composer of non-jazz music following the harsh critique of his Carnegie Hall debut of Brown County Autumn. Additionally, since there was only one orchestral composition from which to draw, there would not have been much precedence for a copy-cat composer to rely upon. By 1952, the year that Old Glory was likely composed, the only work that Carmichael had composed for orchestra was Brown County Autumn. Additionally, while successful in its Indianapolis premiere, the response that Brown County Autumn received at its Carnegie Hall debut was less than flattering. For these reasons, it seems somewhat unlikely that another composer would have purposely tried to imitate Carmichaels compositional style in this genre or that Carmichael would have been teaching aspiring composers how to arrange in this genre. It is possible that Carmichael asked a composer with musical knowledge but not academic training to compose or orchestrate Old Glory with the understanding that Carmichael would ultimately take the credit for composition. There is precedence for this scenario. Carmichael asked Bud Dant and Nathan Van Cleave to help him arrange the Johnny Appleseed Suite for orchestra. However, in this case, according to Dant, Carmichael recorded the melodic themes to the Suite and shared them with Dant. It is possible that Carmichael 79 either recorded or sketched his ideas for the piece and shared them with another composer or orchestrator, in which case the composition would have been a collaboration between the two people. Yet, the only name and address that appear on the Old Glory score belong to Hoagy Carmichael, and those appear on the back of the last page of the score. It is possible that someone other than Carmichael wrote his name and address on the back of the score. If someone else wrote those there, it seems most probable that the copyist or the unnamed collaborator wrote them. However, the handwriting is substantially different than the copyists and shares many commonalities with Carmichaels handwriting.82 Given these circumstances, it seems plausible that Carmichael wrote the address so that whoever he was sharing the score with, perhaps the copyist, would be able to send it back to him. Since the other writing around the address seems to relate to the numbers of copies needed of each part, it makes sense that both those markings as well as Carmichaels address were notes intended for the copyist to read. Whether Carmichael composed Old Glory by himself or with the help of a collaborator, the question still remains why nobody claimed credit for the composition by signing or otherwise claiming authorship on the score. Other possible explanations for this include that when the piece was played at a rehearsal, the composer was not pleased with it and for that reason decided not to claim authorship. Perhaps the composer planned to revise it at a later time or perhaps they intended to simply discard the piece. Another possible 82 These similarities were discussed in more detail previously in this chapter under the heading, Are there autographs or other identifying marks? 80 explanation for not claiming authorship is that the piece was intended to be a part of a larger work, such as a suite. For example, in the score to the Johnny Appleseed Suite, each movement of the work does not state the name of the composer. Instead, the composers name is only printed on the cover to the work. Figure 3.27 shows the first page of the second movement of the Johnny Appleseed Suite in which, like the other movements, the first page of the score includes the title of the movement but does not include the composers name. The possibility that Old Glory was written to be included as part of a larger work will be explored further in the next two chapters. Figure 3.27. Page 1 of movement 2 of the Johnny Appleseed Suite. Each movement does not indicate a composer. 81 Summary While working through Gottschalks process for analyzing a document for authenticity, I was able to uncover evidence that addressed all three of the research questions. By analyzing and comparing the handwriting, mediums, and historical context of Old Glory with other musical manuscripts and handwritten correspondence by Carmichael, I was able to identify many commonalities and contextual clues that help to authenticate Old Glory and tell its story. The individual vocal and instrumental parts to Old Glory were neatly written by a copyist. The copyist stamps on those parts revealed that Lela Lyman completed copying the parts in January of 1953. The handwriting of the musical manuscript on the instrumental and vocal parts to Old Glory very closely matched that of a few other instrumental parts within the collection that were also stamped with the Lela Lyman copyist stamp. However, none of the handwriting on the sketches of melodies that were handwritten by Hoagy Carmichael and contained within the ATM seemed closely or obviously to match the writing of the words or musical manuscript contained within the score to Old Glory. On the back of the Old Glory score, however, there is a handwritten name, address, and a specific instrumentation. The name and address are that of Hoagy Carmichael. I compared this handwriting with handwriting that is verified to have been written by Carmichael and found several similarities, suggesting that the writing on the back of the Old Glory score may have been written by Carmichael. There are also several handwritten words and notes in the individual vocal and instrumental 82 parts, suggesting that Old Glory was once at least rehearsed or run-through by an ensemble sometime before the parts and score were given to the Archives of Traditional Music.83 Carmichael composed works bearing similarities to Old Glory during the same time period that he resided at the Los Angeles address. Specifically, Carmichael composed and premiered Brown County Autumn, his orchestral tone poem, in 1949, with the help of an orchestrator, Eugene Zdor. After the premiere, Carmichael immediately began working on another orchestral piece, which eventually became the Johnny Appleseed Suite. The Suite was eventually premiered, although still incomplete, in December of 1962 by the Indianapolis Symphony Orchestra. The Suite was orchestrated in close collaboration with Nathan Van Cleave, a well-known arranger in Hollywood. The expanded version, which was written for orchestra, baritone vocal soloist, and chorus, was performed for the Bell Telephone Hour program on NBC in 1964. Like the text to Old Glory, the vocal parts to Johnny Appleseed Suite are patriotic in nature, referring to America as our Motherland, and containing references to the great American Dream.84 Another patriotic piece that Carmichael completed around the same time was his arrangement of The Star Spangled Banner, which was printed in the 1965 edition of fact: magazine. There are also three musical manuscript sketches of a classical nature in the Carmichael collection which all bear interesting compositional similarities to Old Glory. These include Rachmaninoff, Fanfare, and Opery. 83 When I rehearsed and recorded the piece, we worked from Xerox copies and did not mark on the originals. These words were sung by Robert Merrill in the 1964 Bell Telephone Hour performance of Johnny Appleseed. The heard lyrics were then compared with a handwritten draft of the lyrics found in the Hoagy Carmichael Collection to clarify the diction that was difficult to decipher. Build a Cabin in the Wilderness, Version 2, Lyric Sheets: Series A-H, Box 1 #86, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. 84 83 Chapter 4 Score Analysis The purpose of this chapter is to continue to answer the first research question: What evidence suggests that Hoagy Carmichael was the composer of Old Glory? While the last chapter focused on authenticating the manuscript, this part of the analysis will deal specifically with comparing the content of the Old Glory manuscripts with other pieces that Carmichael composed to look for similarities. This analysis will be accomplished through a harmonic analysis in which I will analyze the pieces using both chord symbols and Roman numeral analysis with figured bass. Chord symbols are commonly used in jazz notation and Carmichael often used these on his lead sheets, and Roman numeral analysis with figured bass notation is the standard way to analyze musical works of classical music. Additionally, I felt it was important to incorporate this type of analysis because, unlike chord symbols, Roman numeral analysis allows for the identification of inversions, which may be important for identifying patterns in this context. This harmonic analysis will also include the identification of other compositional techniques that could reveal connections between the pieces. In addition to Old Glory, I have chosen to analyze Carmichaels arrangement of the The Star Spangled Banner, Fulfillment Music from the Johnny Appleseed Suite, Ballad from the Johnny Appleseed Suite, and Mr. Music Master. I selected The Star Spangled Banner arrangement because, like Old Glory, it is also a patriotic piece. I chose Fulfillment Music and Ballad because the text to these pieces are both also somewhat patriotic in nature and they are both orchestral arrangements that include parts for voice. Additionally, 84 Fulfillment Music also includes parts for choir. Finally, I included Mr. Music Master because it is a very different piece than the others included in this analysis. Unlike the other works I am analyzing, Mr. Music Master was composed solely for piano and voice without orchestra. The piece exists in a lead-sheet format, meaning it only includes the melody and chord symbols. Additionally, this piece was located in the same oversized folder as Old Glory, which means that it was one of only a few lead sheets that, like Old Glory, was written on large manuscript paper. The current location of the manuscript in such close proximity to Old Glory could also suggest a possible connection between the two pieces. I begin with narrative discussions of the unique features and findings inherent in each work. Following these analysis narratives, I present a narrative comparison in which I compare and contrast characteristics of each piece. To aid in the comparative analysis process, it was necessary to develop a way to easily identify unique features, trends, and similarities between the pieces. I utilized an emergent theme coding process, in which those categories of interest developed as I began noting unique characteristics about each piece, such as awkward leaps or harmonically interesting chordal extensions. After identifying interesting compositional characteristics in each piece, I compared those characteristics across the pieces; I then used a reduction method, in which I coded the data by reducing each characteristic to its most basic description and color-coded each characteristic for ease of comparison. The emergent themes and are notated within the Analysis Notes (Appendices B, D, F, H, and J) as follows: Melody line descends from root to b7, changing the chord function Awkward or uncommon movement, voice leading, or harmonic progression Parallel motion Left out a symbol (chord, clef, etc.) 85 Chord voicing and/or label issue and/or possible wrong note Interesting or uncommon extension or color-tone Usage of chord substitution Chord voiced over extension (altered or unaltered) Once the emergent categories for each piece were coded, I further analyzed the data by comparing the findings from each piece with those in Old Glory and reflecting deeply to discern possible relationships.1 The Comparative Analysis section discusses those relationships in detail. Score Analysis Narratives Old Glory The instrumentation of Old Glory is different than most pieces composed for orchestra in that it leaves out double reeds, horns, and tuba, but includes four trumpet parts, three trombone parts, three clarinet and flute parts, and a bass clarinet, along with strings, percussion, harp, and voices labeled girls and boys in the score. Notably, the piece is written in the key of Bb majora key most often used when writing for wind instruments. The piece also incorporates pizzicato bass lines throughout much of the work, a technique used often in jazz. The unique instrumentation utilized in Old Glory could be attributed to a variety of possibilities. The work may have been commissioned by an ensemble with this specific instrumentation or perhaps the composer purposefully desired the timbre that resulted from this instrumentation. Since both possibilities seem plausible, it is not possible to draw any definitive conclusions based solely on the instrumentation. 1 Johnny Saldaa, The Coding Manual for Qualitative Researchers 2nd edition (California: SAGE Publications Inc, 2014), 34-5, Google Play Books. 86 When looking at the Old Glory score as a whole, I found the implementation of compositional techniques that are typically not accepted as common practice in classical music. Examples of this include the regular usage of parallel perfect intervals such as octaves, fourths, and fifths. The frequent occurrence of parallel motion in this piece suggests that the composer (or the composer that was being emulated) may not have had formal training in music composition or that the composer typically wrote music for jazz ensembles. Parallel motion is much more widely used and accepted in jazz arranging than in this more classical genre into which Old Glory seems to fit. Examples of parallel motion in Old Glory occur in the third measure of the second page, the third measure of the third page, the first and third measures of the fourth page, and the third measure of the twelfth page. It also appears that much of the music would have been difficult to sing for the specified vocal ranges due to difficult leaps, awkward intervals, and parts that reach just outside of the normal vocal ranges for the male voices (fig. 4.1). Figure 4.1. Tenor voices on page 5, measure 2 When the Boys (tenors) voices take the melody in the figure above, they are written in bass clef, and their melody begins on an F below middle C on the fourth page in the first measure. The melody line rises and falls naturally, but then four measures before rehearsal C, the tenors leap from a Bb just below middle C to a high Ab above the staff. The leap is awkward for two reasons. First, it is a minor seventh leap. Second, it extends the tenor voice beyond its 87 (+(0=!)018&C!/0(+.18!+.18&)+ -*!/%018&!.1-*!-%&.)!,0=+&--*!6*./&+!,*)!0-!=&0+-!-%0-!1*-&!017!-%&! 1&L-!1*-&!.1!-%&!7&+/&17.18!=.1&C!0!%.8%!@"E!! P.8()& #EcE!!9*$/*.1"1,+,."'.:",*4;)"%,'17(,1"<,=$(,"(,;,'(1'/"> $%&!.1+-)(<&1-0=!'0)-+!0=+*!.1/=(7&7 0!,&2!02D20)7!=&0'+E!].D&!-%&!6*./& '0)-+C!-%&! 6.*=.1+!.1!P.8()&!#Ec 0F*6&!0)&!7.6.7&7!.1-*!,*()!'0)-+C!=0F&=&7!KC!OC!;C!017!YE!N&6&1!<&0+()&+! F&,*)&!)&%&0)+0=!aC!0==!6.*=.1+!0)&!)&3(.)&7!-*!+%.,-!,)*?YAI ! "" P.8()& #EdE!9*$/*"=*+,"%,'17(,1"<,=$(,"(,;,'(1'/"? $%&!6.*=0!'0)-!0=+*!.1/=(7&+!02D20)7!=&0'+ X,.8E!#EdZE P.6&!<&0+()&+!F&,*)&!)&%&0)+0=!@C! -%&!6.*=.!<(+-!=&0'!,)*Q)E!Q(+./!Q0+-&)B!+/*)&!,*)!'.01*!017!6*/0=!X=&,-Z!/*<'0)&7!2.-%!;0)<./%0&=M+! +D&-/%!X).8%-ZE $%&!,*()-% )&0+*1!-%0-!G!F&=.&6&!;0)<./%0&=!%07!0!/*':.+-!)&0=.H&!-%.+!6&)+.*1!.+!F&/0(+&! -%&)&!.+!0!1*-&!0-!-%&!F*--*Q)E!Q(+./! Q0+-&)B!<(+./0=!<01(+/).'-!*1!-%&!=&,-!.+!2).--&1E!$%&!1*-&!.+!018=&7!-*!-%&!).8%-C!.1!/()+.6&C!017! 2).--&1!2.-%!0!-%.11&)!'&1!-%01!-%&!<01(+/).'-E!$%&!1*-&!+0:+C!>90+!1*-!F&&1!/*))&/-&7B!X,.8E! #EbcZE!P*)!)&,&)&1/&C!G!/*<'0)&7!-%&!%0172).-.18!.1!-%.+!1*-&!2.-%!;0)<./%0&=M+!6&).,.&7! %0172).-.18!,)*\./-()&!,*==*2+E!;01M-!<0D&!80<&E!\=&0+&!+06&!-%.+!=&--&)!,*)!(+&! bbd because Ive had to write this stuff before and except for the published excerpts and I cant seem to locate anything that has all the info in one place.13 A few clues suggest that both notes were written by Hoagy Carmichael. The first clue is the similarities between the H of Hoagy in the 1936 letter and the H of Has on Mr. Music Master. Specifically, it appears that the author did not lift the pen after writing the right vertical line of the H before moving over and up to the left to draw the horizontal line. While this may not be uncommon for cursive handwriting, what does seem to be unique is that the motion is more angular and less curvy. This created a sharp triangle shape in the middle of both of the H letters, which I indicated with circles in Figures 4.12 and 4.13 below. The second clue that indicates that both samples were written by Hoagy Carmichael is the similarities in the cursive t styles. In the Mr. Music Master note, the t in Has not been corrected is written in such a way that an oval was formed when the author drew the pen up the right side and back down the left side. The second t in the word letter in the 1936 letter also shares this similarity. Further, the crossings over both of the t letters occur about a third of the way down from the top of the letter and contain a small hook on the left side of the line. For all of these reasons, I find it likely that the handwriting at the bottom of Mr. Music Master is that of Hoagy Carmichael. The handwritten note which states, Has not been corrected, probably means that Carmichael or someone else had reviewed this version and recognized that it contained some mistakes. 13 Transcription of handwriting included in archival collection. Correspondence between Hoagy Carmichael and M. B. Yarling, Radio and Publicity Dept., Sears & Roebuck, November 12, 1936. Folder 2, Item 2-3. Hoagy Carmichael Collection, Archives of Traditional Music, Indiana University, Bloomington. 114 Figure 4.12. Handwritten note at the bottom of the Mr. Music Master score. Figure 4.13. Hoagy Carmichael handwriting. This handwriting appears on the bottom of a letter dated Thursday, Nov. 12th from Carmichael to Mr. Yarling.14 Mr. Music Master is written in Bb major and in cut time. The harmonic analysis of Mr. Music Master reveals many interesting compositional techniques. This piece has several occurrences in which chords progress in unexpected ways. In the first measure, the chord on beat three is a fully diminished chord built on Bb but inverted with a C# in the bass. This chord seems to be functioning as a borrowed chord, bviio/ii, because it progresses to ii. This is an uncommon progression because the root of the diminished chord, Bb, is a whole step away from the root of the ii chord, C. Normally, the reason that a viio chord creates a sense of motion towards its tonic is because of the leading tone relationship and half- 14 Correspondence between Hoagy Carmichael and M. B. Yarling, Radio and Publicity Dept., Sears & Roebuck, November 12, 1936. Folder 2, Item 2-3. Hoagy Carmichael Collection, Archives of Traditional Music, Indiana University, Bloomington. 115 step resolution. By lowering the root of the fully diminished triad by a half-step, the composer has effectively negated what usually makes this progression so strong and effective. However, Carmichael mediated this by inverting the chord, creating a smooth, chromatic descending line in the bass that resolves downwards by a half-step. The fourth measure of the first line on the first page contains Bb9. Normally a chord that appears to be a I7 at first glance is actually functioning as a secondary dominant of IV. However, in this case, there is no progression towards Eb. For this reason, I analyzed the chord as a I7. This makes sense given the jazz context of the piece and the nature of the blues influence on jazz. In the blues, I chords are often dominant seventh chords. The chord on beat four of the fourth measure of the first page also seems to function as a I7 and not a secondary dominant of IV. On page two, there is a D7(b9) chord in the first measure of the first line. I would normally assume that this chord in the context of Bb major would function as V7/vi. However, the chord does not progress towards vi. The chords in this measure move on the offbeats in the right hand and the bass line moves on the downbeats in the left hand. After the D7(b9) chord, an Eb major chord is then voiced in the right hand on the and-of-two. On beat three, the bass descends to a C changing the chord into a C-7 chord, then finally resolving on beat four to Eb major. Harmonically, the progression in this measure does not seem to make much sense. Another instance of an odd chord progression occurs on the second page in the first measure of the second line. Here on beat three, the A diminished chord should function as viio of the key. However, the chord does not progress to I or to another dominant functioning chord. Instead, it harmonically regresses to ii. In the third line on the second page, the third 116 measure also contains an odd chord progression. The first chord is an Eb diminished triad in root position. I would ordinarily expect this chord to function as either a iio or a viio of something. I would also expect it to resolve up a half-step from its root, regardless of the inversion. This Ebo chord progresses directly to D7(b9). For this reason, it seems to be functioning as a iio of the following chord, including the altered extension. Specifically, if we assume that the flatted ninth extension is the second of the chord, then the Ebo is built on the bii of the following chord. This analysis makes sense in the context of borrowed chords, but here the root, Eb, is borrowed from a more complex chord than simply considering a major or minor tonality. On the fourth line of the second page, the chord occurring on beat three in the third measure is Ao. This would normally function as viio6 within the key of Bb and would normally resolve to Bb or G, or would progress directly to another dominant functioning chord. However, here it progresses to a C- chord, which is ii in the key. The F-7 chord in the first measure in the third line on the second page, which functions as ii65/IV, notably progresses directly to IV without a mediating dominant functioning chord. This type of harmonic motion is not common. Another instance of an uncommon harmonic progression occurs in the second line of the third page. In the first measure, the chord on beat three is C7 and functions as ii7 of the key. However, it progresses directly to I without a dominant functioning chord mediating the progression, which is unusual. This same thing occurs again in the same key on beat three of the second measure in the third line on page three. 117 On the third page, the composer again uses the melody to create a sense of forward motion over an interesting harmonic progression. The chord in the third measure of the first line is G-7. However, on beat two, the bass line descends to an Ab before landing on the root of the chord on beat three. The Ab on beat two is the flatted ninth of the key but functions here to create a sense of forward motion which pulls the listener towards the root on beat three with the half-step motion. This progression accomplishes this sense of pull towards the root in the same way that a Neapolitan sixth chord or tritone substitution would draw the listener to the next chord with the half-step motion. Melodically, the bass line in this measure is foreshadowing the bass note that occurs on beat one of the next measure (Eb) by descending from the fifth of Eb (Bb) down diatonically to the Eb. However, on beat one of the next measure, the Eb becomes the third of a C minor chord. On the fourth page on line three, the second chord of the second measure is Bbo. This chord seems to function as a bviio/ii because it progresses directly to ii. However, without the leading tone relationship between B and C, the aural draw towards Bb is not as obvious. On the fourth page, the third measure of line four contains another interesting progression beginning on beat four. Here, the chord becomes a D7(+9) chord containing both the flatted ninth and raised ninth extensions with the addition of the D in the melody. However, it seems to function only as a passing chord and does not seem to function harmonically within the progression. On the fifth page there are more examples of chords that do not seem to serve a harmonic function but instead seem to serve to simply support the melody. In the third measure of the first line on that page, the first chord is Bb9. Then, the Ab, which functions as 118 the seventh of the chord, descends by a half-step to G, changing the chord to G-7. The Bb in the first alto voice then descends to A and the G in the second alto voice descends to F#. However, the Bb and F in the bass and tenor sustain during this change. The resulting chord (Bb, F, F#, A, D) seems to be a BbM7(b6) spelled with the flatted sixth spelled out enharmonically with an F# (fig. 4.14). The next chord seems to be a Bb chord with a major seventh but it is missing a third. This progression seems to create a sense of motion under the sustained melody note but does not serve an obvious harmonic purpose. Figure 4.14. Page 5, line 1, measure 3. There are also instances of parallel motion in this piece. Specifically, this occurs in beats 3-4 between the alto (Eb to D) and tenor (Bb to A) voices in the first measure on the third line on the first page. Also, in the same measure, from beat four to one between the alto (D to C) and the tenor (A to G). The following measure also has parallel motion between the tenor (G to F#) and bass (C to B) voices. In the first measure in the third line on the second page, the G-7 chord that occurs on beat one is sequenced down by a whole step to the and-of-one. This creates parallel motion and also invokes a feeling of forward motion. Specifically, the parallel motion occurs when the Bb descends to Ab over the F descending to Eb, and also when the G descends to F over the D descending to C. Also, despite the mediating chromatic tone, there is 119 still parallel motion between the soprano (F to G) and the tenor (Bb to C) voices in beats four through one of measures one through two in the first line of page three. Carmichael also incorporates chord substitutions in this work. In the third measure of the first line, the chord on beat three is a B7 chord that progresses directly to a Bb chord. In jazz, this would be considered a tritone substitution, in which the B7 chord has been substituted for the V chord (F) that would have otherwise been the dominant progressing to Bb. In Roman numeral analysis, however, this is considered a Neapolitan (N6) chord. This same Neapolitan chord progression also occurs on beat three in the second measure of the third line on the first page. Also, on the third page in the first measure of line three, the chord on beat one is Gb7, which functions as a Neapolitan sixth chord in Roman numeral analysis, which progresses down by a half-step to the F+7(b9) chord on beat two. This piece also contains flatted ninth extensions. I will not list all of these occurrences here since this is a common compositional technique used in many jazz songs. However, I will note a few of these flatted ninth extensions to aid in the comparison process. The third measure on the second line of the first page has a F7(b9). Also, the chord on beat three of the third measure on the fourth line on the first page is a G minor chord with a flatted ninth extension and a major seventh. The chord on beat two in the first measure of the first line on page two is a D7(b9). On line four on the first page, the chord on beat three of the second measure sounds as an augmented seven chord with a flatted ninth extension, F7+(b9). In the third line on the second page, the third measure has a D7(b9) chord. While the flatted ninth extension is common on seventh chords in jazz, it is not very common for the flatted ninth extension to occur on minor seventh chords. However, in the 120 fourth line on page three, the second measure contains D-(b9). The flatted ninth extension on a minor chord occurs again later on page six in the second measure of the second line. The third chord in that measure is G-7(b9). Mr. Music Master also has a few major sevenths. On the first page, the chord on beat three of the fourth measure in the first line is a BbM7(b6). However, the chord appears to function as non-harmonic passing tones and as part of a chromatic descending line from beat one through to beat four. On the same page, the third measure of the fourth line contains a G minor with both a flatted ninth and a major seventh extension, which is very uncommon and difficult to indicate with Roman numeral analysis. This piece contains a few chords with uncommon extensions. The chord on beat three of the third measure in line three of the first page is a major seventh chord with a flatted sixth. Usually a major chord that contains both a fifth and a flatted sixth would also contain a flatted seventh; It is uncommon to have a major seventh in a chord that also contains a flatted sixth. Page two contains a minor eleventh chord on beat four in the first measure of the second line on the second page. Interestingly, some of the chords in Mr. Music Master seem to be missing necessary chord tones. For example, the Bb chord on beat four of the fourth measure on the first page does not have a third in it. Another example of a chord that seems to be missing a necessary chord tone can be found on the fourth line of the fifth page in the first measure. There, the C#o7 on beat three is missing a fifth. The notes that are there include C# in the bass, E, and Bb. I recognize that this chord could also be considered a Bbo triad spelled enharmonically in first inversion. However, given the melodic motion of the bass line, which ascends chromatically 121 here from C to C# to D, the chord seems to function as C#o7 (viio7/iii) and not as Bbo. While the resolution to G-7 on the downbeat of the next measure still does not fulfil the expectation harmonically, the D voiced in the root does fulfill the expectation melodically (fig. 4.15). Figure 4.15. Page 5, line 4, measures 1-2. Mr. Music Master also contains melodic motion in which the root of the key descends to the flatted seventh in the melody. This creates a dominant functioning sound for the listener. Examples of this can be found in the third line on page two. In the first measure on the and-ofone, the melody descends from the root of the key (Bb) to the flatted seventh (Ab). This occurs again each time the melody is repeated in this way. This piece also contains augmented seventh chords. On line four on the first page, the chord on beat three of the second measure sounds as an augmented seven chord with a flatted ninth extension, F7+(b9). However, it is written enharmonically with a Db instead of a C#. This makes sense melodically since the Db melody note progresses to a C and then to a Bb. In this context, the Db functions as the flatted 3 of the key and is used as a blue note in this melody line. In the F+7(b9) chord on beat two in the first measure of the third page, the augmented fifth is voiced enharmonically as Db. 122 Some of the chords in this piece are voiced over their extensions in the bass, making them difficult to analyze with Roman numerals. Examples of this occur on line two of the second page. In the first measure, the chord on beat four is a C-11. It is voiced over the fourth in the bass. Also, in the following measure, the C-7 chord on beat three is voiced over an F, the eleventh, in the bass. This also occurs later in the fourth line of the same page in the third measure. Here, the chord on beat four is a C-11 voiced over the F in the bass. On the following page in the first line, the chords occurring on beats three and four are voiced over a suspended F pedal in the bass. The chord on beat three is an Eb major chord, so the bass pedal is the ninth extension of the chord. It is not usual for a major chord to have a ninth extension without containing a sixth or seventh as well. The next chord on beat four is a C minor chord voiced over the F pedal. The minor eleventh chord in the first measure of the second line on the second page is voiced over its eleventh extension. The same chord voicing can be found in the third measure of the fourth line on the second page. On the fourth line of the third page in the third measure, an Eb diminished triad is voiced over a Bb in the bass. The same chord can also be found in the same key on the fifth page on the second line in the third measure on beat four. Similarly, in the third measure of the third line on the fifth page, the C-11 chord on beat four has the eleventh extension (F) in the bass voice, but the F seems to function melodically as an anticipation because the F is repeated on beat one of the following measure where it is the fifth of the Bb chord. For this reason, I am analyzing the F there as a non-chord tone. In summary, there are many compositional techniques and patterns throughout this piece that may be indications of this composers particular compositional style. Examples of this 123 include the usage of the Neapolitan sixth chord, or tritone chord substitution, resolving down by a half-step. This progression is found four times in this piece. Also, there are many chords that progress in uncommon ways, including ii chords that progress directly to their tonic chords. The piece also contains a few chords that seem to be missing important defining chord tones in them, such as thirds and sevenths. Some of the chords in this piece have uncommon alterations, such as major seventh chords with flatted sixths and minor chords with flatted ninths. The piece also contains examples of parallel motion that tends to occur when the composer is sequencing chords downwards stepwise. Finally, there are many chords in this piece that were incredibly difficult to analyze because the notes in the chords did not constitute typical chordal structures. They were also difficult to analyze because those chords did not serve any obvious purpose towards propelling the harmonic progression, but rather seemed to support the melody by creating a sense of motion or tension in unexpected and uncommon ways. As Pat Harbison, a member of my dissertation committee, noted when reviewing the odd chordal structures and harmonic progressions in this analysis, The chord symbol system is breaking under its own weight.15 Comparative Analysis To further my efforts towards authenticating Old Glory and confirming its authorship, I completed a harmonic analysis of the piece in which I labeled chords with both chord symbols and Roman numerals with figured bass symbols to indicate inversions. I then completed the same detailed analysis for four other pieces that Carmichael authored. Those pieces include his arrangement of The Star Spangled Banner and his original compositions, Fullfillment, 15 Correspondence between myself and Pat Harbison via Facebook Messenger, July 2021. 124 Ballad, and Mr. Music Master. After completion of the harmonic analyses, I drafted analysis notes which noted significant, interesting, and uncommon characteristics of each piece. Finally, I coded this data and compared the findings for each piece. Those findings will be discussed in this section. Parallel Motion The Old Glory composition contains many interesting compositional characteristics. First, the majority of the chords in this piece occurred in root position. Inversions occurred infrequently, but first inversion chords can be found twelve times,16 second inversions can be found five times,17 and chords in third inversion occur only four times throughout the piece.18 The prevalence of root position chords seems to have contributed towards the occurrences of parallel motion within the piece.19 The majority of the chords in The Star Spangled Banner arrangement were also found to be in root position while thirteen chords were voiced in first inversion,20 four chords were voiced in second inversion,21 and just one chord appeared in third inversion.22 Some instances of parallel motion also occur in this arrangement.23 Most of the chords in the Fulfillment music from the Johnny Appleseed Suite were also voiced in root position. Chordal inversions were infrequent, but chords in this piece occur in first inversion nine times,24 second inversion 16 Old Glory, p. 1: mm. 1; p. 3: mm. 3; p. 4: mm. 3; p. 6: mm. 2; p. 7: mm. 4; p. 8: mm. 1, mm. 4; p. 11: mm. 3; p. 12: mm. 1, mm. 3; p. 13: mm. 2, mm. 3. 17 Ibid: p. 4: mm. 3; p. 6: mm. 3; p. 10: mm. 3; p. 11: mm. 1; p. 12: mm. 4. 18 Ibid: p. 4: mm. 3; p. 6: mm. 2; p. 7: mm. 3; p. 13: mm. 1. 19 Ibid: p. 2: mm. 3; p. 3: mm. 3; p. 4: mm. 1, mm. 3; p. 12: mm. 3. 20 The Star Spangled Banner, p. 1: mm. 1, mm. 2, mm. 7, mm. 9, mm. 10; p. 2: mm. 1, mm. 6, mm. 7, mm. 13. 21 Ibid: p. 1: mm. 5; p. 2: mm. 7, mm. 8. 22 Ibid: p. 1: mm. 6. 23 The Star Spangled Banner, p. 2: mm. 7, mm. 12. 24 Fulfillment, p. 4: mm. 3; p. 5: mm. 1; p. 6: mm. 1, mm. 3, mm. 4; p. 14: mm. 2; p. 15: mm. 4; p. 16: mm. 1, mm. 2. 125 five times,25 and third inversion eight times.26 However, I was unable to find occurrences of parallel motion in this movement. Most of the chords in the Ballad movement from the Johnny Appleseed Suite were also found to be voiced in root position. Exceptions to this include eight first inversions,27 three second inversions,28 and four third inversions.29 Notably, both this piece and Old Glory begin with a major chord in first inversion. Despite the prevalence of root position chords, I was also unable to find any obvious occurrences of parallel motion in the Ballad movement. Most of the chords in Mr. Music Master are also voiced in root position. However, there were 27 chords in first inversion,30 14 chords in second inversion,31 and 11 chords in third inversion32 in this piece. Despite having many more inversions in this piece than in the other pieces, Mr. Music Master still contains multiple occurrences of parallel motion33 (Table 4.16). 25 Ibid: p. 3: mm. 4; p. 15: mm. 4; p. 16: mm. 2, mm. 3; p. 17: mm. 3. Ibid: p. 2: mm. 3, mm. 4; p. 4: mm. 1; p. 5: mm. 4; p. 6: mm. 2; p. 14: mm. 2; p. 15: mm. 1; p. 16: mm. 4. 27 Ballad, p. 1: mm. 1, mm. 3; p. 2: mm. 4; p. 5: mm. 1, mm. 4; p. 6: mm. 1; p. 11: mm. 4; p. 15: mm. 4. 28 Ibid: p. 5: mm. 1; p. 7: mm. 4; p. 12: mm. 4. 29 Ibid: p. 3: mm. 4; p. 13: mm. 2; p. 15: mm. 2, mm. 4. 30 Mr. Music Master, p. 1: mm. 1, mm. 9, mm. 12, mm. 13, mm. 14; p. 2: mm. 4, mm. 5, mm. 7, mm. 12; p. 3: mm. 3, mm. 4, mm. 5, mm. 8, mm. 9, mm. 11; p. 4: mm. 4, mm. 5, mm. 8, mm. 11, mm. 12, mm. 14, mm. 16; p. 5: mm. 1, mm. 3, mm. 5, mm. 12, mm. 13. 31 Ibid: p. 1: mm. 2, mm. 10; p. 2: mm. 2, mm. 9, mm. 10; p. 4: mm. 2, mm. 9, mm. 13; p. 5: mm. 1, mm. 5, mm. 9, mm. 10, mm. 11, mm. 15. 32 Ibid: p. 1: mm. 2, mm. 9, mm. 16; p. 2: mm. 3, mm. 6; p. 3: mm. 2; p. 4: mm. 3, mm. 6, mm. 9; p. 5: mm. 10, mm. 11. 33 Ibid: p. 1: mm. 2, mm. 3, mm. 10; p. 2: mm. 3, mm. 5, mm. 7, mm. 10; p. 3: mm. 1; p. 4: mm. 9, mm. 10; p. 5: mm. 1, mm. 2, mm. 10. 26 126 "Old Glory" "Star Spangled Banner" "Mr. Music Master" "Fulfillment" "Ballad" 1st inversions 12 13 27 9 8 2nd inversions 5 4 14 5 3 3rd inversions 4 1 11 8 4 parallel motion 5 2 13 0 0 Table 4.16. Occurrences of inversions and parallel motion in analyzed works. Altered Chords The second characteristic that I noted in Old Glory is the prevalence of altered extensions, which are not very common in classical music, but are found more frequently in jazz. Specifically, Old Glory contains many augmented seventh chords with flatted ninth extensions.34 These chords occur in the second measure of the melody at the beginning of nearly every phrase, with the melody emphasizing the raised fifth scale degree. The piece also has seventh chords that contain lowered fifths (or their enharmonic equivalent) together with raised or lowered ninth extensions.35 The Star Spangled Banner arrangement also contains some altered extensions. The alterations in this piece, specifically flatted ninths that resolve down by a half-step when the chord changes, seem to function more melodically as nonharmonic tones, rather than as chordal extensions.36 The Fulfillment music from the Johnny Appleseed Suite also contained alterations that are more common in jazz, including flatted ninth37 and flatted sixth extensions.38 The piece 34 Old Glory, p. 2: mm. 2, mm. 4; p. 3: mm. 2; p. 4: mm. 2, mm. 4; p. 5: mm. 2, mm. 4; p. 7: mm. 2, mm. 4; p. 8: mm. 2; p. 9: mm. 1, mm. 3; p. 10: mm. 2, mm. 4; p. 11: mm. 2, mm. 3; p. 12: mm. 2, mm. 3, mm. 4; p. 13: mm. 2. 35 Ibid: p. 3: mm. 2; p. 5: mm. 4; p. 8: mm. 4; p. 11: mm. 2; p. 12: mm. 3, mm. 4; p. 13: mm. 4. 36 The Star Spangled Banner, p. 1: mm. 6, mm. m 14. 37 Fulfillment, p. 7: mm. 2; p. 14: mm. 1; p. 15: mm. 1, mm. 4. 38 Ibid: p. 4: mm. 4. 127 also contained altered chords uncommon in jazz, including one instance of a flatted ninth extension over a minor chord.39 The Ballad movement from the Johnny Appleseed Suite contained altered extensions as well. Alterations found in the Ballad include flatted ninth extensions used both harmonically40 and melodically as nonharmonic tones,41 a seventh chord with a raised ninth extension,42 and also a seventh chord with a flatted fifth.43 Mr. Music Master also contains altered extensions, including chords with flatted ninths,44 augmented seventh chords with flatted ninth extensions,45 a chord containing both a major seventh and a flatted sixth extension,46 a seventh chord with both a flatted ninth and flatted sixth extension,47 minor chords with flatted ninth extensions,48 and a seventh chord containing both the flatted ninth and the raised ninth extensions.49 The most common alteration found in all the analyzed pieces was the flatted ninth extension. A less common altered extension that occurs frequently in Old Glory is the augmented seventh chord with the flatted ninth extension. This chord can also be found in Mr. Music Master. However, the seventh chords that contain lowered fifths (or their enharmonic equivalent) together with raised or lowered ninth extensions in Old Glory did not occur in the other pieces. 39 Ibid: p. 6: mm. 4. Ballad, p. 15: mm. 3. 41 Ibid: p. 5: mm. 4. 42 Ibid: p. 16: mm. 3. 43 Ibid: p. 7: m. 2. 44 Mr. Music Master, p. 1: mm. 7, mm. 14; p. 2: mm. 9; p. 4: mm. 14; p. 5: mm. 6. 45 Ibid: p. 1: mm. 15; p. 3: mm. 7. 46 Ibid: p. 1: mm. 12. 47 Ibid: p. 5: mm. 6. 48 Ibid: p. 1: mm. 16; p. 3: mm. 11; p. 5: mm. 7. 49 Ibid: p. 4: mm. 14 40 128 Q&=*7:!;%018&+!;%*)7!F:!Y&+/&17.18!,)*?=7!@=*):B!.+!-%&!-&17&1/:!,*)!-%&!<&=*7:!1*-&! -*!7&+/&17!,)*$%&!N-0)!N'018=&7!O011&)CB!-%&!<&=*7:!0=+*!7&+/&17+!,)*P(=,.==<&1-B!<(+./! 1*)!.1!-%&!>O0==07B!,)*R*%11:!K''=&+&&7!N(.-&EB 9*2&6&)C!G!7.7!,.17!-%.+!<&=*7./!<0-&).0=! .1!>Q)E!Q(+./!Q0+-&)EB!$%.+!*//())&1/&!20+!0!F.-!7.,,&)&1-C!%*2&6&)C!F&/0(+&!2%.=&!-%&!F0++! =.1&!20=D+!0!7&+/&17.18!=.1&!7*21!,)*I $! OR1I!R7;/9!R(;:F1,Q!LI!=2!KKI!_I $* $) Figure 4.18. Melody descends from root to flatted seventh in The Star Spangled Banner, p. 1, mm. 4. Figure 4.19. Melody descends from root to flatted seventh in Mr. Music Master, p. 2, mm. 7. Chords Voiced Over Extensions The fourth interesting characteristic I noted within Old Glory is that the composer would sometimes, though infrequently, voice chords over extensions in the bass, such as a major chord over a ninth53 or a minor chord over an eleventh,54 or over altered extensions on seventh chords, such as flatted ninths or raised ninths.55 In The Star Spangled Banner, a Db minor chord is voiced over the ninth extension in the bass at a fermata,56 then a Db6 chord is voiced over a Bb, its sixth extension, a few measures later.57 This also occurred in the Fulfillment music from the Johnny Appleseed Suite. Specifically, this piece incorporated 53 Old Glory, p. 4: mm. 1. Ibid: p. 12: mm. 1. 55 Ibid: p. 12: mm. 2. 56 The Star Spangled Banner, p. 2: mm. 14. 57 Ibid: p. 2: mm. 17. 54 130 many seventh chords of differing qualities voiced over eleventh extensions in the bass,58 and it even contained one chord voiced over its raised eleventh extension in the bass.59 The Ballad from the Johnny Appleseed Suite also contains a couple examples of chords voiced over extensions in the bass, including a chord that is voiced over the sixth in the bass60 and a chord that is voiced over the ninth in the bass.61 Examples of this trend can also be found in Mr. Music Master. In this piece, some minor chords are voiced over the eleventh extension in the bass voice62 or over the ninth extension in the bass voice.63 There are also two occurrences in which a diminished triad (Eb0) is voiced over a nonharmonic tone (Bb).64 Missing Notes and Wrong Notes The fifth notable characteristic within Old Glory is that there are a few places where chords are missing thirds65 and where there may be incorrect notes or simply odd nonharmonic tones in the score.66 This also occurs in the The Star Spangled Banner, in which three chords are missing thirds,67 one chord is missing a root,68 two chord symbols were left out of this arrangement,69 and four chords seem to be labeled or voiced incorrectly.70 In the Fulfillment music from the Johnny Appleseed Suite, there seemed to be more mistakes and odd voicings towards the end of the piece. Specifically, there is one eleventh chord that does not contain a 58 Fulfillment, p. 4: mm. 1, mm. 4; p. 5: mm. 2; p. 7: mm. 1; p. 14: m. 4; p. 15: mm. 1. Ibid: p. 17: mm. 1. 60 Ballad, p. 6: mm. 1. 61 Ibid: p. 16: mm. 2. 62 Mr. Music Master, p. 2, mm. 4, mm. 6, mm. 12; p. 3: mm. 2. 63 Ibid: p. 3: mm. 2. 64 Ibid: p. 3: mm. 12; p. 5: mm. 8 65 Old Glory, p. 5: mm. 3, mm. 4. 66 Ibid: p. 7: mm. 1, mm. 2, mm. 4. 67 The Star Spangled Banner, p. 2: mm. 3, mm. 4, mm. 10. 68 Ibid: p. 2: mm. 13. 69 Ibid: p. 2: mm. 8, mm. 11. 70 Ibid: p. 2: mm. 7, mm. 9, mm. 14, mm. 17. 59 131 seventh,71 and the same measure contains what appears to be a half-diminished seventh chord, which contains both the flatted seventh and the diminished seventh.72 Similarly, in the Ballad from the Johnny Appleseed Suite, there are many examples of chords missing important notes as well as oddly voiced chords and notes that were almost certainly included by mistake. This first occurs in one chord that contains both a raised fifth and an unaltered fifth scale degree as well as a major seventh.73 There are a few notes that seem to be missing sharp, flat, or natural symbols,74 and this movement also contains one chord that has a ninth extension but lacks a seventh.75 In Mr. Music Master, there are chords that are missing thirds,76 and there is a chord that has a ninth extension but is lacking a seventh.77 Chord Substitutions The sixth interesting compositional characteristic I found is that Old Glory contains instances in which the composer utilizes chord substitutions. Specifically, the chord substitutions in this piece occur as Neapolitan sixth chords, or what would be considered tritone substitutions in jazz theory analysis.78 The Star Spangled Banner arrangement also utilizes the Neapolitan sixth chord in the last phrase.79 The Fulfillment music from the Johnny Appleseed Suite does not contain a Neapolitan chord, but it does contain an odd chord in the last phrase that appears to be built like German augmented sixth chord (1, b3, #4, 71 Fulfillment, p. 15: mm. 1. Ibid: p. 15, mm. 1. 73 Ballad, p. 5: mm. 3. 74 Ibid: p. 9: mm. 2, mm. 4; p. 10: mm. 2; p. 11: mm. 2; p. 12: mm. 2; p. 16: mm. 4. 75 Ibid: p. 16: mm. 2. 76 Mr. Music Master, p. 1: mm. 1, mm. 4, mm. 12; p. 5: mm. 3, mm. 14. 77 Ibid: p. 3: mm. 2. 78 Old Glory, p. 9: mm. 2; p. 14: mm. 2. 79 The Star Spangled Banner, p. 2: mm. 16 72 132 b6) but it has a diminished sixth, instead of a flatted sixth, and a major third, instead of a flatted third.80 Since the root of this chord resolves down by a half-step to the following chord, it seems to function in the same way as the Neapolitan sixth chords functioned in the two previously mentioned pieces. In the Ballad from the Johnny Appleseed Suite chord substitutions always immediately proceed each key change. Specifically, the on page 12 the harp leads the transition to the key of C major by preceding the chord resolution from a half-step above and resolving the tonality down a half-step, creating that Neapolitan sound,81 like that which is also found in Old Glory. Additionally, Ballad also includes chord substitutions that are built off any of the notes that comprise a fully diminished chord from the root of the dominant that would otherwise precede the key change.82 The penultimate chord of this movement is also a substituted chord, which I analyzed as a German augmented sixth chord. However, the Db7(+9) chord functions here practically as a minor second substitution, sounding a half-step higher than the C7 chord the listeners might otherwise expect.83 In Mr. Music Master, there are also instances of substituted chords. Specifically, Carmichael implemented the Neapolitan sound in this piece by incorporating five tritone substitutions throughout the work.84 These substitutions always resolve by descending a halfstep. 80 Fulfillment, p. 17: mm. 1. Ballad, p. 12: mm. 4. 82 Ibid: p. 4: mm. 4; p. 8: mm. 4. 83 Ibid:, p. 16: mm. 3. 84 Mr. Music Master, p. 1: mm. 3, mm. 11; p. 3: mm. 7; p. 4: mm. 10; p. 5, mm. 2. 81 133 Chords that Progress in Odd Ways Finally, most of the chord progressions within Old Glory seem to make sense harmonically, but there are exceptions. Even considering the alterations and non-harmonic tones, almost all of the chords seem to progress as expected. Exceptions to this occur in the fourth measure of the eighth page when a ii7 chord progresses directly to a I chord without a mediating dominant chord. The same pattern holds true for The Star Spangled Banner arrangement in that most of the chord progressions make sense harmonically with the exception of a ii7 chord that progresses directly to a I chord without a mediating dominant chord.85 In the Fulfillment music from the Johnny Appleseed Suite, there are also a few examples of chords that progress in unusual ways. Specifically, this occurs when ii7 chords, either minor or half-diminished, progress directly to their tonic chord without a mediating dominant chord. This occurs six times in this movement.86 However, the Ballad movement does not contain any instances of ii chords progressing directly to I chords, and all of the chord progressions in this movement make harmonic sense when considering the logic behind the substituted chords as previously discussed. In Mr. Music Master, most of the chord progressions make sense. However, this piece contains some chords that only seem to provide support for the melody and the melodic direction of the bass line by invoking tension or a sense of forward motion. Specifically, this occurs when the melody descends and those melody notes are harmonized.87 One example of 85 The Star Spangled Banner, p. 2: mm. 13. Fulfillment, p. 4: mm. 1, mm. 2, mm. 3; p. 5: mm. 1; p. 16: mm. 1, mm. 2. 87 Mr. Music Master, p. 1: mm. 1; p. 2: mm. 1, mm. 4, mm. 9; p. 4: mm. 14. 86 134 this occurs when a D7(b9) does not resolve to a G chord, but instead the notes in the chord descend in harmonized triads, eventually progressing to Eb major.88 Also, some of the chords that should have specific and obvious functions within the context of the piece do not always progress in the ways in which one might otherwise expect. In one example, an A fully diminished seventh chord that should function as viio65 regresses to a ii chord voiced over an eleventh extension (C-11) rather than resolving to the tonic, dominant, or submediant; it then progresses directly to vi without a mediating dominant functioning chord.89 This piece also includes half-diminished ii chords that progress directly to I chords without a dominant functioning chord mediating the progression.90 There is also a recurring Bbo chord in this piece that seems to function as a borrowed chord, bviio/ii, since it progresses directly to ii each time. However, since the root of the diminished chord is a whole step away from the ii chord, it does not seem to support the harmonic progression. Carmichael mediates this each time by voicing the diminished chord in first inversion, creating a half-step resolution from the C#, voiced in the bass on the diminished chord, to the C, the root of the ii chord.91 In its last occurrence, however, the bass line ascends from C# to D, in which case the diminished chord should function as viio/D. However, since the diminished chord does not contain a G, the diminished fifth, it cannot be labeled as such. 88 Ibid: p. 2: mm. 1 Ibid: p. 2, mm. 7, mm. 12. 90 Ibid: p. 3: mm. 4, mm. 8. 91 Ibid: p. 1: mm. 1; p. 4: mm. 8; p. 5: mm. 14. 89 135 Differences There were a few interesting features that I identified in Old Glory or in other pieces by Carmichael, but which were not found in more than one piece. One of these unique features is the augmented seventh chords with the flatted ninth extensions found throughout Old Glory92 that were not found in the other works. Other examples of unique features include the German sixth chord with an added seventh in Ballad93 and the German sixth chord, which has the substituted major third for the flatted third and diminished sixth instead of the flatted sixth, in Fulfillment,94 neither of which appeared in any of the other analyzed works. The Star Spangled Banner also contained a few chord symbols that seemed to be labeled incorrectly.95 However, the other analyzed works did not include chord symbols, so while they did not include incorrect labels, those works did seem to include a few wrong notes, as previously discussed. Summary The aim of this chapter was to continue to answer the first research question: What evidence suggests that Hoagy Carmichael was the composer of Old Glory? To accomplish this, I completed harmonic analyses of Old Glory and of four other works written by Hoagy Carmichael. These works included his arrangement of The Star Spangled Banner, two movements, Fulfillment and Ballad, from his Johnny Appleseed Suite, and his original composition, Mr. Music Master. I then noted the unique and interesting characteristics in 92 Old Glory, p. 2: mm. 2 and throughout the work on beat 2 of the second measure each time the melody returns. 93 Ballad, p. 16: mm. 3. 94 Fulfillment, p. 95 Star Spangled Banner, p. 2: mm. 8, mm. 11. 136 each piece, then coded the data to reveal patterns and themes within each piece. Finally, I compared the findings between the pieces to determine commonalities. During the coding process, seven common themes emerged as follows. Parallel motion related to chordal voicings Altered extensions Melody note descends from root to b7, implying dominant function Chords voiced over extensions in the bass Chords missing notes / wrong notes in score Use of chord substitutions Chord progression does not make harmonic sense I will summarize these findings below and discuss what they might indicate on their own and together. While a composer may choose to incorporate any number of inversions into their music, it is significant when a composer does not incorporate many inversions because this can lead to occurrences of parallel motion. Parallel motion is not typically desired in classical or quasiclassical musical settings. However, parallel motion is accepted in writing for jazz bands and in voicings for chordal instruments in jazz performance. The multiple occurrences of parallel motion in Old Glory, The Star Spangled Banner, and especially in Mr. Music Master, provide strong support for the idea that the composer of these works had a background in jazz. Further, since all three of these pieces had a similar ratio of inversionsmore first inversion chords, about half as many second inversion chords, and just a few less third inversion chords than second inversion chordsthis establishes a pattern that suggests that all three of these pieces may have been written by the same person. Notably, Fulfillment and Ballad do not follow the same pattern. One possible explanation for this is that these two movements were realized with the help of an arranger, 137 Nathan Van Cleave. Carmichael said that he shared his ideas for the movements with Bud Dant and Nathan Van Cleave, then Van Cleave helped realize the movements for orchestra. For this reason, it is reasonable to assume that much of the orchestration, specifically the voicings, would have likely been determined by Van Cleave, while the melodic content and most of the chord progressions were most likely determined by Carmichael. The flatted ninth extension was the recurring alteration that was found in all of the analyzed pieces. While less common in classical and quasi-classical music, the flatted ninth extension is by no means unique to these pieces. Less common, however, is the augmented seventh chords containing the lowered ninth extension. These chords were found in both Old Glory and in Mr. Music Master. While these chords certainly are not unique to these pieces, they are less common. While interesting, this could easily be a simple coincidence. For this reason, I hesitate to draw any definitive conclusions regarding this part of the findings. The pattern of the melody line descending to the flatted seventh coupled with its harmonic function is important and unique. The fact that the pattern is found in Old Glory, The Star Spangled Banner, and Mr. Music Master suggests a strong connection between the composers of the three pieces. Notably, Carmichael did not write the melody to The Star Spangled Banner. However, the important part of this harmonization is that in all three of the pieces, the flatted seventh was not part of the chord until the melody note descended to it. While the recurrence of this pattern does not definitively prove on its own that the three pieces were composed by the same person, it does, however, strongly support this possibility. All five of these pieces contain instances where a chord is voiced over an extension. Specifically, Old Glory, The Star Spangled Banner, Ballad, and Mr. Music Master all 138 contain examples of major chords voiced over a ninth extension in the bass. Additionally, Old Glory, The Star Spangled Banner, Fulfillment, and Mr. Music Master all contain instances of minor chords voiced over eleventh extensions. While it would be unwise to draw any definitive conclusions based on this evidence alone, as these chordal voicings are not completely unique to these pieces, these voicings are not common in classical or quasi-classical music. Further, their existence in these pieces at the very least provides support for the idea that the composer of Old Glory likely had a strong background in jazz. Individual composers may have a preference for using certain chord substitutions in their compositions. Throughout Old Glory, The Star Spangled Banner, and Mr. Music Master, I identified instances of Neapolitan chords used as chord substitutions. These chords are commonly known in jazz as tritone chord substitutions. In all of these occurrences, the chords resolve down by a half-step. This supports the possibility that the same composer may have written all three pieces. In contrast, the two movements from the Johnny Appleseed Suite contain what appears to be altered German augmented sixth chords. This major difference between the Johnny Appleseed Suite and the three previously mentioned works may have been due to the arranger. It seems that the usage of altered German augmented sixth chords may be a defining characteristic of Nathan Van Cleave. It is certainly an odd and uncommon occurrence to find a harmonic progression in classical or jazz music in which a minor or half-diminished ii chord progresses directly to a I chord without a mediating dominant functioning chord. However, this harmonic progression can be found in Old Glory, The Star Spangled Banner, Fulfillment, and Mr. Music 139 Master. Since this is so uncommon, it does strongly suggest that the composers were likely either the same person or that they may have collaborated together to create the works. When taken individually, these themes and patterns indicate that the composer or composers of the five works has a strong background in jazz. When taken together, there is strong evidence connecting the compositional styles used in Old Glory, The Star Spangled Banner, and Mr. Music Master. Most significant to this investigation were the findings related to the patterns of the melody lines descending to the flatted seventh, the pattern of chords occasionally presenting without thirds, the apparent affinity for Neapolitan chord substitutions (or tritone substitutions), and the prevalence of uncommon chord progressions in which a minor or half-diminished ii chord progresses directly to a I chord without a mediating dominant functioning chord. 140 Chapter 5 Summary, Conclusions, and Implications The purpose of this study was to authenticate the authorship of Old Glory. The secondary purpose was to uncover the historical background of Old Glory. This research was guided by the following three research questions: 1. What evidence suggests that Hoagy Carmichael was the composer of Old Glory? 2. For what person or purpose was Old Glory written? 3. Why was Old Glory never published or recorded? This chapter will provide a summary of sources and methodology, a summary of findings, logical conclusions, implications for music education, and recommendations for future research. Summary of Sources and Methodology To answer my research questions, I first familiarized myself with the relevant historical context through a process of immersion. During this process, I reviewed the many correspondences, memoirs, newspaper clippings, recordings, and musical manuscripts in the Hoagy Carmichael Collection at the Archives of Traditional Music. I also read three books about the life of Hoagy Carmichael including Stardust Road & Sometimes I Wonder,1 both autobiographical primary sources which were authored by Carmichael and which were contained within the same book, and Stardust Melody,2 a secondary source by Richard 1 Hoagy Carmichael, Stardust Road & Sometimes I Wonder (Boston, MA: Da Capo Press, 1999). Stardust Road was originally published in 1946 and Sometimes I Wonder was originally published in 1965. 2 Richard Sudhalter, Stardust Melody (New York, NY: Oxford University Press, 2002). 141 Sudhalter. My life experiences as a professional jazz musician have contributed towards my familiarity with the culture of jazz and the music of Hoagy Carmichael. When I began looking specifically for information related to Old Glory, I reviewed newspaper articles online and within the ATMs holdings, and I visited the Library of Congress in Washington D.C. to review their applications for copyright and copyright deposits. Specifically, I was looking for pieces by the title of Old Glory, but I also reviewed all pieces that were deposited by Hoagy Carmichael between the focus years of 1937 through 1981. I also individually entered the lines of text from the vocal parts to Old Glory into search engines in an effort to find a piece with matching lyrics. In an effort to authenticate the Old Glory manuscript, I carefully studied the handwriting within the Old Glory score and within the copied parts and compared them with verified musical manuscript and other handwriting by Hoagy Carmichael, specifically looking for commonalities and differences. I also compared the medium, meaning the paper and ink, with other works located within the Hoagy Carmichael Collection, looking for other pieces that used the same paper, pencils, or pens, or for clues that might suggest that the mediums originated from the same music stores, record companies, or geographic location. I compared these findings with the historical record using concert programs, voting records, and phone books. I also studied the contents of Old Glory through a process of harmonic analysis. I analyzed the piece using both chord symbols, which are standard notation for jazz lead sheets, as well as Roman numeral analysis with figured bass. The chord symbol analysis allowed me to indicate chordal alterations and extensions, while the Roman numeral analysis allowed me to indicate inversions and chordal function within a key. To better contextualize this analysis, I also 142 analyzed other works written by Carmichael in the same way. I was then able to compare the compositional patterns in Old Glory with the other pieces to identify commonalities and differences. Summary of Findings and Conclusions Research Question 1 The first research question asks, What evidence suggests that Hoagy Carmichael was the composer of Old Glory? The process for determining authenticity uncovered evidence suggesting that Hoagy Carmichael composed Old Glory. The handwriting analysis determined that the instrumental and vocal parts were all authored by the same copyist. While there are no autographs or obvious indications of authorship on this piece, there are two names that appear on the work. The first name is Hoagy Carmichael, which appears in blue colored pencil on the back of the full score along with an address. The second name that appears on these documents is Lela Lyman. This name appears as part of a purple copyist stamp that is stamped on all of the individual instrumental and vocal parts. I was unable to find any additional information about Lela Lyman. The Lela Lyman copyist stamp on the individual parts to Old Glory also matches the copyist stamps that appear on several other individual parts to other verified works by Carmichael contained within the Carmichael Collection at the Archives of Traditional Music. The handwritten name and address of Hoagy Carmichael and 10281 Charing Cross Road, LA-24, Calif. appears on the back of the full score. A search of government documents confirmed that Carmichael resided at that address during the years that the piece was likely composed. This finding further supports the possibility that Carmichael authored the 143 manuscript. When I compared the handwriting on the back of the score containing Carmichaels name and address with other writing verified as originating from Carmichael, there were many similarities in the writing style and capitalization patterns. This suggests that Carmichael wrote his name and address on the back of the score. The most plausible reason he would have done this would be so that the copyist, Lela Lyman, would know where to mail or otherwise return the score with the completed parts. When I compared the handwriting styles within the musical score to other handwriting verified as Carmichaels there were many similarities, but these findings were inconclusive. Therefore, Carmichael may or may not have written the notes, and he may have composed the piece with the help of an orchestrator or arranger who would have written the notes and words in the score. Clues regarding the origination of the mediums as well as indications regarding the locations in which the piece may have been composed and copied suggest that the work originated from the Los Angeles area of California. A review of government documents confirmed that Carmichael resided in the Los Angeles area during the time in which Old Glory was likely composed. The other identifying markings that appear on the score include the printed logo Hollywood Music Papers HE-7493. A review of old phone books revealed that HE-7493 indicates a location of origination in the northwest part of Los Angeles near Hollywood, Hillside, and Beverly Hills. The score also included the words, PROPERTY OF VOGUE RECORDS, INC.. A search of government records through the California Secretary of State revealed that Vogue Records, Inc. existed from 1952-1954 and was located at 1510 Crossroads of the World in Hollywood, California. One other piece in the Carmichael Collection, The Sad Cowboy, also has VOGUE RECORDS, INC. printed on the bottom of it. These commonalities 144 that appear on the manuscript mediums between Old Glory and other verified works establish a connection between Old Glory and those works. The manuscripts currently reside in the Archives of Traditional Music at Indiana University in Bloomington, Indiana. The Archives acquired the documents as a donation directly from the Carmichael estate in 1998. For this reason, a reasonable assumption of genuinness can be inferred. While there are no direct mentions or indications of Old Glory in any contemporaneous documents, there are indications that Hoagy Carmichael was composing music of a patriotic nature during this same time period. There also exists documentation that Carmichael was composing music with similar instrumentation and in a similar genre as Old Glory during the same period of time that this piece was likely composed. Specifically, Carmichael shared his original arrangement of another patriotic work, The Star Spangled Banner, in fact: magazine in 1965. The accompanying commentary stated that he had begun at least thinking about making the national anthem more singable nearly thirty years prior. Additionally, Carmichael completed his first work for orchestra, entitled Brown County in Autumn, in 1949. This piece was written for a smaller orchestra, which was similar to Old Glory but not exactly the same. Brown County Autumn called for two of each of the standard woodwinds, including double reeds, which were not included in Old Glory. Also, Brown County Autumn included horns, which were not included in in Old Glory, and Old Glory included a bass clarinet and voices, which were not included in Brown County Autumn. However, similar to Old Glory, the pieces both called for a harp and two percussionists, and both pieces did not use a tuba. 145 Brown County Autumn was premiered by the Indianapolis Symphony Orchestra in December of 1949. By the end of that month, Carmichael was already discussing plans for his next orchestral work. In January of 1950, he had begun researching historical information about Johnny Appleseed as he began working on his Johnny Appleseed Suite. This work premiered in 1962 as a work for symphony orchestra without vocalists. However, in 1964, the work premiered as part of the Bell Telephone Hour series and featured a baritone soloist and chorus. The final movement of the work was very patriotic in nature, closely resembling Old Glory in both content and instrumentation, specifically because both were composed for voices and orchestra. The Old Glory manuscript and the hand-copied parts appear to be original documents and not copies or re-creations. There are no obvious erasure markings on the score, indicating that an earlier version may have existed at one time. While I was able to find other sketches that were also classical in nature within Carmichaels archives, I was not able to find any sketches that obviously became part of Old Glory. However, Bud Dant stated that Carmichael shared audio recordings of his melodic ideas for Johnny Appleseed with him and with Nathan Van Cleave, which they used to help Carmichael realize the full orchestral version of the work. Given this evidence, it is plausible that the earliest versions of Old Glory may have been recorded in a similar way. However, I was unable to locate any audio recordings of this nature containing melodic ideas from this work. Carmichael employed the assistance of Bud Dant and Nathan Van Cleave to orchestrate the Johnny Appleseed Suite. This study also uncovered that Carmichael utilized Eugene Zdor to orchestrate Brown County Autumn. Given this precedent, it seems likely that Carmichael 146 may have also enlisted the help of an orchestrator to realize the full orchestral version of Old Glory. This would explain why the handwriting on the full score does not conclusively seem to match Carmichaels handwriting. While it is possible that this work was composed by someone purporting to imitate Carmichael, this seems unlikely. Carmichael had only composed one piece for orchestra at the time that Old Glory was written, which means that compositional characteristics and patterns for the composer within the classical genre had not yet been established. While the classical piece that Carmichael had previously composed, Brown County Autumn, was successful in its Indianapolis premiere, it received less than favorable critiques at its Carnegie Hall debut. For this reason, it seems unlikely that other composers would have been attempting to imitate Carmichaels compositional style in the classical genre. There are many clues within Old Glory that suggest that composer of the work had a well-developed background in jazz but perhaps not as much experience in classical-type genres. An example of this includes the instrumentation listed on the back of the full score. On the back of the Old Glory full score manuscript, an instrumentation of 6 strings, 7 sax, 7 Brass, 5 (illegible) Rythm [sic] is written in blue colored pencil, and only 10 Vocals is included in red colored pencil. The listed instrumentation suggests that whoever wrote this was probably a jazz musician because a jazz musician would likely consider the four violins, one viola, and one cello as the strings, but they would consider the string bass to be a part of the rhythm section, as is often the case in jazz settings. A jazz musician might also consider all of the woodwinds to be saxes, given the fact that the saxophone players in jazz ensembles at that time were often 147 expected to double on flutes and clarinets. The five rhythm section players mentioned would include the two percussionists, the piano, the bass, and the harp. The musical challenges contained within the work suggest that the composer was also somewhat less experienced with writing for chorus and full orchestra, but not a novice. Supporting evidence for this include the challenging vocal and string parts. The vocal parts include large leaps, complex altered chords, chromaticism, and voice crossings, making the parts difficult to sing. This would not be much of an issue with a professional choir. However, the manuscript indicates that the voices are assigned to girls and boys. The boys parts are written in bass clef, but the tenor parts take the vocalists over their natural break, making these parts very difficult for pre- or post-puberty boys to sing. The string parts take the entire string section into unison and octave intervals in one section, during which time the violins are all in seventh position. This would be incredibly difficult for most string sections to play well without time devoted to rehearsals and sectionals. If another composer was trying to imitate Carmichaels compositional style, they were probably not trying to impersonate him, given the lack of a stated composer on the manuscripts. If the composer was an aspiring composer looking for feedback or to further their career, then it is unclear why the composer would not have included their name on the manuscripts. Also, given that Carmichael had only composed one work for orchestra by 1952, around the time that Old Glory was likely composed, it seems unlikely that another composer would have been imitating his orchestral compositional style or asking him for his feedback on their orchestral composition. 148 While it remains unclear why the score does not include an obvious name claiming authorship, it is interesting to note that each movement of the Johnny Appleseed Suite also does not include an obvious name claiming authorship. This could suggest that Old Glory may have originally been intended for inclusion as part of the Johnny Appleseed Suite or as part of another similar work. Also, like the Johnny Appleseed Suite, Old Glory may very well have been composed by Hoagy Carmichael but arranged for orchestra and childrens choir with the assistance of an orchestrator. Notably, Brown County Autumn does state the composer and arranger on its cover page, but, like Old Glory, the composers name is not printed on the first page of the score nor on the individual parts. Therefore, it is possible that a cover page originally existed to Old Glory or that the composer intended to eventually add a cover page to the piece. Harmonic Analysis By completing a harmonic analysis of Old Glory and other pieces written by Carmichael, including Mr. Music Master, Ballad and Fulfillment from the Johnny Appleseed Suite, and his arrangement of The Star Spangled Banner, I was able to identify interesting and potentially unique compositional characteristics. I documented and coded these emergent themes, then analyzed the data by comparing the characteristics between the works. The most obvious similarity I noticed before completing the harmonic analyses was that Old Glory, Mr. Music Master, and The Star Spangled Banner all contained similar doubling in which the soprano line of the harmonic accompaniment would double the melody. When I got into the analyses, I found multiple occurrences of parallel motion in Old Glory, The Star Spangled Banner, and especially in Mr. Music Master. Additionally, all three of these works 149 had similar ratios of first, second, and third chordal inversions. Fulfillment and Ballad, which were composed by Carmichael but orchestrated with the assistance of Nathan Van Cleave, did not have similar ratios of inversions, nor did they have multiple obvious occurrences of parallel motion. Regarding chordal alterations, I found augmented seventh chords containing the lowered ninth extension in both Old Glory and Mr. Music Master. I also found an interesting melodic pattern, in which the melody line descended from the root to the flatted seventh in Old Glory, Mr. Music Master, and The Star Spangled Banner. In all of the noted occurrences, the flatted seventh was not present in the chord until the melody line descent. Also, chords voiced over extensions in the bass as well as mistakes or wrong notes were identified in all five pieces. Further, Old Glory, The Star Spangled Banner, and Mr. Music Master all contain some chords throughout that are missing thirds. Perhaps the most telling pattern I identified between the works was the usage of chord substitutions and uncommon harmonic progressions. Specifically, Old Glory, Mr. Music Master, and The Star Spangled Banner all contained tritone chord substitutions, also known as Neapolitan chords. In all of these occurrences, the chords resolved down by a half-step. In contrast, both of the movements from the Johnny Appleseed Suite contained augmented sixth chords as chord substitutions. All of these chord substitutions were those in which the substituted chords maintained clear harmonic function within the progression. There were examples, however, of uncommon harmonic progressions in which the chords progressed in odd ways that were difficult to rationalize. Examples of this could be found in Old Glory, The Star Spangled Banner, 150 Fulfillment, and Mr. Music Master, where minor or half-diminished ii chords progressed directly to a tonic chord without a mediating dominant functioning chord. These similarities revealed by harmonic analyses support the theory that the same person likely composed Old Glory, The Star Spangled Banner, and Mr. Music Master. These findings also support the theory that the composer of Old Glory had a strong background in jazz but was not as experienced composing for orchestra with choir in a quasiclassical setting. Carmichael had a strong background in jazz but was not as experienced composing for orchestra with choir in a quasi-classical setting, and he is the confirmed composer of Mr. Music Master and this arrangement of The Star Spangled Banner. Considering all of these findings, it is reasonable to conclude that Hoagy Carmichael likely composed Old Glory. Research Question 2 The second research question addresses for what person or purpose Old Glory was written. The purpose behind the composition of Old Glory is speculative since there is no definitive indication of purpose contained within the literature, historical record, or associated artifacts. Without obvious documentation stating that the work was written for a specific ensemble, person, or purpose, it is impossible to definitively answer this question. However, several contextual clues exist that help provide possible answers to this inquiry. The instrumentation of this work suggests that the work was composed for a childrens choir to be accompanied by string musicians and jazz musicians. The indications of boys and girls in the score clearly indicates the intention to have children singing rather than adults. The composer also likely intended to have jazz saxophonists doubling on woodwinds for two 151 reasons. First, the instrumentation listed on the back of the score stated that there would be seven saxes. When considering the woodwinds required in this piece, there are three flutes, three clarinets, and one bass clarinet, a total of seven musicians. Further, the saxophone players in a jazz ensemble are often expected to double on flutes and clarinets but are not typically expected to be able to play double-reed instruments, such as oboe or bassoon. This provides a very likely scenario for why there are no double reeds included in this piece. The brass section of a jazz ensemble typically includes trumpets and trombones but no French horns. There are also no French horns included in Old Glory. In this way, the brass section in Old Glory matches the brass section of a jazz ensemble. The instrumentation listed on the back of the score also seems to include the string bass as part of the rhythm section. This is common practice in jazz ensembles. Also, in orchestras, the percussionists are not usually labeled as rhythm section; this is more specific to jazz ensembles. However, the five rhythm section parts in Old Glory seem to include the two percussionists, the piano, the bass, and the harp. For these reasons, it is reasonable to assume that the composer probably wrote Old Glory with the expectation that it would be performed by an expanded jazz ensemble with the addition of strings, harp, and childrens choir. The copyist stamps all include handwritten dates, which are all dated one of two dates: 1/10/53 or 1/14/53. This suggests that the work was completed on a date before January 10, 1953. Also, a search of the Los Angeles yellow pages revealed that Vogue Records did not exist until 1952, and a search of government documents through the California Secretary of State office confirmed that Vogue Records Inc. was incorporated in 1952. Therefore, the paper upon which the score was written could not have been procured before 1952. Based on these 152 findings, I estimate that this piece was composed in 1952, but may not have been completed until as late as the second week of January 1953. It is possible that Vogue Records, Inc. had an in-house studio orchestra, as was common practice during this time period.3 Studio orchestras were typically comprised of jazz musicians and symphony orchestra musicians. Since the manuscript has Property of VOGUE RECORDS, INC. on it, it is quite possible that the studio orchestra at Vogue Records, Inc. read through and/or rehearsed the piece at some point. Given that the individual parts were copied in January of 1953, and they all contained different handwritten markings which seem to have been added during a rehearsal, then it is likely that a read-through session may have taken place at the Vogue Records, Inc. studio with their in-house studio orchestra in 1953. There are many additional clues that provide possibilities for why the work was composed. Specifically, these include the content similarities between this work and other works that Carmichael composed before and after this piece. Old Glory is obviously patriotic in nature. During 1952-1953, the time when Old Glory was likely composed, the United States was involved in the Korean War. Historically, it is quite common for musicians to compose patriotic works during wartimes. Another possibility for the purpose behind this composition considers other works that Carmichael composed around the same time. The United States Congress designated the Star Spangled Banner as the national anthem in 1931.4 Sometime between 1935-1965, Hoagy Carmichael arranged a version of The Star Spangled Banner in response to a theoretically 3 This common practice was communicated to me via phone conversation with Rick Baptist, the Local 47 staff Historian in September, 2021. 4 Charles Braun, Lets Waive The Star-Spangled Banner, fact: 2, no. 1 (1965): 3. 153 posed question of how to make the national anthem more singable. In fact: magazine, many of the people that were interviewed proposed other pieces for consideration to be the national anthem, including America the Beautiful, We Shall Overcome, Dixie, Columbia, the Gem of the Ocean, and This Land is Your Land.5 With Carmichael expressing an obvious interest in this debateso much so that he created a new arrangement of The Star Spangled Bannerit is possible that he may have also created Old Glory for consideration as the new national anthem. The resemblance between the Old Glory lyrics America, America, forever gloried be6 and the line America, America, God shed His grace on thee, from America the Beautiful,7 support this possibility. However, this intention seems somewhat unlikely given that Old Glory does not seem to be any easier to sing than The Star Spangled Banner. A third possibility for why Carmichael may have composed Old Glory lies in the Johnny Appleseed Suite. Contemporaneous correspondence and newspaper articles confirm that Carmichael was working on the composition of the Johnny Appleseed Suite between the years 1950 through at least 1964. This time period encompasses the years 1952-1953 when Old Glory was likely composed. The Johnny Appleseed Suite was ultimately comprised of several movements. The final movement of this work contained lyrics that were very patriotic. The lyrics to the Fulfillment movement describe America as the motherland and cite the great American 5 ibid, 4. Old Glory, vocal line, full score, 9 & 14. 7 What are the lyrics to America the Beautiful, Classical Music BBC Music Magazine, February 11, 2021, https://www.classical-music.com/features/articles/america-the-beautiful-lyrics/. 6 154 dream. Similarly, Old Glory was composed in reverence to the flag that represents the United States of America and honors those men whose hearts have heard the call of all for one and one for all.8 These similarities in content suggest a possible connection between the two works. Also, both Old Glory and Fulfillment are written for vocalists with orchestra. Fulfillment is written for a baritone solo vocalist, chorus, and orchestra, and Old Glory is written for a chamber orchestra with childrens choir, denoted by girls and boys in the score. The content and instrumentation of Johnny Appleseed Suite resemble Old Glory in that they both patriotic in nature and are both written for orchestra with voices. However, Fulfillment and Ballad contain a few different characteristics from Old Glory, including the usage of altered German augmented sixth chords, the lack of Neapolitan chords, and all chords include thirds. These differences could be attributed specifically to Nathan Van Cleaves unique style as an arranger and orchestrator. Further, Old Glory was likely composed in 1952, and it seems probable that this was well before Nathan Van Cleave began orchestrating the Johnny Appleseed Suite for its premiere in 1962. For these reasons, it seems likely that Carmichael composed Old Glory with the initial intention of including it as movement within the Johnny Appleseed Suite. Additionally, if Old Glory was written with the help of an arranger or orchestrator, that person was probably not Nathan Van Cleave. Research Question 3 The third research question addresses why Old Glory was never published or recorded. While there is no direct documentation describing the reason or reasons that the 8 Old Glory, vocal line, full score, 4-5. 155 work was never published, there is an established precedence based on Carmichaels actions with similar compositions. Clues contained within the content of the piece also suggest possible reasons why the decision may have been made to not publish or record the piece. The first part of this precedent is the fact that Carmichael composed Brown County Autumn in 1949 but never published that work. After the Indianapolis premiere in December of 1949 and an initial tour in January of 1950 presenting the piece at Carnegie Hall and possibly at other locations, the piece was never performed again. It was never submitted for copyright with the Library of Congress, it was never published, and only one recording seems to exist of the work. The recording is of the ten-minute live performance of the piece at Carnegie Hall, recorded on January 16, 1950,9 and it is held by the Archives of Traditional Music. However, Carmichael did not ever record the work in a studio setting, only in the live performance. The next part of the precedent considers the fact that Carmichael did not ever publish the Johnny Appleseed Suite. The work was first premiered by the Indianapolis Symphony in 1962, the recording of which the Archives of Traditional Music holds. The next performance of the piece, the 1964 Bell Telephone Hour performance, was also recorded. The Archives of Traditional Music holds the audio recording of this broadcast as well. However, Carmichael never produced a studio recording of this work. The exception to this was the Prayer and Cathedral Vision movement that was professionally recorded by the Indianapolis Symphony Orchestra in 1997, after Carmichaels passing. 9 Hoagy Carmichael, Brown County [in] Autumn, Carnegie Hall Recording Co., audio recording. Recorded January 16, 1950, at Carnegie Hall: NYC, NY. 12-4494--12-4495 ; OT 7043 ; EC 10" 4371 ; ATL 9602. https://media.dlib.indiana.edu/media_objects/cv43nz28p 156 In addition, Carmichael arranged The Star Spangled Banner sometime between 1935 and 1965. He submitted it to fact: magazine in 1965, along with his commentary, as part of his contributions regarding the discussions about the countrys national anthema discussion that addressed both the need to make the national anthem more singable as well as the possibility of choosing an alternative piece in place of The Star Spangled Banner. In his commentary, he specifically states, Ive never tried to have my revision published and am presenting it here for the first time.10 Although he publicly presented the sheet music in that fact: magazine article, Carmichael did not ultimately publish or professionally record his arrangement of Star Spangled Banner. Carmichael established a pattern of not publishing or recording his orchestral works. However, figuring out why this was his established pattern involves a bit more conjecture. It seems likely that Carmichael chose not to have these pieces published because he was not incredibly confident in his abilities as a composer of music in the quasi-classical genre or with orchestral instrumentation. This theory is supported by Carmichaels documented comments in the December 1949 Times article about the premiere of Brown County Autumn. In this article, Carmichael stated, I know my limitations. Im not a student of music.11 Here it seems that Carmichael may be admitting that he is not particularly confident in his abilities to compose either for full orchestra or in the classical genre. If he already had reservations about his abilities, then it is quite possible that a negative critique of his work could have further discouraged him. 10 11 Carmichaels commentary from Charles Braun, Lets Waive The Star-Spangled Banner, fact: 2, no. 1 (1965): 9. Indiana Melody, TIME, December 26, 1949. 157 A month after those comments were published, in January of 1950, Carmichael received a negative review about Brown County Autumn from Olin Downes, a music critic with the New York Times. The review said, among other critiques, that Carmichael did not have the technique or mind of musical thought to compose in this medium, and that he should leave classical music to other composers and stick to writing popular music.12 For a composer that may have been already doubting his abilities, it is possible that receiving this critique could have had far-reaching emotional consequences. Perhaps the emotional consequences were such that Carmichael decided not to publish Brown County Autumn or his quasi-classical works that followed. Without confidence in his abilities or in the potential success of the work, perhaps he felt there was no reason to publish these works or to record them in studio settings. This could also explain why Carmichael simply left the scores and parts to Brown County Autumn with the Indianapolis Symphony Orchestra rather than retrieving them after the tour. Twelve years lapsed after that critique was published before Carmichael again performed one of his classical compositions, even though he began working on Johnny Appleseed Suite in 1950. Carmichael may have waited so long to perform the work because it just was not ready. This seems likely because Carmichael admitted at the 1962 premiere that the work was still not completed. It is also possible that feelings of self-doubt may have kept him from completing the work more quickly. These insecurities could have been inhibiting factors that kept him from completing Johnny Appleseed as well as from publishing, 12 Buttermilk Sky Curdles, Terre Haute Tribune, Terre Haute, Jan. 17, 1950. 158 copyrighting, and professionally recording the work. Such insecurities could have similarly kept Carmichael from publishing, copyrighting, and professionally recording Old Glory. Handwritten markings on the individual vocal and instrumental parts to Old Glory suggest that the piece was read through and/or rehearsed at some point. The harmonic analysis also revealed that Old Glory is very technically challenging to perform well due to its difficult vocal parts, string parts, and its prevalence of recurring augmented dominant seventh chords. If Carmichael had a studio orchestraperhaps the in-house orchestra at Vogue Records Inc.read through the piece, and the musicians expressed frustrations with the difficulty of the piece or if Carmichael noticed that the piece was not performed well, then any feelings of insecurity or self-doubt regarding his abilities to compose in the classical realm could have surfaced. This is a likely possibility for why Carmichael may have ultimately chosen not to include Old Glory in his Johnny Appleseed Suite and/or why he did not publish or record the work. Carmichael may have had the intention of possibly revisiting Old Glory at some point in the future. Both the 1962 and the 1964 performances of the Johnny Appleseed Suite were incomplete, according to Carmichael. He continued to tinker with the Suite throughout the remainder of this lifetime, so it is quite possible that he held onto Old Glory just in case he wanted to revisit it. After Carmichaels passing in 1981, Bud Dant completed the work with his own creative revisions and additions. Notably, Dant worked directly from the 1962 version of the piece, not from the 1964 version. For this reason, Dants 1990 version did not include any 159 vocal parts. I confirmed this by viewing the Johnny Appleseed Suite parts from 1990 at the Indianapolis Symphony Orchestra library.13 Discussion The discovery of Old Glory is important for completing the historical record regarding Hoagy Carmichaels compositional output. The Sudhalter biography, while otherwise quite thorough, states that Carmichael only composed two works in his lifetime of a quasi-classical nature.14 The book does not include mention of Old Glory, nor does it make mention of Carmichaels unique arrangement of The Star Spangled Banner. In addition to the discovery of Old Glory, this study also presents information about Brown County Autumn that was not previously published in the literature. First, the title of the work as listed on the handwritten score and on all of the instrumental parts is Brown County Autumn, not Brown County in Autumn. Although Carmichael had a habit of frequently changing titles of pieces, there is no evidence to suggest that he changed the title to the latter. The title Brown County in Autumn appears in reviews and concert programs. Examples of this include the concert program for the world premiere in Indianapolis and the December 1949 TIME magazine article. However, there does not seem to be any basis for this change other than human error. The second significant finding regarding the historical record for Brown County Autumn is that the well-known Hungarian composer, Eugene Zdor, was the orchestrator of 13 Parts to the complete 1990 version were viewed on October 8, 2021, at the Indianapolis Symphony Orchestra music library at the Hilbert Circle Theatre in Indianapolis, Indiana. 14 Richard M. Sudhalter, Stardust Melody: The Life and Music of Hoagy Carmichael (New York: Oxford University Press, 2002). 160 the piece and should be credited as such. However, there is currently no documentation of this fact in the published literature about Brown County Autumn nor was Zdor credited in any of the concert programs that I reviewed. Further, the website that is dedicated to Zdor, which includes an otherwise thorough documentation of his output as both a composer and orchestrator, does not include Brown County Autumn. While it is documented that Zdor resided in the Los Angeles area during the time in which Brown County Autumn was composed, the historical record states only that Zdor was orchestrating for film scores during the time of its orchestration.15 I have reached out to Zdors family, who operates his website. Zdors daughter, Peggy Bassett, was very intrigued to learn of Brown County Autumn and is interested in collaborating to have the piece performed again and professionally recorded. She also intends to update the eugenezador.com website to include Zdors collaboration with Carmichael.16 During my pilot study, I also discovered interesting information about the world premiere of two of Carmichaels works. Specifically, I discovered that Mr. Music Master and Skylark were both premiered at an Indiana University Alumni event at the Waco Dance Pavilion at Lake Wawasee just outside of Fort Wayne, Indiana, on August 27, 1941. This information is a valuable contribution because there is currently no record of these premieres date and location in the published literature. I would also expect that this information will be useful for jazz educators to share with students and audiences. 15 16 Biography, Eugene Zdor, accessed October 9, 2021, https://eugenezador.com/about/. Email correspondence between myself and Peggy Bassett, daughter of Eugene Zdor, from October, 2021. 161 Implications for Music Education The discovery of Old Glory presents many exciting possibilities for music education in terms of contributing to the historical record and providing new repertoire for teaching and performance. Old Glory is a work by Hoagy Carmichael for chamber orchestra and childrens choir that can and should be taught and performed by young musicians. Additionally, Carmichaels arrangement of The Star Spangled Banner should also be shared and performed. As an educational tool, Old Glory provides opportunities for teaching students many things which are outlined in more detail in the Old Glory Lesson Plan (Appendix M). These include the historical context of the piece and approaches to teaching instrumentalists the technically challenging aspects of the work. Since Old Glory was likely composed during 1952-1953, teachers could address the Korean War and other local and global historical events when they present Old Glory to their students. The Korean War was fought from 1950-1953, and during these final years of the United States involvement of the war, support for the war efforts was deteriorating. This would have been a time in which the United States government was searching for ways to draw more support for the war effort from the general public. One way governments often accomplish this is through the careful use of patriotic music. Old Glory could allow for teaching students about how composers often used music to express patriotism in wartimes and how music is often used to persuade people towards different political ideologies and to support war efforts. Teachers could also present Old Glory along with the Johnny Appleseed Suite and encourage students to compare, contrast, and evaluate the similarities and differences 162 between the two works. This learning activity could take place as a group discussion, in small groups, or in partners. By engaging in this activity, students would learn to engage in evaluation and critical thinking about music as they decide for themselves if they believe that Old Glory was originally composed to be included as part of the Suite or if it was intended to be its own piece. Students should also be asked to defend their conclusions, citing specific things that they hear or compositional techniques they find within the works. Because Old Glory had never been performed or recorded, I decided to teach and record the piece myself. To do this, I enlisted members of the SYO Summer Music Programs (SYO)17 and the Indianapolis Childrens Choir (ICC) to learn and record Old Glory in 2018. Three years later, I had professional musicians help me record the piece.18 When I taught the piece to the students, I worked with the instrumental and choral ensembles independently to teach those parts separately. This process contributed to identifying educational implications. The vocal parts present specific challenges regarding leaps and voice crossings. One example of this can be found in the second soprano voice in the four measures before rehearsal letter E. Here, this voice precedes the fifth of a major triad by a whole-step then crosses the tenor voice to descend a perfect fifth before rising to the third of the chord. While this outlines a major triad based on Ab, the choir resolves to a C minor chord on the last syllable of the word, with the Ab sounding as if it resolves when the first alto voice moves up to the G. All of this occurs in four beats during the word A-mer-i-ca (see fig. 5.1). 17 SYO does not stand for anything, but is used as an abbreviation for SYO Summer Music Programs. The letters were previously an abbreviation for Symphonic Youth Orchestra before 2018. 18 SYO recorded the instrumental parts on August 19, 2018 under the direction of the researcher; ICC recorded the vocal parts on October 14, 2018 under the direction of the researcher; the piece was professionally recorded with vocal and instrumental parts together on August 15, 2021 under the direction of the researcher. 163 G.>9!c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h+&&!,.>9!c9Fi9 $2=.3>!-%&!+-(/&3-+!-%)*(>%!2!+&).&+!*,!+.)&3 &L&)4.+&+! -*!')24-.4&!+D**-%70!&L-&3/.3>!-%&!;*.4&!.3-*!-%&!,27+&--*!)&>.+-&)I!-%&3!')24-.4.3>!-%.+!'%)2+&I! 4*(7/ %&7'!+-(/&3-+!-*!+.3>!-%.+!7&2'!1.-%!&2+&9 "d# Fig. 5.2. Tenor voices three measures before rehearsal C The instrumental parts offered many unique challenges, as well. Like the voice parts, the violin parts are divided into more parts than young musicians would normally be accustomed to performing. In this case they are divided into four parts, labeled A, B, C, and D. Seven measures before rehearsal E, all violins are required to shift from high Bb above the staff to an altissimo Ab above that in perfect unison. To accomplish this, the violinists will begin in third position on the third beat on the E-string playing an A above the staff with the first finger, then shift to fifth position on beat four, still on the E-string, to a C above the staff with the first finger. Then, they will shift to seventh position on beat one, this time on the A-string using their second finger to play the Bb above the staff. Finally, the violinists are in position to then play the altissimo Ab using their low-four on the E-string, at which time the rest of the descending line then falls easily under their fingers in position (see fig. 5.3). This measure is not only an acrobatic feat, but the task of tuning makes this section additionally challenging, even for advanced violinists, because the violins are written in unison and the rest of the string section is written in parallel octaves to the violins. 165 G.>9!c9H9 G.*3.1'('-E-1(#1%(-.H;"(,-#'&$-'(D-5*$-($-;-#$'#3(C $%&!;.*72!'2)-+!27+*!4*3-2.3!-%&.)!*13 4%277&3>&+9!G.;&!D&2+()&+!<&,*)&!)&%&2)+27!8I!-%&! ;.*7. D(+-!7&2'!,)*D!2!-*'[+'24&!GI!1).--&3!.3!27-*[47&,I!-*!2!%.>%!G!2<*;&!-%2-I!1).--&3!.3!-)&<7&! 47&, h+&&!,.>9!c9#i9 $%.+!)&?(.)&+!-%&!+-(/&3-+!-*!'720!G!1.-%!-%&.)!+&4*3/!,.3>&)!*3!-%&!M[+-).3>I! -%&3!+%.,-!-*!-%&.)!-%.)/ ,.3>&)!.3!-%.)/ '*+.-.*3!*3!-%&!N[+-).3>9 $*!')24-.4&!-%.+I!+-(/&3-+!423! .+*72-&!-%&+&!D&2+()&+!23/!')24-.4&!+%.,-.3>!*3!-%&!M[+-).3>!-*!-%.)/['*+.-.*3!h,)*D!G!-*!NiI!-%&3! '(--.3>!-%&!-%.)/!,.3>&)!/*13!*3!-%&!N[+-).3>!*34&!.-!.+!27)&2/0!.3!'*+.-.*39 ^0!)&'&2-.3>!-%.+! +&;&)27!-.D&+!*(-!*,!4*3-&L-!<&,*)&!'720.3>!-%&!&3-.)&!'%)2+&I!-%&!+%.,-!D20!<&!&2+.&)!,*)!-%&D9! J3!2//.-.*3I!-%&!+-(/&3-+!+%*(7/!27+*!')24-.4&!%*7/.3>!-%&!%.>%!G!2,-&)!-%&!+%.,-!23/!7.+-&3.3>!-*! &24%!*-%&)!-*!-(3&9!$%&0!+%*(7/!')24-.4&!-%.+!+&;&)27!-.D&+I!&24%!-.D&!+-).;.3>!-*!+-2)-!-%&!G!.3! -(3&!1.-%!&24%!*-%&)9 G.>9 c9#9!G.*3.(5.E-(,-#'&$-'(D-5*$-($-;-#$'#3(I "dd A similar challenge occurs four measures before rehearsal G in the trombone part. Here, the player enters on a high Ab written an octave above the staff after five measures of rest (see fig. 5.5). The third trombone players part is written higher than the first and second trombone parts for all four measures until rehearsal G. Fig. 5.5. First, second, and third trombone parts from full score, page 13 Besides these unique idiosyncratic challenges, the piece offers many other teachable opportunities, including the task of getting the basses not to rush their pizzicato quarter-notes against the upper-string melody throughout rehearsals B to C and E to F. Also, the clarinets have a challenging rhythmic pattern in the fourth measure after rehearsal F, in which they play four sixteenth-notes, a quarter note, three triplets, and then another quarter note (see fig. 5.6). This requires the students to quickly subdivide from four notes-per-beat to three notesper-beat. 167 Fig. 5.6. First and second clarinets in full score, page 12 To aid in the teaching of Old Glory, the principal violinist with the Indianapolis Philharmonic Orchestra, Jon Johnson, used music notation software to transform the handwritten violin parts, which include parts A, B, C, and D all on one page, into individual parts that are more readable using music notation software. He also graciously included fingerings and bowings in the parts. These parts are included as appendices in this document (Appendices N, O, P, and Q). Also, any educators teaching the work should review the edits included in Appendix R. These edits include information that was missing from the individual parts, such as dynamics and articulations, as well as the correction of wrong notes. In addition to teaching Old Glory, Carmichaels arrangement of The Star Spangled Banner has the potential to be well-received by audiences and vocalists, and I think it could be a valuable contribution to the musical repertoire available for teaching and performance. His clever reharmonizations are jazzy and interesting, and the vocal line is more singable than the original Star-Spangled Banner. For these reasons, it deserves to be shared publicly. I am including his two-page arrangement as part of this document as Appendix S. Another interesting finding comes from my pilot study and has to do with Carmichaels compositional process. Specifically, I found that Carmichael often changed the titles of his 168 works, sometime even after they were premiered. Examples of this include: Mr. Music Master, which was eventually retitled The Old Music Master; Cosmics, which was retitled Phrases and then retitled again back to Cosmics; and Down in Bimini Bay, which was retitled When the Wild Women Go in Swimmin Down in Bimini Bay. This finding is potentially relevant as it relates to students studying music composition. Teaching students that Carmichael often changed the titles of his tunes, sometimes even after their premieres, before settling on permanent titles could be helpful information for the young composers who are afraid of making a mistake by choosing the wrong title. This could also potentially speak to the ongoing nature of compositional processes more broadly, in terms of allowing for edits and changes after the premiere of a work. Limitations and Recommendations for Future Research For anyone who would want to continue this investigation into Old Glory and its origins, I would recommend that future researchers complete a harmonic analysis of Brown County Autumn to compare this work with Old Glory. While I do not believe that the same orchestrator created both works, based on the very different handwriting between the two scores, I think that comparing the harmonies, voicings, and progressions would still be valuable because the two pieces were likely composed within about two years of each other. Additionally, it would be beneficial to review any contemporaneous notes that the National Broadcasting Company (NBC) may have regarding the commissioning and planning of the 1964 Bell Telephone Hour broadcast of the Johnny Appleseed Suite. Specifically, I would like to know when and how the plans developed to incorporate choir into the production. Was incorporating vocals into the Johnny Appleseed Suite Carmichaels idea or someone elses? I 169 believe that the answer to this question would help to more definitively answer whether or not Old Glory was intended to be a part of the Suite. I personally reached out to NBC while conducting this research but did not receive any responses to my online inquiries. Perhaps a future researcher would have more success. While I was able to communicate with the Library of Congress on various occasions throughout my research, my finances in conjunction with the COVID-19 pandemic prohibited me from visiting the Library of Congress a second time towards the end of my research process. I believe that it would be beneficial for any future researcher to visit the Library of Congress and review all of the Old Glory manuscripts that were submitted for copyright between the years 1956-1981. The purpose of viewing these manuscripts would be to determine if any of these manuscripts match the Old Glory manuscript found in the Carmichael Collection. Additionally, due to not having a substantial budget to work with to complete this research, I was not able to pay a handwriting analyst $6000 to compare the handwritings between Old Glory and the other scores contained within the Carmichael Collection. While I do not believe that the handwriting in the score to Old Glory matches the other pieces in the Collection, it would be beneficial for future researchers to verify this with a professional handwriting analyst. Future researchers could potentially contribute quanto-historic studies using the data contained within this document. By completing quantitative analyses of the compositional techniques employed throughout the works analyzed in this document and comparing them with each other, future researchers could use quantitative techniques to identify significant relationships and commonalities. Specifically, the number of times that various chord types and 170 voicings appear could be quantified, similar to the way in which I counted the occurrences of specific chordal inversions. Then, these findings could be analyzed to discern significant similarities. Scholars could also reach out to the estates of Nathan Van Cleave and Bud Dant to locate the original taped recording that Carmichael sent them containing the original melodic themes for the Johnny Appleseed Suite. Reviewing this recording could confirm whether Carmichael composed Old Glory and possibly help confirm whether it was originally intended for inclusion in the Suite. Future efforts should also be made to make all of Carmichaels orchestral compositions available to the general public. This would require a concerted effort to gather the original handwritten manuscripts, including the Johnny Appleseed and Old Glory scores at the Archives of Traditional Music in Bloomington and the Brown County Autumn manuscripts at the Indianapolis Symphony Orchestra music library in Indianapolis. It would also be necessary to have the support of Hoagy Bix Carmichael, Hoagy Carmichaels son, in this process. A publisher could turn the handwritten manuscripts into more legible documents and publish them for school ensembles and professional performers. This would not only constitute a great contribution to music education, but publications and recordings of these pieces would contribute to the cannon of music we refer to as the Great American Songbookthose songs by American composers that express the emotions, values, and cultures of our country through words, melodies, and chords. Those songs, including all of the works by Hoagy Carmichael, continue to be an essential part of American music history. 171 Bibliography Allen, Howard. Interview by Thomas D. Clark. January 18, 1973, 73-003, History of Indiana University 1968-1981, transcript, Center for the Study of History and Memory, Indiana University Archives, Bloomington, Indiana. Associated Press. Carmichael Makes His Classical Debut. Decatur Herald, Indianapolis, December 19, 1949. Newscomwc.newspapers.com. Braun, Charles. Lets Waive The Star-Spangled Banner. fact: 2, no. 1, 1965, 2-15. Brooks, Tim, and Earle F. Marsh, The Complete Directory to Prime Time Network and Cable TV Shows, 1946-Present (United States: Random House Publishing Group, 2009), Google EBooks. Brown County [in] Autumn, Carnegie Hall Recording Co. [audio recording]. Recorded January 16, 1950, at Carnegie Hall: NYC, NY. 12-4494--12-4495 ; OT 7043 ; EC 10" 4371 ; ATL 9602. Archives of Traditional Music, Indiana University, Bloomington. https://media.dlib.indiana.edu/media_objects/cv43nz28p Build a Cabin in the Wilderness. Version 2, Lyric Sheets: Series A-H, Box 1 #86, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington. Buttermilk Sky Curdles. Terre Haute Tribune, Terre Haute, January 17, 1950. California - Yellow Pages - Los Angeles Central Area August MAC through Z. California, 1952. Image 118. https://www.loc.gov/item/usteledirec02318/. California - Yellow Pages - Los Angeles Central Area August A through LUM. California, 1952. Image 14. https://www.loc.gov/item/usteledirec02316/. 172 Campbell, Alex. Written correspondence to Hoagy Carmichael, April 1941. C58, The Hoagy Carmichael collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. Carmichael, Hoagy. A Woman Likes to Be Told, The White World of Winter, Old Glory, Down in Bimini Bay, Dear Friends and Gentle Hearts, Mr. Music Master. [Notated Music]. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 8 oversize. Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Brown County Autumn. [Notated Music]. Orchestrated by Eugene Zdor. Indianapolis Symphony Orchestra Music Library, Hilbert Circle Theatre, Indianapolis. Carmichael, Hoagy. Hong Kong Blues, In The Cool, Cool, Cool of the Evening. [Notated Music]. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 3. Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. JAZZBANDERS: A Rhapsody in Mud. [unpublished] Hoagy Carmichael Collection, Series V, A. Box 1: Jazzbanders. Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Johnny Appleseed Suite. [Notated Music]. Orchestrated by Nathan Van Cleave. Box 10, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington. Carmichael, Hoagy. Medley. [Notated Music]. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 4. Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Mr. Music Master. Brunswick record 08752-A, audio recording on YouTube. January 22, 2013. https://www.youtube.com/watch?v=_Pb8CyXD5as. 173 Carmichael, Hoagy. Ole Buttermilk Sky, The Sad Cowboy. [Notated Music]. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 5. Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Opery, Rachmaninoff, Fanfare. [Notated Music]. Sketches, Box 9. Hoagy Carmichael Collection, Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Shh, the Old Mans Sleepin, The Whale. [Notated Music]. MC 2 Hoagy Carmichael Collection, Series I, Music, Box 7. Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Sometimes I Wonder. Boston, MA: Da Capo Press, 1965/1999. Carmichael, Hoagy. Stardust Road. Boston, MA: Da Capo Press, 1946/1999. Carmichael, Hoagy. The Star Spangled Banner, fact: 2, no. 1, 1965, 10-11. Photocopy located in MC 2 Hoagy Carmichael Collection, Box 6, item 11. Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Written correspondence to Dixie Heighway, April 13, 1941. C58, The Hoagy Carmichael collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. Carmichael, Hoagy. Written correspondence to Dixie Heighway, July 19, 1941. C58, Hoagy Carmichael collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. Carmichael, Hoagy. Written correspondence to Dixie Heighway, August 10, 1941. C58, Hoagy Carmichael Collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. 174 Carmichael, Hoagy. Written correspondence to Dominique Ren De Lerma, 1960s. Hoagy Carmichael Collection, Folder 22 item 2-1, Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Written correspondence to Georgia Maxwell, 1964. Folder 22 item 2-4, Hoagy Carmichael Collection, Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Written correspondence to M. B. Yarling, Radio and Publicity Dept., Sears & Roebuck, November 12, 1936. Folder 2, Item 2-3, Hoagy Carmichael Collection, Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Written correspondence to Miss Grace Troutner, May 13, 1947. Hoagy Carmichael Collection, Folder 7 item 2-1. Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Hoagy. Written correspondence to Tom, New York, Monday, 1933. MC 2 Hoagy Carmichael Collection, Series IV, Correspondence and Papers, Box 1, Folder 2: 1930s. Archives of Traditional Music, Indiana University, Bloomington. Carmichael, Ruth. Written correspondence to Hoagy Carmichael, January 11, 1950. Folder 10, Item 3, Hoagy Carmichael Collection, Archives of Traditional Music, Indiana University, Bloomington. Dant, Charles Bud. Written correspondence to Herman B. Wells, January 11, 1983. MC 2 Carmichael Series I Music, Box 15, Archives of Traditional Music, Bloomington, Indiana. Environmental Issues: Essential Primary Sources. Johnny Appleseed: A Pioneer Hero. Encyclopedia.com. Last modified July 14, 2020. https://www.encyclopedia.com/ 175 environment/energy-government-and-defense-magazines/johnny-appleseed-pioneerhero. Gordon, Claude. The Billboard, February 7, 1953. Gottschalk, Louis. Understanding History: A Primer of Historical Method. New York: Alfred A. Knopf, 1951. Gould, Jack. TELEVISION IN REVIEW: Hoagy Carmichael Begins Summer Chores Over N. B. C. in Saturday Night Review. New York Times, June 8, 1953, New York Times online archives. www.nytimes.com/1953/06/08/archives/television-in-review-hoagycarmichael-begins-summer-chores-over-n-b.html. Harvey, Jay. Hoagy pal brings his legacy to ISO. Indianapolis Star, March 2, 1990. Heinke, Gretchen. Hoagy Carmichael Plans to Compose Classical Piece About California Redwoods. Shortridge Daily Echo, Indianapolis, December 20, 1949. https://www.digitalindy.org/digital/collection/shs/id/44797/. Heller, George N., and Bruce D. Wilson. Historical Research. In Handbook of Research in Music Teaching and Learning, edited by Richard Colwell. New York: Schirmer, 1992. Hoagy Carmichael Collections, Archives of Traditional Music, 2011. http://www.indiana.edu/ ~libarchm/ index.php/atm-collections/highlights/hoagy-carmichael-collections.html. Hoagy Carmichael Plays Tonight For I.U. Benefit Dance. Fort Wayne Journal-Gazette (Fort Wayne, IN), Aug. 27, 1941. Allen County Public Library genealogy center, microfilms, 1941. Hoagy Works On New Hits. Fort Wayne Journal-Gazette (Fort Wayne, IN), Aug. 27, 1941. Allen County Public Library genealogy center, microfilms, 1941. 176 Indiana Melody. TIME, December 26, 1949. http://www.time.com/vault/issue/1949-1226/page/35/. Indianapolis Symphony Orchestra, "Fourth Pair" [concert program]. December 17 and 18, 1949, LMC 1174, Carmichael mss. Box 1, Folder 4, Lilly Library, IU Libraries University Archives, Bloomington, Indiana. Johnny Appleseed Suite, Bell Telephone Hour television broadcast, NBC-TV, April 7, 1964 [audio recording]. Bell telephone hour / [produced by] NBC-TV, Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. https://media.dlib.indiana.edu/ media_objects/kd17d134k. Johnny Appleseed Suite, Indianapolis Symphony Orchestra, December 8, 1962 [audio recording]. Hoagy Carmichael Collection, Archives of Traditional Music, Bloomington, Indiana. https://media.dlib.indiana.edu/media_objects/cv43nx055. Johnson, David B. A New Hoagy Carmichael Song? WFIU Radio broadcast recorded on November 19, 2018, aired November 22, 2018, posted online January 7, 2019. http://indianapublicmedia.org/arts/a-new-hoagy-carmichael-song.php. Jones, Frank B. Written correspondence to Charles Bud Dant, May 19, 1987. MC 2 Carmichael Series I Music, Box 15, Archives of Traditional Music, Bloomington, Indiana. LD. Written correpondence to Mrs. Ira Lunn, February 17, 1939. C58, Hoagy Carmichael Collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. LD. Written correspondence to Dr. Phil H. Loveless, November 28, 1938. C58, Hoagy Carmichael collection, 1925-1993, Indiana University Archives, Bloomington, Indiana. 177 Library of Congress, Catalog of Copyright Entries: Musical Compositions, Part 3. Copyright Office, 1938, 869. Library of Congress, Catalog of Copyright Entries: Musical Compositions, Part 3, Volume 38 no. 2, 1943, 1219. Library of Congress, The Old Music Master, deposit submitted for copyright. Words by Johnny Mercer and music by Hoagy Carmichael, for the film True to Life. Deposit number E pub 116360. Mark Barrons NEW YORKER At Large. Scrapbook 1, 1930s. MC 2 Hoagy Carmichael Collection, Series VI, Publicity, A. Scrapbooks. Archives of Traditional Music, Indiana University, Bloomington. McClanahan, Allison. Celebrating the 90th Anniversary of the Recording of Hoagy Carmichaels Star Dust. Voices from the IU Bicentennial. Posted and accessed October 31, 2017. http://blogs.iu.edu/bicentennialblogs/2017/10/31/celebrating-the-90th-anniversary-ofthe-recording-of-hoagy-carmichaels-star-dust/. Mister, He Kissed Her, typed song text. Folder 35, 1. Hoagy Carmichael Collection, Sketches, Box 9. Archives of Traditional Music, Indiana University, Bloomington. Paul Whiteman and his Orchestra, The Old Music Master. By Hoagy Carmichael and Johnny Mercer. Recorded June 12, 1942. CAP-31-A, 137, Capitol Records. http://archive.org/details/78_the-old-music-master_paul-whiteman-and-his-orchestracarmichael-mercer-johnny-merce_gbia0026247a Rainbow, Edward L., and Hildegard C. Froehlich. Research in Music Education An Introduction to Systemic Inquiry. New York: Schirmer, 1987. 178 Robert Merrill, a Favorite Baritone at the Met for 30 Years, Is Dead at 87. New York Times, October 26, 2004. https://www.nytimes.com/2004/10/26/arts/music/robert-merrill-afavorite-baritone-at-the-met-for-30-years-is.html?smid=url-share. Roberts, Bill. A Hoagy Celebration. Indianapolis News (Indianapolis, IN), October 12, 1984. Royer, Shawn. A Discovery of New Works by Hoagy Carmichael: An Historical Research Inquiry. [unpublished manuscript] (2018). Russell, Mary E. The Hoagy Carmichael Collection. RESOUND A Quarterly of the Archives of Traditional Music VI, no. 1, (January 1987). https://scholarworks.iu.edu/journals/ index.php/ resound/article/view/26282/31907. Saldaa, Johnny. The Coding Manual for Qualitative Researchers 2nd edition. California: SAGE Publications Inc, 2014, Google Play Books. Siegel, Jay A. Forensic Science. Encyclopedia Britannica online, June 01, 2020, accessed July 14, 2020. https://www.britannica.com/science/forensic-science. Smith, John Stafford, and Francis Scott Key. Star Spangled Banner. A. Bacon and Co., Philadelphia, PA, 1815 [Notated Music]. https://www.loc.gov/item/ihas.100000006/. Sudhalter, Richard. Stardust Melody The Life and Music of Hoagy Carmichael. New York: Oxford, 2002. Springtime in Paris concert program, 1954-1955. LMC 1174, Carmichael Box 1, Folder 4. Lilly Library, IU Libraries University Archives, Bloomington, Indiana. Timeline of Hoagy Carmichaels Life. Hoagy Carmichael Collection, Archives of Traditional Music. Last modified May 18, 2017. http://www.dlib.indiana.edu/collections/ hoagy/research/timeline/index.html. 179 Volk, Therese. Looking Back in Time: On Being a Music Education Historian. Journal of Historical Research in Music Education 25, no. 1 (2003): 49-59. Work List of Hoagy Carmichael. Hoagy Carmichael Collection. IU Libraries. Last modified May 18, 2017. http://www.dlib.indiana.edu/collections/hoagy/research/discography/. Zdor, Eugene. Biography. Accessed October 9, 2021. https://eugenezador.com/about/. 180 Appendix A Old Glory Harmonic Analysis 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 Appendix B Old Glory Analysis Notes Pg. 2 Measure 2: Girls, Harp, and Violins A & B all play an Eb (beat 2), the melody note and augmented 5th of the chord. This happens throughout the piece but will only be indicated here. This chord also contains a b9 extension which is common in jazz but is uncommon in classical music. Measure 3: Girls and Harp move in parallel fifths above Celli on beats 3 & 4. Pg. 3 Measure 3: Top Girls voice and bottom Girls voice are descending in parallel octaves between beats 2 & 3. (while parallel octaves are found throughout this arrangement, I am only noting them when the parallels are written within the same voices) Measure 4: Bottom Girls voice descends from the root to the b7 of the chord on beat 2, changing the chord from an F major chord to an F7 chord (the Bass Clarinet joins 8vb on beat 2). Pg. 4 Measure 1: Boys and Bass/Celli ascend in parallel fifths between beats 3 & 4. Measure 1: The Bass/Celli line is sounding the root of the IV chord on beat 3, then ascends to the 9th of the chord on beat 4. There is no Roman numeral analysis symbol available to indicate a chordal inversion in which the 9th is in the bass voice. This note may be functioning as a passing tone. Measure 3: The Clarinet 1/top Girls voice and Bass Clarinet are descending in parallel fifths between beats 2 & 3. Pg. 5 Measure 2: Notably, if one considers all of the pitches in the Clarinets sixteenth note run, then the chord would be a G-9 chord (vi) instead of a D- chord (iii). Measure 2: The leap from the Bb on beat 1 to the Ab on beat 2 in the top Boys voice is a bit difficult range-wise and causes the young vocalists to switch to falsetto voice (as evidenced in the recording) Measure 3: The chord on beat 2 contains a G in the bass, and D and F above it. I believe this to be an implied G7 chord without a third, functioning as V7/C-7. 196 Measure 3: On beats 3 and 4 there seem to be chords without thirds. It seems that the chord on beat 3 is an implied C-7 (but the chord presents without an Eb) and beat 4 seems to be an implied F chord (but the chord presents without an A). Both of these chords function as a ii7 V between a ii and I chord. Measure 4: The chord resolves to Bb major on beat 3. However, on beat 1, all that is sounding is a perfect fifth on beat 1 except for the top Girls voice that is singing the major 7th of the chord (Bb, F, and A are sounding on beat 1). The A is harmonized with the bottom Girls voice singing a third below on the F. Both voices descend down and ultimately resolve to the major chord on beat 3. Pg. 6 Measure 4: The Trombones and bottom Girls voice descends from the root down to the b7 on beat 2, changing the F major chord to an F7 chord (the Flute 2 and Clarinet 2 both join on the Eb on beat 2). Pg. 7 Measure 1: Trombone 2 has repeated notes that do not fit into the chord (Bb). The measure is the beginning of a new phrase and begins on a I chord. However, Trombone 2 has repeated Cs throughout beats 1 through 3. The C would resolve on beat 4 if it were sustained. Instead, the C adds the 9th onto a major I chord without resolving. Notably, the Trombones are all voiced perfect fourths apart. Measure 1: Trumpet 1 plays a C on beat 3, changing the chord thats sounding there from an Eb major chord to an Eb6 chord. Notably, this is the same note that the Trombone 2 is sustaining here. Measure 1: Trumpet 1 descends from the root of the chord on beat 4 to the b7 on the and-of-4, changing the chord function. Measure 2: Clarinets 1 & 2 have a quiet solo line that ends on a D on the and-of-3. This note contrasts with the Eb that is part of the chord there (G7b9+5). However, it anticipates the D that is in the chord on beat 4 (G7b9) but does not sustain through into beat 4 to sound like a resolution. Measure 4: (Just like in measure 2) Clarinets 1 & 2 have a quiet solo line that ends on a D on the and-of-3. This note contrasts with the Eb that is part of the chord there (G7b9+5). However, it anticipates the D that is in the chord on beat 4 (G7b9) but does not sustain through into beat 4 to sound like a resolution. 197 Pg. 8 Measure 4: The chords on beats 1-3 are a very unusual chord progression (I6, ii7, I). Measure 4: The I6 chord on beat 1 also has a major 7 in the Bottom Girls voice. Notably, this major seventh descends to resolve to the fifth of the chord on beat 3 and this descending line harmonizes a third above the Top Boys voice on beats 1 through 3. Pg. 9 Measure 1: The Girls voices cross ranges when the top Girls voice descends down to a D below where the middle Girls voice was on an Eb. Likewise, the middle Girls voice descends down to an Ab below where the bottom Girls voice was on a B. Measure 2: The chord that occurs on beat 4 is a Db7 chord that resolves to a C-7 on beat 1 of the next measure. In classical theory terms, this would best be analyzed as N7/ii7. In jazz theory, this would be considered a tritone substitution (substituting Db7 for the G7 chord that would normally function as the dominant of C). Measure 3: The Bass clarinet sustains a C from beats 1-3. This note functions as a suspension with tension on beat 2 over the G7b9 chord but resolves on beat 3 when the other instruments resolve to a C7 chord. Pg. 10 Measure 1: The Trombone 3 voice notably begins playing the melody above the Trombone 1 & 2 voices beginning here and lasting for 8 measures. Measure 3: Trumpet 4 ascends from the b7 on beat 1 up to the root of the chord on beat 2. This seems like an odd melodic movement given that the movement does not seem to correspond with anything the other instruments are doing at that moment. Pg. 11 Measure 2: Notably, the Trombone 3 melody line jumps from a high Bb up a minor 7th to an altissimo Ab. This would be a difficult passage for the Trombone 1 player and would not usually be found in a Trombone 3 part. Measure 4: Trumpet 3 descends from the root of the chord to the b7 on beat 2. Pg. 12 Measure 1: The Viola plays the root on beat 1, then descends to the b7 on the and-of-1. 198 Measure 1: The Cello voice, which is functioning as the bass voice here, sounds an F on beat 3, which is the 4 (11) of the C-11 chord. This suspension resolves on beat 4 when the other instruments change notes to change the chord to an F9 chord. However, the cello voice does not change pitches to affect this resolution. There is no figured bass symbol available to denote an eleventh in the bass. Measure 2: The Cello voice, which is functioning as the bass voice here, has a chromatic descending line that sounds the b9 on beat 2, then adds the +9 to the G7b9+5 chord on beat 3. After sounding the Bb on beat 3, the Cello then descends to an A on the and-of-3, which is notably the 9 of the chord, then lands on the b9 again on beat 4. There is no figured bass inversion symbol available to denote a b9, +9, or 9 in the bass. Measure 3: There is parallel motion between the Violin B and Violin C parts on beats 1 and 2 as they ascend in perfect fourth intervals. Measure 3: The Violin B and C parts with the parallel motion interestingly cause the first chord to include the alterations b9 and #11 and they resolve to a 9 and 5 on beat 2 when they ascend together. Pg. 13 Measure 2: Beat 2 is the climax of the piece. Interestingly, this climax occurs on a D-7b5 chord. This is the first time we have seen this chord in this composition. This chord functions here as a ii!!7/ii. Measure 2: On beat 4, Trumpet 2 descends from the +5 of the chord on beat 3 to the +11 of the chord on beat 4. This makes the chord on beat 4 into G7+11. Measure 2: A clef change is missing in the Viola part. The clef should change back to alto clef on beat 2. This change is indicated in pencil directly on the viola part but is not indicated in the score. Measure 3: Trombone 1 plays the major 7 of the I chord on beat 2, changing the Bb major chord to a Bb major 7 chord (I65). Measure 3: Beat 3 is an Eb major triad (IV). However, the Clarinets all sound an F, adding the 9th to this chord (Eb add 9). The F resolves on beat 4 when the other instruments change to an F7 chord. Pg. 14 Measures 1-3: shorthand here indicates to copy the music from the ninth, tenth, and eleventh bars after rehearsal D (pg. 9). 199 Measure 2: (copied from analysis of Pg. 9) The chord that occurs on beat 4 is a Db7 chord that resolves to a C-7 on beat 1 of the next measure. In classical theory terms, this would best be analyzed as N7/ii7. In jazz theory, this would be considered a tritone substitution (substituting Db7 for the G7 chord that would normally function as the dominant of C). Measure 3: (copied from analysis of Pg. 9) The Bass clarinet sustains a C from beats 1-3. This note functions as a suspension with tension on beat 2 over the G7b9 chord but resolves on beat 3 when the other instruments resolve to a C7 chord. 200 Appendix C Star Spangled Banner Harmonic Analysis 201 202 Appendix D Star Spangled Banner Analysis Notes Pg. 1 Line 1, m. 2: changes from a 6 to 6/5 chord by moving from root to 7th in the melody Line 2, m. 2: 4-3 sus; 7th of chord does not resolve down by half-step to the 3rd. Instead, leaps up a major 7th to the third in the next measure. Line 3, m. 1: 4/2 inversion then bass leaps minor 7th down to root position; 7th in alto voice moves up an augmented second then resolves down by half-step to the fifth of the chord. Line 3, m. 2: changes from a 6 to 6/5 chord by moving from root to 7th in the melody Line 4, m. 1: 4-3 sus; 7th of chord does not resolve down by half-step to the 3rd. Instead, leaps up a major 7th to the third in the next measure. Line 4, m. 3: 4/2 inversion then bass leaps minor 7th down to root position; 7th in alto voice moves up an augmented second then resolves down by half-step to the fifth of the chord. Pg. 2 Line 2, m. 1: F min. 7 chord contains no third Line 2, m. 3: Bass line ascends a diminished 5th Line 3, m. 1: parallel fifths between soprano and alto lines Line 3, m. 2: Left out F7 chord symbol; uses chromatic descending line in bass Line 3, m. 3: F min. 6 chord leaves out root and 6th looks like an Ab chord in second inversion Line 4, m. 1: Eb7 chord does not contain a 3rd. Line 4, m. 2: Left out C min. chord symbol; 6-5 sus Line 4, m. 3: Parallel octaves and voice crossing from alto to tenor line, and alto line ascends by augmented second. Line 5, m. 1-2: bass line ascends chromatically from C to Eb; Bb7 chord does not contain a root Line 5, m. 2: Db min chord has 9 in the bass and 6 in added second tenor voice. Could perhaps be described better as Db min 6/9 (or as a Bb half-diminished over Eb or as Eb7b9sus4)? Line 6, m. 2: Db6 chord has the 6 in the bass could perhaps be better described as Bb min 7. Line 6, m. 3: 4-3 sus 203 Appendix E Fulfillment Harmonic Analysis Bb: Bb I C min ii 204 Bb9 I C min7 ii7 Bb I C min7 ii7 205 Bb I C9 C-7sus Bb7 4 V 2 /V ii7 V7 Eb6 IV Ebmin Bb iv I 206 C9 V7/ F V Bbsus E-7b5 I vii43/V 7-4%& 3- !"#$% **94 **!" **9!" . 8**9$%43 3-43 8*!" **9 G-7 ii7/ F11 V7 208 Bb9 V7/IV C-11 vi/IV **-43 ** 8*- 8**-4 =>)*+ **4 => )*+ 3-4 => )*+ 211 212 213 214 215 216 3-4A) * @0 *8- .3 @9**9!"4** 3 . 8**&43 8**9!' (0**$% **$% .5 (0, **!' $% .3$! . . **!" . Appendix F Fulfillment Analysis Notes P. 2 m. 4 The fourth of the C-7 chord is suspended in the Horn solo (concert F). The note resolves on its own when the chord changes from C-7 to Bb7. P. 4 m. 1 The first chord (F7/Bb) is a V7 chord voiced over a Bb pedal. There is no good way to analyze this with Roman numerals. The chord on beat three is D7, which seems to function as a ii/ii. However, the chord progresses directly to the ii chord on the next beat, which is an uncommon progression. There is also no good way to analyze this with Roman numerals because the chord is voiced over a Bb pedal. m. 2 The ii42 on beat three progresses directly to I, which is an uncommon progression. mm. 3-4 The vii65/V and V7/V chords on beats three and four respectively do not progress directly to V as one might expect. Instead, they move to a iv chord in third inversion voiced over a suspended F in the bass in the next measure. m. 4 The first chord is a G minor 11 in third inversion with a flatted sixth. There is no good way to analyze this chord with Roman numerals due to the flatted sixth and eleventh extensions. The chord on beat three is a C7 voiced over an F in the bass. Because it is voiced over the fourth of the chord, there is no good way to analyze this chord with Roman numerals. mm. 1-2 The ii7/V chord in this measure progresses directly to V7, which is an uncommon progression. m. 2 The F11 chord includes the ninth and the eleventh extensions for which there is no good way to indicate with Roman numerals. The chord is voiced over the fourth in the cello (tremelo). P. 6 m. 4 It is not common to have a flatted ninth extension over a minor chord in this type of music or in jazz. The best way I can determine to analyze its function with Roman numerals is as a vii7/ of f# minor, which is what this next string of chords seems to be modulating towards. P. 7 m. 1 Since this chord is voiced over an eleventh in the bass, it is difficult to analyze with Roman numerals. P. 5 221 m. 2 The chord on beat one has a b9 extension in it, which is more common in jazz music. It is also difficult to analyze with Roman numerals for this reason. --Pages 8-13 indicate to use measures from Ballad instead of the measures that were originally indicated here and are crossed out-P. 14 m. 1 The A7 chord that occurs on beat one includes a flatted ninth extension, making it difficult to analyze with Roman numerals. m. 2 The D minor chord on beat four would be a normal D-7 chord were it not for the B in the bassoon which makes it a D-13. This extension makes the chord difficult to analyze with Roman numerals. m. 4 The G-11 chord in this measure is voiced over the eleventh extension in the bass. This extension and its voicing make the chord difficult to analyze with Roman numerals. P. 15 m. 1 The first chord is G11 with a flatted ninth voiced over the eleventh extension. The eleventh and flatted ninth extensions make the chord difficult to analyze with Roman numerals. Also, while most 11 chords would typically include a flatted seventh, this chord does not contain a seventh. The second chord seems to have an issue with the labeling or voicing. It is a D7 chord over the seventh in the bass. However, in addition to the flatted seventh (C), it also contains the diminished seventh (B). For this reason, it is difficult to discern whether the composer intended for the chord to be a D7, a Do7, or perhaps something else. This chord seems to function as a secondary dominant, ii (7 or o7) of ii (c minor) in the new key that the chords are modulating towards, Bb. m. 4 P. 16 m. 1 The first chord is A7(b9). The flatted ninth extension makes it difficult to analyze with Roman numerals. The second chord is C9. The inclusion of the ninth extension makes it difficult to analyze with Roman numerals. The ii65 chord on beat 3 progresses directly to I6 on beat one of mm. 2 without a dominant mediating chord. m. 2 The second chord is C-9. The inclusion of the ninth extension makes it difficult to analyze with Roman numerals. 222 The ii65 chord on beat 4 progresses directly to I on beat one of mm. 3 without a dominant mediating chord. P. 17 m. 1 The first chord is an E(+11) voiced enharmonically with E, Ab, Cb, and Bb. This is notably the only major chord with a #4 in this piece. The chord is voiced over the altered eleventh in the bass. 223 !""#$%&' ) *+,--,%. /,012$&3 !$,-45&5 $! %#&% '(!&% Bb-7 ii7/IV Eb7 V7/IV 225 Ab IV Bb9 V65 C-7 ii7/V F7 V7/V Bb V 226 G- 7 vi42/V C-7 ii7/V F7 V7/V Bb9 V7 227 Bb7 V7 Gb: Gb I64 Ab9 V7/V Db7 V7 228 DbM7 IM7 Bbiii6 Fb6 IV/IV Gb7 V7/IV CbM9 IVM7 229 Cb IV F7 vii7 Ebvi Ab+7(9) V7/V Db V 230 G7 vii7/ii F7(b5) Fr+6 Ebvi Ab9 V7/V Db11 V7 231 Db7 V7 A: A I B9 V7/V 232 EM 7 VM7 E6 V E-7 ii7/IV A7 V7/IV 233 D IV E#o7 viio7/vi 1>, '( 1>,! 6+5 (' .+# %# 6+ $ *+,# '(# 6+ $! 6.# '((.#&(( -+,#)--* 0(# ((# '(( (# .+$ %# 2.# '(( .&'& .+$ %# ?6+@ ?$!&@ C I D9 V4 2 / G V 236 G-7 ii7/IV C7 V7 / F IV 237 Gii7/IV Go(9) iio/IV A7(b9) V7/ii 238 Dii A7 D-7 V65/ ii42 15 2,# ((# *+)$* $% 0$ %# !98 6+#),$* 2A<,! 1 $ Appendix H Ballad Analysis Notes *If this is written for a baritone soloist, why is the vocal solo line written in treble clef? *It seems like there are more possible mistakes towards the end of the score. P. 3 mm. 3-4 Chromatic motion between bt. 4 of m. 3 through bt. 2 of m. 4 moves from G to Gb to F. The Gb occurs on bt. 1 and is the major 7 of the G- chord. When Gb changes to F it becomes the b7 of the chord. P. 4 m. 3 9 extension in Bb9 chord is difficult to analyze with Roman Numerals m. 4 The Bb7 chord on beat 3 progresses directly to Gb major on bt. 1 of the next measure. This constitutes a chord substitution built off of the diminished seventh of the dominant seventh chord that one might otherwise expect here. m. 2 Ab9 has ninth extension m. 3 Bt. 3 has a +5 in the horn solo (wrong note?), but has a 5 in the bass clarinet, vocal solo, violin 1, and viola. This chord also has a major 7 in it, giving it a very modern sound. m. 4 Horn and viola parts alternate between the root and the b9 (upper neighbor NHT) m. 1 The string and woodwind parts voice an Fb6 chord (Fb, Ab, Cb, Db). However, the harp has an E6 chord written (enharmonic equivalent). The chord is voiced over the Db (6) in the bass voice (cello), making it difficult to indicate the inversion with Roman numerals. m. 3 The third chord is a Cb major chord with a major 7 and a ninth extension. The ninth makes it difficult to analyze this chord with Roman numerals. m. 2 Ab+7(9) chord m. 3 Descending line in bass (diatonically in DbM) from Db down to Ab, resolves to G on bt. 1 of next measure. m. 4 In jazz, the chord on beat 4 would be analyzed as an F7(b5). P. 5 P. 6 P. 7 240 However, in Roman numeral analysis, this chord is a French augmented sixth chord (Fr+6) with the Eb as the root. The notes, Eb, F, A, and Cb in the bass, constitute the chord tones 1, 2, #4, and b6, respectfully. m. 2 Ab9 chord has ninth extension. m. 3 Db11 chord is Db7 with 9 and 11 extensions m. 4 Db7 chord progresses directly to A major. This constitutes a chord substitution built off of the diminished seventh of the dominant seventh chord that one might otherwise expect here m. 2 wrong note? D in Violin 2 part in score, but all other Ds are D# in the other parts. There is also a C# in the chord (9), so its not a +9 chord. m. 3 D# in Flute and horn parts is major 7 on a V chord m. 4 D# in Flute part is NHT over E6 chord. Sixth extension makes it difficult to analyze this chord with Roman numerals. P. 10 m. 2 Wrong notes in harp and flute 2 parts (G#) should probably be marked as naturals. P. 11 m. 2 labeling issue: Chord on bt. 1 is F#-6, but there is a D natural in the bassoon part (D# in bass and cello), so that D in the bassoon part should probably be a D#. Also the chord is voiced over the 6 in the bass so labeling the inversion. P. 12 m. 1 The chord on beat 1 has an added eleventh extension which is difficult to indicate with Roman numerals. m. 2 The chord on beat 1 has a ninth extension. m. 2 The chord on beat 3 is very odd the notes in the score in concert pitch are Fb, Db, Bb, G, Gb, and F. I believe there is probably a labeling issue here with a few wrong notes written perhaps in the first horn (concert F) and third trumpet (Gb) parts. Without those notes, the chord would be Go7, which functions as the viio7 of the following chord, a V7 chord. m. 3 The Ab9 has a ninth extension. P. 8 P. 9 241 P. 13 P. 15 P. 16 m. 4 Although the orchestra is playing an Ab chord here, the harp is instructed to glissando up a Db scale from low Ab to a high C on beat 1 of the next measure where the orchestra resolves to a C major chord. This implies a Neapolitan sound (N6) and functions as such. In jazz, this would be considered preceding the chord of resolution with the chord that is a half-step above the chord of resolution. m. 2 m. 2 D9 chord has ninth extension. Go7 has a ninth extension added which is very uncommon and difficult to notate with Roman numeral analysis. m. 3 A7(b9) has flatted ninth extension. m. 4 At the end of this measure there is a key change to the key of F major. For this reason, the A7 and D minor chords at the end of the measure could be analyzed as part of a modulation towards the key of F major where the D minor is vi of the new key and the A7 is a secondary dominant. m. 2 The chord on beat 1 has a ninth extension but no seventh. Also, this chord is voiced over the ninth in the bass making it difficult to notate the inversion using Roman numerals m. 3 This chord is a Db7(+9), commonly used in jazz. In Roman numeral analysis, it would be considered a German augmented sixth chord (Ger+6) with F as the root. However, this chord as it appears here also has a 7 added. m. 4 The bass clarinet has a concert Ab written here over an F major chord (wrong note). 242 Appendix I Mr. Music Master Harmonic Analysis 243 244 245 246 247 Appendix J P. 1 Mr. Music Master Analysis Notes Line 1 mm. 1 The chord on beat three seems like a viio/V, but it doesnt have a G in it, so the root of the chord cant be E. Bbo? mm. 2 Parallel motion in beats 3-4 between the alto (Eb D) and tenor(Bb A) voices. Also, from beat 4 to 1 between the alto (D C) and the tenor (A G). mm. 3 The chord on beat three is a B7 that progresses to a Bb chord. In jazz, this would be thought of a chord as a tritone substitution inwhich the B7 chord is substituting for the V chord (F) that would have otherwise been the dominant progressing to Bb. In Roman numeral analysis, this is a Neapolitan (N6) chord. Parallel motion in between the tenor (G F#) and bass (C B)voices. mm. 4 The chord on beat one is a Bb9. Normally a chord that appears to be a I7 at first glance is actually functioning as a secondary dominant of IV. However, in this case, there is no progression towards Eb. For this reason, I analyzed the chord as a I7. This makes sense given the jazz context of the piece and the nature ofthe blues influence on jazz. In the blues, I chords are often dominant seventh chords. The chord on beat three is a technically a BbM7(b6). However, the chord appears to function as NHT passing tones and as part of achromatic descending line from beat one through to beat four. The chord on beat four (Bb) does not have a third in it. This one also seems to function as a I7 and not a secondary dominant of IV. Line 2 mm. 3 mm. 4 The chord is an F7(b9). It is difficult to notate the b9 extension withRoman numeral analysis. This measure contains an Eb NHT with a lower 248 embellishmentbefore resolving to the third of the chord. Line 3 mm. 1 Parallel motion Parallel motion in beats 3-4 between the alto (Eb D) and tenor (Bb A) voices. Also, from beat 4 to 1 between the alto (D C) and the tenor (A G). mm. 2 The first chord is a C- chord. On beat 2, the alto voice descends tothe b7 of the chord. This note functions as a passing tone between the root on beat one and the seventh (A) of the next chord (B7). mm. 2 The chord on beat three is a B7 chord. However, the third of the chord is written enharmonically as Eb instead of D#. The chord is aB7 that progresses to a Bb chord. In jazz, this would be thought of a chord as a tritone substitution in which the B7 chord is substituting for the V chord (F) that would have otherwise been the dominant progressing to Bb. In Roman numeral analysis, this is a Neapolitan (N6) chord. mm. 3 The chord on beat 3 is a I chord with a major seventh and a flattedsixth, which is uncommon and difficult to indicate with Roman numeral analysis. The chord on beat 4 is a Bb chord without a third. Line 4 mm. 1 The chord on the and-of-four that ties into the next measure is aC7(b9). The flatted ninth extension is difficult to indicate with Roman numeral analysis. mm. 2 The chord on beat three sounds as an augmented 7 chord with aflatted ninth extension, F+7(b9). However, it is written enharmonically with a Db instead of a C#. This makes sense melodically since the Db melody note then progresses to a C andthen to a Bb. In this context, the Db functions as the flatted 3 of the key and is used as a blue note in this melody line. mm. 3 The chord on beat 3 is a G minor with a flatted ninth extension. It is uncommon in jazz to have a flatted ninth extension on a minor chord and it is difficult to indicate this extension with Roman numeral analysis. 249 P. 2 Line 1 mm. 1 I would normally assume that the chord on beat 2, a D7(b9) chord, would function as V7/vi. However, the chord does not progress towards vi. Instead, an Eb major chord is voiced in the right hand on the and-of-two. Over the D in the bass, this seemsto be a EbM7 in third inversion. On beat three, the bass descendsto a C changing the chord into a C-7 chord, then finally resolving on beat four to Eb major. Harmonically, the progression in this measure does not seem to make much sense. mm. 2 The chord on the and-of-three is an A7 chord. However, it seems to function as lower-neighbor notes between the chords on beatsthree and the and-of-four, which are both Bb major chords in the treble clef staff. However, the addition of the bass line in the lefthand changes these chords. The G in the left hand on beat three makes that chord a G-7 chord and the F in the left hand on beat four make that chord a Bb chord in second inversion. mm. 3 On beat 2, the bass line descends to an A, which is the major seventh of the sounding chord (Bb). The descending bass line here, however, seems to function as a passing tone between theroot and the next chord, the vi chord in root position. Parallel motion between the soprano (Bb A Bb) voice and thealto (F E F) voice. Line 2 mm. 1 On beat 3, the A diminished chord should function as viio of thekey. However, the chord does not progress to I or to another dominant functioning chord. Instead, it regresses to ii. The chord on beat 4, C-11, contains an eleventh extension. Also, itis voiced over the fourth in the bass. This extension and voicing makes it difficult to analyze this chord with Roman numerals. mm. 2 Despite the mediating chromatic tone, there is still parallel motionbetween the soprano (F G) and the tenor (Bb C) voices. 250 mm. 3 The C-7 chord on beat 3 is voiced over an F, the eleventh, in thebass. For this reason, it is difficult to analyze this chord using Roman numerals. Line 3 mm. 1 On the and-of-one, the melody descends from the root of the chord to the flatted seventh. The entire chord is sequenced down a whole step from beat 1 to the and-ofone, creating parallel motion and a feeling of forward motion. The parallel motion existswhen the Bb descends to Ab over the F descending to Eb, and alsowhen the G descends to F over the D descending to C. The G on beat 3 in the bass voice functions as an accented passingtone between the flatted third of the chord and the root of the chord. mm. 2 The Bb on beat 4 seems to function as a non-harmonic escapetone between chord tones of the Co7 chord. mm. 3 The first chord is an Eb diminished triad in root position. I wouldordinarily expect this chord to function as either a iio or a viio of something. I would also expect it to resolve up a half-step from itsroot, regardless of the inversion. This Ebo chord progresses directly to D7(b9). For this reason, it seems as though it is functioning as a iio of the following chord, including the altered extension. Specifically, if we assume that the flatted ninth extension is the second of the chord, then the Ebo is built on the iiof the following chord. This analysis makes sense in the context ofborrowed chords, but in this case we are borrowing from a morecomplex chord than simply considering a major or minor tonality. Line 4 mm. 1 mm. 3 The bass note on beat on beat 2 functions as a passing tone between the root on beat 1 and the root of the next chord onbeat 3. Parallel motion between the soprano (Bb A Bb) and the alto (F E F) from beats 3-4. The chord on the third beat, Ao, would normally function as viio6 and would normally resolve to Bb or G, or would 251 progress to another dominant functioning chord. However, here it progressesto a C- chord, which is ii in the key. The chord on beat four is a C-/F. It is difficult to indicate thisinversion over the fourth of the chord using Roman numerals. P. 3 Line 1 mm. 1 Parallel motion between the tenor (F D) and the bass (Bb G) voices beats 1-3 Despite the mediating chromatic tone, there is still parallel motionbetween the soprano (F G) and the tenor (Bb C) voices beats 4-1. mm. 2 The chords in beats three and four are voiced over a suspended F pedal in the bass. The chord on beat three is an Eb major chord, so the bass pedal is the ninth extension of the chord. It is not usual for a major chord to have a ninth extension without a sixth or seventh as well. The next chord on beat four is a C minor chordvoiced over the F pedal. It is difficult to indicate these extensions and voicings using Roman numeral analysis. mm. 3 The chord in this measure is G-7. However, on beat two, the bass line descends to an Ab before landing on the root of the chord on beat three. The Ab on beat two is the flatted seventh of the key but is the flatted ninth of the G-7 chord here, and is functioning more melodically here to create a sense of forward motion, pulling the listener towards the root on beat three with the halfstep motion. This progression accomplishes this sense of pull towards the root in the same way that a N6 or tritone substitution would draw the listener to the next chord with the half-step motion. Melodically, the bass line in this measure is foreshadowing the bass note that occurs on beat one of the next measure (Eb) by descending from the fifth of Eb (Bb) down diatonically to the Eb. However, on beat one of the next measure, the Eb is the third of a C minor chord. Line 2 mm. 1 The chord on beat three is C7 and functions as ii7 of 252 the key. However, it progresses directly to I without a dominant functioning chord mediating the progression which is unusual. Line 3 mm. 1 The chord on beat one is a Gb7 and functions as a N6 in Roman numeral analysis, or as a tritone substitution in jazz, progressingby a half-step to the F+7 chord on beat 2. The chord on beat two is F+7(b9). However, the augmented fifth isvoiced enharmonically as Db. Also, the flatted ninth extension is difficult to indicate with Roman numeral analysis. mm. 2 Line 4 mm. 2 mm. 3 P. 4 The chord on beat three is C7 and functions as ii7 of the key. However, it progresses directly to I without a dominant functioning chord mediating the progression which is unusual. The first chord in this measure is a D-(b9). It is uncommon to have aflatted ninth extension on a minor chord. The flatted ninth extension is also difficult to analyze with Roman numerals. The chord on beat four (Bb, Eb, F#, A) is an Ebo over a Bb in thebass. Lines 1-2 These lines are the same as lines 1-2 of page 2; The only difference being an added A in the second line, third measure,beat 3, changing the chord to an F11 chord. Line 3 The second chord in this measure is a Bbo. This chord is eitherfunctioning as bviio/ii or io because it progresses to ii. mm. 2 mm. 3 Parallel motion between the alto (Eb D C) and tenor (Bb A G) voices beats 3-4-1. mm. 4 The B7 chord on beat 3 functions as a N6 or a tritone substitution,resolving down a half-step to Bb9. Parallel motion between the tenor (G F# F) and bass (C 253  B Bb) voices beats 1-3-1. Line 4 mm. 3 Beat 3 is a F7(b9) chord. The flatted ninth extension is difficult toindicate with Roman numerals. Beat 4 becomes a D7(+9) chord containing both the b9 and the +9with the addition of the D in the melody. However, it seems tofunction only as a passing chord and does not function harmonically within the progression. P. 5 Line 1 mm. 1 Parallel motion between the alto (Eb D C) and tenor (Bb A G) voices beats 3-4-1. mm. 2 Parallel motion between the tenor (G F# F) and bass (C B Bb) voices beats 1-3-1 mm. 2 The B7 chord on beat 3 functions as a N6 or a tritone substitution,resolving down a half-step to Bb9. mm. 3 The chords in this measure do not have an obvious harmonic function but rather seem to serve a melodic purpose. The first chord is Bb9, then the Ab (7) descends by a half-step to G, changing the chord to G-7. Then, the Bb in the first alto voice descends to A and the G in the second alto voice descends to F#. However, the Bb and F in the bass and tenor sustain during this change. The resulting chord (Bb, F, F#, A, D) seems to be a BbM7(b6) spelled with the enharmonic F#. The next chord seems to be a Bb chord with a major seventh but it is missing a third. Line 2 mm. 1 The first chord has a b9 extension, which is difficult to indicatewith Roman numeral analysis The second chord in this measure is F7 with a flatted ninth andflatted sixth extensions. The flatted sixth in the melody is approached as an appoggiatura, resolving by a half-step to thefifth on the next beat. mm. 2 The third chord is a G-7(b9). It is uncommon to have a flatted ninth extension on a minor chord. 254 mm. 3 The bass note on beat 2 (D) functions as a passing tone betweenthe root of the chord on beat one (Eb) and the root of the chordon beat three (C). The chord on beat four is an Ebo over a Bb in the bass. It is difficultto analyze this with Roman numerals. Line 3 Line 4 mm. 1 Parallel motion between the soprano (Bb A Bb) and the alto (F E F) from beats 3-4. mm. 3 The C-11 chord on beat four has the eleventh extension (F) in thebass voice, but the F seems to function melodically as an anticipation because the F is repeated on beat one of the following measure where it is the fifth of the Bb chord. For thisreason, I am analyzing the F as a nonchord tone. mm. 1 The second chord in this measure is a Bbo. This chord is either functioning as bviio/ii or io because it progresses to ii. 255 Appendix K Old Glory Copyright Deposits, 1937-1956 Year Composer or Copyright Holder 1937 Herman Mieth 1944 Marion Clyde Vaughn, Leo & Hector Richard Deposit Number/s 147245; 63092 EP or EU EU; EP Viewed Deposit? No 400564 EU Yes 1945 Bertha F. Hoop, J. Chas McNeil 407876 EU Yes 1945 Nat Vincent 408211 EU Yes 1947 Frank Ford, Jack Smith 17413 EP No 1947 Vida England, Lew Tobin 65809 EU Yes 1947 Myran H Lewis 89025 EU Yes 46482 EU Yes 149712 EU Yes 1947 1948 M. Craft (pseud for Hollywood composers guild), words by McDonald Lewis L. McCreaven, James Charles McNeil 1950 Stuart Hamblin 219126 EU Yes 1951 James Charles McNeil, Marie Torshey 238912 EU Yes 1951 Ronald Buck, Kenneth Richard Beals 231579 EU Yes 1952 Kenneth Bowlby 276958 EU Yes 1952 Harvey J. Lebo 274412 EU Yes 1952 Celia E. VanGundy, Arlene Emery 271921 EU Yes 1953 Volney von Normann 309891 EU Yes 1954 Robert James Warner 379969 EU Yes 1956 Imogene Harriet Mattice 442772 EU No 1956 Bernice Lassond 442433 EU No 256 Appendix L Old Glory Copyright Deposits, 1957-1981 Year Composer / Copyright Holder Deposit Number/s 1957 William P. Gray 471613 EU 1958 Nernie Weaver, Chas McNeil 518968 EU 1958 Calvin Kephart, Hazel Stemmler 533775 EU 1959 Thomas Beichler, Larry Allen 565232 EU 1959 Ellen Radell, Bob Shepard 562637 EU 1959 Carroll Williams, Larry Allen 574107 EU 1960 Stemmler, Kephart, Harty 607819 EU 1960 Dora McLeon Dudley, George Leddy 615056 EU 1961 Frederick J. Gavin 698906 EU 1961 Ada Lea Million 687972 EU 1961 Mitchell Pugh 676211 EU 1962 Jessie O'Neil (pseud. Anne Ted) 161159 EP 1962 J. F. Rohrig, Gene Brooks 708394 EU 1962 Marguerite Lucas 38722 EU 1963 Cara Heiple, Gene Brooks 785668 EU 1964 Grace Conner 859153 EU 1964 Charles D. Pike 837259 EU 1965 Leola Hanewinkel, Lew Tobin 914808 EU 1965 Jay Andrews, Henry Peckham 907360 EU 1965 Agnes Claus 880346 EU 1965 Ruth P. Funk 870685 EU 1966 Cindy Walker, Vidor Publications 970566 EU 1p 1967 Edith McCready 998180 EU 2p 1968 Kathleen Kelly 60678 EU 4p 1968 Ralph (Rex) Williams Music 52512 EU 1968 Wilmer (Jay) O'Brien 89458 EU 1p 1969 Gale Clark, Don Borzage 139475 EU 1 page 1969 Thomas Spencer 128664 EU 1p 257 EP or EU Description band arr. 1969 Wilson Stone 116512 EU 1p 1969 Robert Speno, Lew Tobin 130111 EU 2p 1942/1969 Johnny Mercer, Harold Arlen, Famous Music Corp. 104036 EP w/ piano & guitar accomp. 1970 Edward Snead, Lamar Driskill 181720 EU 2p 1970 Ella Roberts 215475 EU 1p 1970 Mamie Craddock, Arthur Music 197778 EU 1p 1970 Wayne LeRoy Walker 223656 EU 2p 1971 Thomas Emery, Stanley Arzewski 235434 EU 3p 1971 George Resseguie, Tune-Tones Music 262241 EU 1p 1943/ 1971 Ora McNeill, Aaron Clark 113418 EP 1944/ 1972 Marion Beaumont, Grace Roberts 383433 EU 1973 Glenn Goss, Houston Davis 419097 EU 1973 Jim Wishner 416890 EU 427836 EU 3p Wilmer O'Brien, Johnny Broderick, Charbro Music 1968/1973 1974 Joseph Wingard, Daniel O'Sheehan 335583 EP 4p 1975 Irene L. Bay 580952 EU 1p 1975 Stella Simpson 568098 EU 3p 1975 Margaret Venturin 566151 EU 1p 1976 Neale D. Emerson 671063 EU 2p 1976 Willie Minkler 711097 EU 2p 1976 James R. Graves, Planto Publishing 715433 EU 2p 1976 Rhonda Coullet 715442 EU 1p 1976 Grico Samon (pseudo. James Sampson) 696416 EU 4p 1976 Warren B. Reed 663740 EU 2p 1976 Amanda Allen 680892 EU 2p 1977 Blackwell, Schroeder 752494 EU 1p 1977 Julian Grossman, Bob Ruth 755944 EU 3p 1977 Jean-Pierre Gelinas, Raymond Finch, Freelance Co. 810620 EU 2p 258 1978 Josef Marais PAu000072241 1950/ 1978 Stuart Hambien 219126 1979 Joel Ditchik PAu000096743 1979 Clarence Lundquist, Claude Brownell PAu000099477 1981 Cheryl Holmes, Steve Holmes PAu000289924 1980/1981 Alice Auclair PAu000354128 259 brass quintet EU 2p 1p Appendix M Lesson Plan Ideas for Teaching Old Glory Type of Class: Mixed High School Choir (advanced) with Chamber Orchestra (advanced) Areas of Focus: Intonation & Tone in relation to Range; Uncommon Harmonies; Historical Context National Standards Addressed: Anchor Standard #4: Select, analyze, and interpret artistic work for presentation Anchor Standard #5: Develop and refine artistic techniques and work for presentation. Anchor Standard #11: Relate artistic ideas and works with societal, cultural and historical context to deepen understanding. Lesson Objectives (Behavioral): The students will be able to interpret the musical phrases in Old Glory while performing together in the large ensemble setting. The students will be able to perform Old Glory with accurate notes, rhythms, phrasing, and intonation while following the direction of a conductor. The students will be able to discuss the societal, cultural, and historical context surrounding this work. The students will be able to listen to Old Glory and compare and contrast the piece with Johnny Appleseed Suite. Assessments: Informal: The teacher will listen for the students appropriate interpretation of the musical phrases in Old Glory while they perform together in the large ensemble setting. Informal: The teacher will listen for accurate notes, rhythms, phrasing, and intonation while the students perform together in the large ensemble setting and follow the direction of a conductor. Informal or Formal: The teacher will listen to the students discuss the societal, cultural, and historical context surrounding this work in partners, small groups, or class discussion. Formal: The students will draft their comparisons and conclusions into a spreadsheet or narrative format, and the teacher will evaluate their writings for thoughtfulness and thoroughness. 260 Artistic Skill Objective Knowledge Objective The students will be able to demonstrate technical proficiency in relation to this piece; The students will be able to describe what was happening in the United States during the time in which this piece was composed. Contextual Understanding The students will discuss what patriotism meant in 1952 and what it means today; The students will compare and contrast this work with other classical and jazz pieces with which they are familiar. Language function Analyze, Explain, Compare/Contrast, Describe, Perform, Respond Key Learning Tasks Engage in in-class discussion about patriotism in partner/pair/share activity Compare and contrast this work with other classical and jazz pieces by contributing to a chart Listen to each other and tune the challenging chords and unisons in this work Discuss, develop, and perform phrases that demonstrate musicianship. Vocabulary or Symbols utilized in this lesson Patriotism Musicianship Augmented Chords Prior Learning: For students to be prepared to tackle the contents of this lessons, the instrumentalists should have a solid foundation of playing independently in sixteenth notes with chromatic pitches. The string instrumentalists should all be able to play in 7th position comfortably. The vocalists should be postpuberty with broad ranges and should be comfortable with singing independently. Procedures: HISTORICAL CONTEXT ACTIVITY Begin by asking students to partner/pair/share what patriotism means to them. (Depending on the 261 political climate during the time you present this lesson, there may potentially be some uncomfortable conversations during this activity. Remind all students that each persons view points and values are valid and appreciated. It is OK to disagree with each other but it is not OK to devalue each other. Respect is key!) ~5 minutes After this brief discussion, ask the students if anyone knows what things were going on in the late 1940s and early 1950s in the US that may have influenced peoples sense of patriotism. In what ways might people respond to these feelings? ~5 minutes 1945- WWII ends; US drops atomic bombs on Japan 1946- Nuremberg trials 1947- Jackie Robinson integrates baseball 1948- Racial segregation ends in US Military 1950- Korean War begins, US joins 1952- Eisenhower elected President 1953- End of the Korean War Some people, like artists and musicians, respond to these feelings by creating. This means creating artwork, poetry, movies, and music. The piece we are about to listen to was created in 1952 and was most likely written by Hoagy Carmichael in collaboration with an orchestral arranger in Hollywood. As you listen, think about in what ways the piece expresses feelings of patriotism. Jot these ideas down on a piece of paper (or via electronic tablets and show peoples responses on smart board). (After listening, take a moment to read aloud and validate the students responses) ~10 minutes COMPARE AND CONTRAST ACTIVITY Students will begin by listening to Hoagy Carmichaels Johnny Appleseed Suite together as a class. Ask the students to draft characteristics of the piece that they notice aurally. This task can be completed individually on paper or tablets, in partners, or as a class on the board or online. Then, play a recording of Old Glory for the students. Have the students draft characteristics of that piece as well. Then, ask the students to compare and contrast the two pieces. Here are some guiding questions to consider: What was different about the two pieces? What did the two pieces have in common? What instruments do you hear in each piece? 262 Did it sound like Old Glory could be a part of Johnny Appleseed Suite? Why or why not? Does is sound like the same person wrote the two pieces? Why or why not? LEARNING THE PIECE (I recommend working on this piece by first listening to the recording in the large group setting while following along in their parts. Then, break into sectionals strings, winds/percussion, and voices led by strong student leaders or other teachers. Although the piece is marked at 86 bpm, anywhere from 80-86 should be considered an acceptable goal performance tempo) The following suggestions for learning the piece should be incorporated into rehearsals spanning over several days or weeks. Strings The most difficult sections of this piece may be the first 8 measures at rehearsal D, where the strings play in unison up in seventh position, and at rehearsal F, where the strings have contrapuntal motion and chromatism. Seven measures before rehearsal E, all violins are required to shift from high B above the staff to an altissimo Ab above that in perfect unison. To accomplish this, the violinists will begin in thirdposition on beat 3 on the E-string playing an A above the staff with the first-finger, then shift to fifth-position on beat 4, still on the E-string, to a C above the staff with the first-finger. Then, they will shift to seventh-position on beat 1, this time on the A-string using their second finger to play the B above the staff. Finally, the violinists are in position to then play the altissimo Ab using their low-four on the E-string, at which time the rest of the descending line then falls easily under their fingers in position. First, have the violins practice this finger motion without the bow. Watch for bent wrists. Que each note, then, once they seem to have the correct placements, have them do the fingerings in time but slowly. Then, add the bow. Be sure that all violinists are following the bowings that are indicated in the attached violin parts with bowings (attachments in appendix). The additional challenge of tuning makes this section challenging, even for advanced violinists. After the section can play the line together, in tune, and in time, then add the other string sections, beginning at rehearsal D. Have the violins listen down to the cellos for tuning. After they are comfortable with the finger patterns and tuning, then speed the section up. For the section at F, each of the string sections have a different line. Begin by having the cellos and basses play through their section from F to G together (the basses rest for the first three measures). Then, have just the violin A part and the violas play their parts in just the fourth measure of F 263 together. Have them practice shifting here as indicated in the part out of context before having them play the whole phrase individually, then together. Then, have all of the violins practice the shift in the sixth measure out of context before putting it into the context of the phrase. First, have the violins practice this finger motion without the bow. Watch for bent wrists. Que each note, then, once they seem to have the correct placements, have them do the fingerings in time but slowly. Then, add the bow. After this, have violin D play from F-G. Make sure that the violins are playing F naturals in the third measure on beat three. Follow the same procedure with violins C, B, and A individually. Then, have violins C and D play together, then violins A and B. Finally, have the entire violin section play this section together. Five measures before rehearsal G, the violi must leap from a top-space F, written in alto-clef, to a high F above that, written in treble clef. This requires the students to play a F with their second finger on the D-string, then shift to their third-finger in third-position on the A-string. To practice this, students can practice shifting on the D-string to third-position (from F to A), then putting the third finger down on the A-string once it is already in position. Repeat this several times out of context before playing the entire phrase. Then, play the same phrase but hold the high F after the shift while listening to each other to tune. Practice this several times, each time striving to start the F in tune with each other. After they are comfortable with this shift, have the violi play from F to G with the cellos and basses. Then, add in the violins. Winds & Percussion You will need three percussionists for this piece due to the writing three before rehearsal G. Also, consider assigning the trombone player with the highest range to the third trombone part as this part has the melody above the section at the soli. Model how the rhythm goes one beat before rehearsal B in the clarinet part by clapping and counting. Have the clarinets imitate you, then have them play beat four in time. After that, have the clarinet section play that whole measure in time. At rehearsal C, have the musicians take the stacattos with a grain of salt. The last note of each phrase should not be too short and should be thought of as more of a lift rather than as short notes. Model how the rhythm goes one beat before rehearsal D in the snare drum part by clapping and counting. Have the drummer imitate you, then have them play the measure in time. After that, have the winds and percussion all play that measure (the snare should take the pickups). Then, put it into context by playing from C through D with everyone in. Have the brass play their line in the first three measures of rehearsal D to unify articulations. (make sure the trumpets are using their harmon mutes) After they are unified, add in the snare drum to 264 this phrase. Have just the trombones and clarinets play the fifth measure after rehearsal D. The clarinets should strive to match the articulations that the trombones are playing. Then, have just the clarinets play the following measure. Clap on beat two to help the clarinets all land on that beat together. Then, have them play the measure without you clapping. Finally, have the clarinets play the fifth and sixth measures together. Voices The vocal parts present challenging leaps, voice crossings, and potentially unfamiliar harmonies. The boys parts are written in bass clef and ascend to a high Ab above the staff. Four measures before rehearsal E, there is awkward voice crossing between the second soprano voice and the tenor voice during the word, A-mer-i-ca. Play each vocal part separately on the piano first and allow the students to match those pitches with the piano before combining parts. Begin with the lower boys part, then combine that voice with the top girls part. Then, add in the top boys part, followed by the bottom girls part. After they are comfortable singing this with the piano, have them sing it acapella. Then, direct them to look at the last five measures of the piece. They have the same phrase here acapella. At rehearsal B, the tenors take the melody. They begin on an F below middle C, then four measures before rehearsal C the tenors leap from a Bb just below middle C to a high Ab above the staff. To prepare for this leap, have the ensemble practice sirens (vocal slides from the lowest registers to the highest register) while striving for smooth transitions between the vocal registers. Then, have the tenors slide directly from their written Bb to their high Ab. After this, remove the slide and have them sing the notes exactly as written. Finally, have them sing the entire phrase, paying special attention to this leap. This piece contains many augmented seventh chords. These chords are not very common in most vocal music. However, they are very common in French impressionistic music. Help your students connect the chords with other music they may be more familiar with by discussing how to construct the chords and playing these chords in other contexts. First, have them sing a major chord voiced with basses and sopranos on the root, tenors on the fifth, and altos on the third. Then, have the tenors rise by a half-step. Sing and listen to this chord. Have the students describe how it sounds, what it reminds them of, or how it makes them feel. Then, have them listen to some of Debussys vocal pieces such as Printemps for Choir and Orchestra (1887). Before the recording begins, ask them to listen for the same type of chord they just sang. After listening to Debussy, have them do the same guided listening activity with a recording of Thelonious Monk performing a jazz piece such as Ruby My Dear (1947) for soprano and piano. 265 Appendix N Revised Violin A part to Old Glory Fingerings and bowings added by Jonathan Johnson 266 Appendix O Revised Violin B part to Old Glory Fingerings and bowings added by Jonathan Johnson 267 Appendix P Revised Violin C part to Old Glory Fingerings and bowings added by Jonathan Johnson 268 Appendix Q Revised Violin D part to Old Glory Fingerings and bowings added by Jonathan Johnson 269 Appendix R Suggested Edits to Individual Old Glory Parts Tempo: The score indicates that the piece should be performed at 86 bpm. However, the piece feels a bit frantic and is quite difficult to sing at that tempo due to the various large and somewhat awkward leaps throughout. A performance tempo between 76-82 is recommended with natural ebb and flow throughout. All parts (except Voices and Bass Clarinet): Add rallentando in the last three measures. Flutes and Clarinets: In the first and second measures of C, the flutes and clarinets staccatos written over the second quarter-note of each slur. Musically, this seems a bit awkward. However, the marking is consistent between the parts. I would recommend that the instrumentalists lift off of these notes and not play them too short since the clarinets are written with the vocalists and the flutes hand off to the vocal lines each time. Notably, the vocal parts are not indicated staccato here. Flutes, Clarinets, Trumpets, and Trombones: Dynamic marking missing at letter E. There is no specific dynamic indication in the score here. However, this section is a brass chorale with woodwind interjections. Therefore, I recommend a beginning volume of mf for brass and clarinets at E with natural swells for phrasing. Flute 1: In the fifth and sixth measures after rehearsal F, the first flute part is missing the slur on the sixteenth notes. Add a slur connecting the first sixteenth note through to the last note of the phrase. Voices: On the Boys staff, the Tenor 1 is supposed to double Soprano 1 beginning pickups into the third measure of C, but that means it occasionally crosses the Tenor 2 part (two measures before rehearsal D, third and fourth measures after D, two measures before rehearsal E, third measure after rehearsal G), which might cause confusion because it's a bit difficult to read on the page. Singers will need to pay attention to where the stems are pointing. Cello: Switch to arco on beat 1 of the measure before C; Beat 1 at rehearsal C should change to F natural (keep the F# on the previous beat), and beat 4 at rehearsal C should also be F natural; Switch to arco on beat 1 at rehearsal F. Bass: At rehearsal D, it is unclear whether the bass should remain arco or switch to pizzicato. The section at B was marked pizzicato, and the indication 3 measures before rehearsal E indicates a switch to arco, suggesting that the intention at rehearsal D might be pizzicato Bass. Although the section is homophonic with the other strings there, which are written arco, it makes sense to switch the Bass to pizzicato at rehearsal D, matching the style of the line at rehearsal B. Violins, Violi, Cello, Bass: Four measures from the end the dynamic marking should be f. 270 Appendix S Star Spangled Banner Arrangement by Hoagy Carmichael 271 272 Shawn Lynn Royer (she/her) Musician, Educator, Clinician Indianapolis, IN sgoodman@marian.edu / shawnroyerjazz.com *PhD Music Education (April 22) Individualized minor: Jazz Pedagogy Indiana University Jacobs School of Music, Bloomington IN MM Clarinet Performance (May 12) Graduate Assistantship in Conducting Butler University School of Music, Indianapolis IN BM Music Education (May 08) Concentration in Jazz Studies University of Indianapolis, Indianapolis IN State of Indiana Professional Educators License Instructional: Professionalized Accomplished Practitioner Instrumental & General Music All Schools: Rules 2002 License No. 1609269 Exp. 02/18/2026 Teaching in Higher Education 06/2019-Present Marian University Indianapolis Assistant Professor of Music Teach Applied Clarinet, Applied Saxophone, Applied Oboe, Secondary Methods, Woodwind Teaching Methods, Advanced Conducting, Foundations of Jazz Pedagogy for Music Educators, developed the Instrumental Practicum Lab class, Jazz Band, Woodwind Ensemble. Member of Teaching and Learning Committee and the Teacher Education Committee, supervise student teachers, created and organize annual Marian University Jazz Festival, part of NASM accreditation selfstudy team. 08/2018-05/2019 Marian University Indianapolis Adjunct Instructor of Music Taught Applied Clarinet and Applied Saxophone 08/2016-05/2019 Indiana University Jacobs School of Music Associate Instructor of Music Education Supervised student teachers, Taught Woodwind Techniques and Lab Band 09/2013-05/2019 Indiana University Purdue University Indianapolis (IUPUI) Adjunct Instructor of Music Taught Applied Clarinet, Applied Flute, Applied Oboe, and Music Theory & History 2 09/2013-05/2016 Butler University School of Music Adjunct Instructor of Music Taught Applied Clarinet, Chamber Ensemble, and Woodwind Techniques 09/2013-05/2015 Butler University College of Education University Supervisor Supervised music education student teachers in their student-teaching placements 08/2011-05/2012 Butler University Wind Ensemble Graduate Assistant / Assistant Conductor Teaching Public and Private Schools 08/2010-08/2011 Bishop Chatard High School Director of Bands / Orchestra Director / Music Department Chair Taught concert band, created an orchestra class, created a pep band for basketball and football games, hosted CYO Music Festival, assisted North Deanery schools with their music programs, performance tour to Chicago, supervised and coordinated all music department events 08/2009-08/2010 Cathedral High School Orchestra Director / Asst. Director of Bands / Jazz Band Director Directed orchestra, assisted with concert and marching band rehearsals, directed jazz ensemble 08/2008-08/2009 Andrew J. Brown Academy (National Heritage Academies) Director of Bands (5-8) / General Music (4-8) Started an after-school strings program, started an 8th grade jazz band, taught general music grades 4-8, taught concert band grades 5-8. 03/2008-05/2008 Pike High School Student Teacher Taught concert bands and jazz bands under the guidance of Ron Emmert and John Marshall. 01/2008-03/2008 Chapel Hill 7th & 8th Grade Center Student Teacher Taught concert bands and jazz band under the guidance of Nila Fillman. Teaching Community Groups 10/2020-present Swing Shift Indy Big Band Director Rehearse the ensemble bi-weekly and direct concerts 12/2018-present 65th Street Klezmorim (Indianapolis Hebrew Congregation) Director Rehearse the ensemble weekly during the school year (online during the pandemic), direct concerts, transcribe music for special IHC services, and collaborate with the choir 01/2008-present SYO Summer Music Programs (formerly Symphonic Youth Orchestra of Greater Indianapolis) Director / President / Founder Direct symphony orchestra & jazz ensemble, organize masterclasses & special events, mentor college interns, determine annual budget, recruitment 01/2005-09/2007 Honey Creek Youth Chamber Orchestra Conductor / Vice-President / Co-Founder Additional Teaching 09/1996-present Private Studio Teach private clarinet, flute, and saxophone lessons to high school, middle school, and adult students 06/1999-present Various high school bands & marching bands Coach woodwind sectionals, visual and music staff for marching bands, and jazz clinics. Schools include Franklin Community High School, Center Grove High School, Greenwood High School, Kings High School (Ohio), Roncalli High School, Brownsburg High School, Plainfield High School, Danville High School, Avon High School, Ben Davis High School, Perry Meridian High School, Pendleton Heights High School Publications Royer, S. L. (2022). David Baker: The nexus of jazz curriculum and the Civil Rights Movement at Indiana University. Journal of Historical Research in Music Education, 43(2), 142-161. http://doi.org/10.1177/15366006221081885 Royer, S. (2022). Hoagy Carmichaels Hidden Manuscript: The discovery of Old Glory for Childrens Choir and Chamber Orchestra [Unpublished doctoral dissertation]. Indiana University Jacobs School of Music. Royer, S. (2021, December 3). Clarinet bridge key issues. Classical Music Indy. https://classicalmusicindy.org/clarinet-bridge-key-issues/ Royer, S. L., & Royer, S. B. (2021, June 29). Inclusive practices that you can incorporate into your ensemble rehearsals. Classical Music Indy. https://classicalmusicindy.org/inclusive-practices-you-can-incorporate-intoyour-ensemble-rehearsals/ Royer, S. (2021, April 16). Differentiated instruction in music ensembles. Classical Music Indy. http://classicalmusicindy.org/differentiated-instruction-in-musicensembles/ Goodman-Royer, S. (2021). Teaching jazz by ear. Teaching Music, 28(4). https://digitaleditions.walsworth.com/publication/?m=61045&i=702943&p=20 &pp=1&ver=html5 Royer, S. L., & Royer S. B. (2021, February 23). Ways to better support LGBTQ+ youth in music classrooms. Classical Music Indy. https://classicalmusicindy.org/ways-tobetter-support-lgbtq-youth-in-music-classrooms/ Goodman, S. (2020). Bass Clarinet Tips. In R. Fraley & J. Weirich (Eds.), Play jazz: A beginners guide to creating great solos, bass clarinet (pp. 38). HX Music. Goodman, S. (2020). Clarinet Tips. In R. Fraley & J. Weirich (Eds.), Play jazz: A beginners guide to creating great solos, clarinet (pp. 38). HX Music. Goodman, S. (2020, December 15). Five helpful tips for teaching high notes on clarinet and saxophone. Classical Music Indy. https://www.classicalmusicindy.org/5helpful-tips-for-teaching-high-notes-on-clarinet-and-saxophone/ Goodman-Royer, S. (2020, September 29). Fix it: Clarinet Teaching Tips. Yamaha Educator Suite. https://yamahaeducatorsuite.com/clarinet-pedagogy Goodman, S. (2020). Idea bank: Rehearsing ensembles online. Music Educators Journal, 107(1), 1516. DOI: 10.1177/0027432120957434 Goodman, S. (2020, July 27). How to rehearse your jazz band online. Classical Music Indy. https://www.classicalmusicindy.org/how-to-rehearse-your-jazz-bandonline/ Arnold, M. A., Ellerbe, A. E., & Goodman, S. L. (2019). Review of music education in an age of virtuality and post-truth, Arts Education Policy Review 122(2), 136140. DOI: 10.1080/10632913.2019.1656127 Fraley, R. (2019). Rhapsody on Cue: Shawn Goodman jazz clarinet solo transcription. HX Music. HX9007 (solo jazz clarinet with Jazz Ensemble), HX8001 (solo jazz clarinet with Concert Band). Goodman, S. (2018). Jazz education: Teaching students how to play the changes. WAVE, Dansr/ Vandoren. https://www.dansr.com/vandoren/resources/jazzeducation-teaching-students-how-to-play-the-changes-1 Goodman, S. (2017, March 24). A step-by-step method for teaching jazz improvisation. Classical Music Indy. https://www.classicalmusicindy.org/a-step-by-stepmethod-for-teaching-jazz-improvisation/ Research Presentations A critical theorist approach to inclusiveness in school ensembles. International Symposium for the Philosophy of Music Education (Ontario, Canada, 2019). Discovering new works by Hoagy Carmichael: A historical research journey. Jazz Education Network National Conference (Las Vegas, Nevada, 2019). A discovery of new works by Hoagy Carmichael: A historical research inquiry. Archives of Traditional Music Special Collections lecture (Bloomington, Indiana, 2018). A discovery of new works by Hoagy Carmichael: An historical research inquiry. Music Education Research Colloquium, Indiana University Jacobs School of Music (Bloomington, Indiana, 2018). Mining the archives: Tradition & innovation in Hoagy Carmichaels musical contributions. Big Ten Academic Alliance Music Education Conference, poster presentation (Ann Arbor, Michigan, 2018). Clinician / Guest Speaker Presentations Co-presenter for the MVPX Episode 4: Supporting LGBTQ+ Students, featuring Shawn Royer & Sarah Royer, presented by the Pride Bands Alliance (formerly Lesbian and Gay Band Association) (2022) Guest speaker for Group Instruction in Woodwinds course and Topics in Music Education: Jazz Pedagogy course at Queens College, Aaron Copland School of Music in Flushing, Queens, New York (2021) Presented Demystifying Soloing and Improvisation as a guest speaker for the Indiana University Jacobs School of Music chapter of the National Band Association in Bloomington, Indiana (2021) Presented How to Rehearse Your Ensembles Online at the IMEA Virtual Professional Development Convention (2021) and at the OMEA Virtual Professional Development Convention in Ohio (2021) Interviewed online for Music Masters series with Cantor Aviva Marer (2021) Guest speaker for Closet Talks panel discussion presented by MU Alliance at Marian University (2021) Jazz clinician for Marian University Jazz Festival in Indianapolis, Indiana (2020, 2021) Interviewed for Clarinet Corner with Tim Phillips on Troy Public Radio (2020) Jazz clinician for Snyder Jazz Festival in Fort Wayne, Indiana (2020) Interviewed for the All Hoagy radio special with David Brent Johnson on WFIU (2019)  Led the 65th Street Klezmorim as featured clinicians for the NAfME masterclass at Marian University (2020) and for the Hammer Dulcimer Society of Indianapolis (2019) Guest speaker for Instrumental Methods course at Indiana State University in Terre Haute, Indiana (2020) Presented Rehearsing Your Ensembles Online: An Interactive Webinar for Directors presented by Marian University in Indianapolis, Indiana (2020) Guest speaker for Indiana University Jacobs School of Music Methods and Materials for Teaching Instrumental Jazz class in Bloomington, Indiana (2019) Guest speaker for Ball State University School of Music NAfME chapter presentation of my Step-by-Step Method for Teaching Jazz Improvisation in Muncie, Indiana (2018) Clarinet master clinician for Music for Alls National Festival in Indianapolis, Indiana (2015 & 2017) Clarinet master clinician for Music for Alls Summer Symposium in Muncie, Indiana (2015 & 2019) Present clarinet and jazz clinics regularly at high schools and middle schools as a Yamaha Performing Artist and Vandoren Artist Clinician throughout the Midwest Jazz clinician for Indy Pride Jazz Band in Indianapolis, Indiana (2016 & 2018) Presented Steps to Playin Changes: A Step-by-Step Method for Teaching Jazz Improvisation clinic at the IMEA Professional Development Convention in Indiana (2015, 2017, & 2019) and at the OMEA Professional Development Convention in Columbus, Ohio (2018) Presented Troubleshooting: Tips for Improving Your Clarinet Section at the IMEA Professional Development Convention in Indiana (2016, 2018, 2020) and at the OMEA Professional Development Convention in Ohio (2018, 2022) Featured guest artist and clinician for The Future of Music and Creativity Interactive in Franklin, Indiana (2016) Interviewed for the Have You Heard radio show with Rich Dole on WICR (2016) Clinician for Clarinet Day, Butler University School of Music in Indianapolis, Indiana (2015) Interviewed for The Art of the Matter radio show with Travis Dinicola on WFYI (2013) Indiana Music Educators Association (IMEA) Non-Competitive Band & Orchestra Festivals (2011-2014)  Clarinet and saxophone clinician for Butler University Band Day in Indianapolis, Indiana (2011-2014) Featured in Are You Working?, an informational video, directed by Kenny Phelps, for students considering careers in music (2012) Guest Soloist Featured solo artist for Classical Music Indy - City Sounds project, recorded at Central Library of the Indianapolis Public Library; performed Sonata No. 2, Op. 120, mvmt. 1 by Johannes Brahms, Lush Life by Billy Strayhorn, and Its So Hard to Put on Makeup While Crying by Shawn Royer (recorded October 21, 2021; release date December 17, 2021) Composed and performed Its So Hard to Put on Makeup While Crying at Music for All Summer Symposium Yamaha Artists Recital in Muncie, IN (2019) Composed and performed Its So Hard to Put on Makeup While Crying at Marian University Faculty Recital (2019) Performed Rhapsody on Cue with the Indiana Wind Symphony (2018) Performed Rhapsody on Cue with the Marian University Wind Ensemble (2018) Performed Rhapsody on Cue with the Symphonic Youth Orchestra of Greater Indianapolis (2018) Guest soloist with the Pride of Indy Jazz Ensemble (2016) Performed at Indy Jazz Fest (2013, 2000, 1999) Guest artist with the Taylor University Jazz Ensemble in Anderson, IN (2008) Performed Concertino for Clarinet by Weber with the University of Indianapolis Wind Ensemble (2007) Adjudicator Marian University Jazz Festival, Marian University, Indianapolis, IN (2020-present) Instrumental caption adjudicator for Show Fest show choir competition, Franklin, IN (2020) Concerto and Aria Competition, Anderson University School of Music, Theatre, and Dance, Anderson, IN (2020) Snider Jazz Festival, Fort Wayne, IN (2020)  ISSMA State Solo/Ensemble Contest adjudicator, Indianapolis, IN (2017-present) ISSMA District Solo/Ensemble Contest adjudicator, Indiana (2005-present) Heritage Fund Brown Family Young Musician Scholarship competition, Columbus, IN (2016-2019) ISSMA District Jazz Ensemble adjudicator, Indiana (2007-present) ISSMA District Organizational Festivals adjudicator, Indiana (2007-present) Select Music Performance Experience Performed at Labor Fest in Indianapolis and the Speedway Nights Concert Series in Speedway, IN, as a member of the Urban Renewal Cool Jazz Octet (2021) Directed 65th Street Klezmorim in performances at ishFest in Cincinnati, Ohio, and at the Hammer Dulcimer Society Folk Music Festival at Eagle Creak Reservoir in Indianapolis (2021) Directed the Swing Shift Indy Big Band in performances for Summer Evenings at the Bandstand at Lions Park in Zionsville, IN, at Hoosier Village in Zionsville, IN, and at Carmel Clay Ronald Reagan Park (2020, 2021) Featured at the University of Indianapolis Jazz Artist Concert Series in Indianapolis, IN (2019) Featured as part of the Second Sundays concert series at the Indianapolis Hebrew Congregation (2017, 2018) Perform jazz regularly with various ensembles at the Chatterbox and The Jazz Kitchen in Indianapolis Conducted the pit orchestra for Footloose (2018), Little Mermaid (2016) and The Addams Family (2017) at the Franklin Performing Arts Center Conducted the pit orchestra for Fiddler on the Roof (2017) at the Perry Meridian Fine Arts Center Conducted the Symphonic Youth Orchestra of Greater Indianapolis on the Pearlman stage at Carnegie Hall as part of the Viennese Masters Orchestra Invitational (2017) Sub regularly on lead tenor with the GMH Horns Big Band (2016-present) Perform woodwinds for Center Grove High School Show Choirs (2018-present) Performed chamber and klezmer music as part of a trio for weekly Shabbat services at the Indianapolis Hebrew Congregation (2014-2018) Performed Kiss Me Kate, Reed 1 (piccolo, flute, clarinet, soprano saxophone, alto saxophone) with the Kokomo Symphony (2016)  Performed alto sax and clarinet with the Wave Mechanics Union at Progfest in Chicago (2016 & 2017) Play clarinet for concert band recording sessions for various music publishers, Wood & Rodin (2007-2019) Member of the BobDirex Pit Orchestra (Reed 1); performed Cabaret, Jesus Christ Superstar, Spamalot, Hair, and Billy Elliot Member of the 850th Army Airborne Division WWII Reenactment Big Band (lead alto, clarinet), and the Stardusters Big Band (lead alto, clarinet) Woodwind sub for Booth Tarkington Civic Theatre Pit Orchestra; performed Wizard of Oz, Charlie and the Chocolate Factory, Into the Woods, Mary Poppins, the Drowsy Chaperone, A Chorus Line, Grease, Guys & Dolls, Joseph & the Amazing Technicolor Dreamcoat, the King & I, Miss Saigon, Annie, Aida Performed woodwinds for various musicals with different theatre groups; performed Addams Family, How to Succeed in Business Without Really Trying, Fiddler on the Roof, Once Upon a Mattress, The Sound of Music, Into the Woods, Suessical the Musical, Once on this Island, Carousel, Guys & Dolls, Gypsy, Joseph & the Amazing Technicolor Dreamcoat, the King & I, On the Town, the Wiz, Newsies, Cabaret, Freaky Friday, etc. Performed second clarinet with the Black Pearl Chamber Orchestra for Midwest tour (2015) Performed principal clarinet in a chamber ensemble for the Indiana State University Conducting Workshop (2014) Member of the Indianapolis Jazz Orchestra, tenor sax 2 (2007-09), and bari sax (2014-16) Featured performer at Indy Jazz Fest (2013, 2000, 1999) Recorded clarinet solo works for Concordia Publishing (2016) Featured soloist on albums by the Wave Mechanics Union, and Peter Terry and the City Prophets Guest soloist with Taylor University Jazz Ensemble (2008) Performed bari sax and bass clarinet for Duke Ellingtons Nutcracker Suite at the University of Indianapolis (2015) Principal Clarinet for Swan Lake ballet at Clowes Hall (2016) Featured Guest Artist with Ben Davis High School Wind Ensemble (2014) and Ben Davis High School Jazz Ensemble (2015) Conducted Camelot with the Garfield Shakespeare Company (2014) Conducted Man of LaMancha with the Mud Creek Players theatre group (2012)  Played Reed 4 for the National Touring Company Broadway production of Chicago (2000) Performed bass clarinet for The Nutcracker ballet at Butlers Clowes Hall (2010-15) Performed Pierrot Lunaire (Schoenberg) on clarinet and bass clarinet with Mary Nessinger (2013); Soldiers Tale (Stravinsky) on clarinet (2014); and Eight Songs for a Mad King (Maxwell Davies) on clarinet with Richard Armstrong (2015) for the annual Butler Arts Fest concert series Principal clarinetist in the IMEA Intercollegiate Honor Band (2006, 2008 & 2012) President of the SYO Summer Music Programs (2008-present) Member of the Indiana State School Music Association (ISSMA) Woodwind Manual Revision Committee (2010-present) All-State Jazz Coordinator for the Indiana Jazz Educators Association (2013-15) Service Secretary for the Indiana Jazz Educators Association (IJEA) (2012-14) President of the International Association of Jazz Educators (IAJE), IU Chapter (2000) Professional Affiliations Yamaha Performing Artist Vandoren Artist Clinician Member of the National Association for Music Education (NAfME) Member of Pi Kappa Lambda (Delta Zeta Chapter) Member of the Jazz Education Network (JEN) Member of Kappa Delta Pi, the International Honor Society in Education Member of the Musicians Union, Local 3 Member of the National Society of Collegiate Scholars Awards & Recognitions Nominated for the Indiana Music Education Association (IMEA) Outstanding Collegiate Educator Award (2022) Awarded Graduate Assistantship in Music Education at the Indiana University Jacobs School of Music (2016-2019)  Nominated and voted into Pi Kappa Lambda by the faculty Delta Zeta Chapter (2016) Awarded Graduate Assistantship with Butler University Wind Ensemble (201112) Featured in NUVO magazine by Chuck Workman in an Artist Profile, A Study in Jazz Collaboration (2011) Not Bennys Goodman was selected as one of the best local albums of the year in NUVO magazine (2013), and was selected for inclusion in Rick Andersons CDHotList (2014) Featured in the Indianapolis Star as a featured woman in jazz (2010) and as a most promising up-and-coming jazz artist (2008) Awarded the Indianapolis Jazz Foundations Jazz-Education Grant (2006 & 2007) Awarded the University of Indianapolis Susan Blackwell Music Education Scholarship (2007) Awarded the University of Indianapolis Jazz Award Scholarship (2006 & 2007) Runner-up in the IAJE Sisters-In-Jazz International Collegiate Competition (2000) Awarded the Indiana University School of Music Deans Scholarship (1999) Winner of Greater Indianapolis Youth Symphony Student Concerto Competition (1997) Discography HX Music 2019 Rhapsody on Cue {solo jazz clarinet with concert band} 2019 Rhapsody on Cue {solo jazz clarinet with jazz ensemble} Symphonic Youth Orchestra of Greater Indianapolis 2018 SYO {Rhapsody on Cue- solo jazz clarinet with orchestra} {track 7} Shawn Goodman (featuring Gary Walters) 2013 Not Bennys Goodman {modern jazz} {all tracks} Wave Mechanics Union 2012 Further to Fly {progressive and classic rock as jazz} {tracks 5, 6, 8, 12} 2008 Second Season {progressive and classic rock as jazz} {tracks 7, 9} Peter Terry & the City Prophets 2011 I am Jackson {pop} {track 6} Impossible Jazz Collaboration 2007 Music Station - Holiday Listening Sampler {holiday compilation} {track 3} Indiana School for the Blind Tuesday Combo 1999 College Avenue Jazz {straight ahead} {tracks 1, 3, 5, 6, 8, 11, 12, 13}  ...

... A chromosome-scale genome sequence of sudangrass (Sorghum sudanense) highlights the genome evolution and regulation of dhurrin biosynthesis Jieqin Li Anhui Science and Technology University Lihua Wang Anhui Science and Technology University Paul W. Bible Marian University Wenmiao Tu Anhui Science and Technology University Jian Zheng Anhui Science and Technology University Peng Jin Anhui Science and Technology University Yanlong Liu Anhui Science and Technology University Junli Du Anhui Science and Technology University Jiacheng Zheng Anhui Science and Technology University Yi-Hong Wang University of Louisiana at Lafayette Qiuwen Zhan ( qwzhan@163.com ) Anhui Science and Technology University https://orcid.org/0000-0001-5491-7541 Research Article Keywords: Sorghum sudanese, Genome, Genome evolution, GWAS, Dhurrin biosynthesis Posted Date: July 6th, 2022 DOI: https://doi.org/10.21203/rs.3.rs-1777118/v1 Page 1/21 License: This work is licensed under a Creative Commons Attribution 4.0 International License. Read Full License Page 2/21 Abstract Sudangrass [ Sorghum sudanense (Piper) Stapf] is a hybrid between grain sorghum and its wild relative S. bicolor ssp. verticilliflorum and is grown as a forage crop due to its high biomass production and low dhurrin content compared to sorghum. In this study, we sequenced the sudangrass genome and showed that the assembled genome was 715.95 Mb with 35,243 protein-coding genes. Phylogenetic analysis with whole genome proteomes demonstrated that the sudangrass genome was more similar to US commercial sorghums than to its wild relatives and cultivated sorghums from Africa. We confirmed that at seedling stage, sudangrass accessions contained significantly lower dhurrin as measured by hydrocyanic acid potential (HCN-p) than cultivated sorghum accessions. Genome-wide association study identified a QTL most tightly associated with HCN-p and the linked SNPs were located in the 3 UTR of Sobic.001G012300 which encodes CYP79A1, the enzyme that catalyzes the first step of dhurrin biosynthesis. As in other grasses such as maize and rice, we also found that copia/gypsy long terminal repeat retrotransposons were more abundant in cultivated than in wild sorghums, implying that crop domestication in the grasses was accompanied by increased copia/gypsy LTR retrotransposon insertions in the genomes. Key Message Sudangrass is more similar to US commercial sorghums than to cultivated sorghums from Africa sequence-wise and contain significantly lower dhurrin than sorghums. CYP79A1 is linked to dhurrin content in sorghum. Introduction Sudangrass [Sorghum sudanense (Piper) Stapf, also known as S. bicolor ssp. drummondii] is a hybrid between grain sorghum and its wild relative S. bicolor ssp. Verticilliflorum (Wiersema et al. 2007) and has been grown as a forage crop together with forage sorghums (Beck et al. 2013). However, when used as forage, sorghum poses a risk of cattle poisoning by dhurrin [p-hydroxy-(S)-mandelonitrile--D-glucoside], the precursor of hydrocyanic acid (HCN) (Hayes et al. 2015). Dhurrin is produced by sorghum and related species mainly in the leaves with much lower concentration in the stems and panicles and is measured by hydrocyanic acid potential (HCN-p) (De et al. 2011). Sudangrass contains lower concentration of dhurrin than sorghum-sudangrass hybrids, forage sorghum, shattercane, Johnsongrass, grain sorghum and sorghum almum (hybrid between grain sorghum and Johnsongrass) (De et al. 2011; Gorz et al. 1977; Loyd et al. 1970; McBee et al. 1980; Provin et al. 2012). Because of its low dhurrin content and high forage yield, sudangrass has been used to produce sudangrass-sorghum hybrids which display high forage biomass heterosis (Lu et al. 2011; Zhan et al. 2004). Within the cultivated sorghum, there is tremendous variation in dhurrin content in the leaves with a 17-fold difference between the highest and lowest dhurrin-containing entries (Hayes et al. 2015). Dhurrin plays a role of defense against herbivores and pathogens (Gleadow et al. 2014). Page 3/21 In sorghum, dhurrin is synthesized from L-tyrosine in multiple steps catalyzed by two multifunctional cytochrome P450 enzymes (CYP79A1 and CYP71E1) and a family 1 UDP-glucosyltransferase (UGT85B1), together with the P450 redox partner NADPH-dependent cytochrome P450 oxidoreductase (POR) (Gleadow et al. 2014; Laursen et al. 2016). The three genes coding for CYP79A1, CYP71E1 and UGT85B1 are clustered on chromosome 1 (Hayes et al. 2015; Gleadow et al. 2014; Darbani et al. 2016). In addition, the cluster also contains a membrane transporter (SbMATE2) (Darbani et al. 2016) and a gluthathione S-transferase (GST) which may participate in dhurrin turnover (Gleadow et al. 2014). On chromosome 8, there are two -glucosidases that hydrolyze dhurrin, the dhurrinases Dhr1 and Dhr2 (Hayes et al. 2015; Cicek et al. 1998). In this study, we sequenced and assembled the whole genome of sudangrass S722, characterized the evolution of the sudangrass genome. We also measured HCN-p in the mini core (Upadhyaya et al. 2009) and sudangrass accessions, performed genome-wide association studies (GWAS) and identified a strongly associated quantitative trait locus (QTL) which included two SNP and one indel marker. These markers were all located in the 3 UTR of Sobic.001G012300 coding for CYP79A1, the enzyme that catalyzes the first step of dhurrin synthesis (Gleadow et al. 2014; Laursen et al. 2016). Materials And Methods Genome sequencing and assembly DNA of sudangrass S722 was isolated using DNAsecure Plant Kit (Qiagen, Cat.No. DP320). After DNA isolation, 20 kb DNA fragments were recovered using the BluePippin system (Sage Science, Beverly, MA). A sequencing library was constructed with SQK-LSK109 kit and sequenced using PromethION 48 (Oxford Nanopore Technologies-ONT, UK). For short-read sequencing, DNA size of 350 bp were generated using the Covaris E210 Ultrasonicator (Woburn, MA) and the library was sequenced with BGIs PCR DNBSEQ (Shenzhen, China). Similarly, a 350 bp Hi-C sequencing library was constructed and sequenced using an MGI-2000 Sequencer (Shenzhen, China). After sequencing, the short-read sequencing data were processed using SOAPnuke1.5.6 (Chen et al. 2018) with the following setting to obtain clean reads:"-n 0.01 -l 20 -q 0.1 -i -Q 2 -G -M 2 -A 0.5 -d". For genome assembly, the long-read ONT sequencing data were de novo assembled into contigs using NECAT assembler (Chen et al. 2021). Three rounds of correction were applied subsequently using Racon v1.3.3 (Vaser et al. 2017) before Pilon (Walker et al. 2014) was used to improve the accuracy of the genome assembly by integrating the short-read sequencing data. Lastly, Hi-C technology (LiebermanAiden et al. 2009) was used to anchor primary contigs to pseudo-molecules and remove redundancy. Genome annotation For genome annotation, repeat sequences were identified using RepBase v21.12 (Bao et al. 2015), RepeatMasker v4.0.7, RepeatProteinMask v4.0.7, RepeatScout and RepeatModeler (http://www.repeatmasker.org), Piler (Edgar et al. 2005), Tandem Repeats Finder v4.09 (Benson 1999) or Page 4/21 LTR_FINDER v1.06 (Xu et al. 2007). Gene annotations based on RNA-seq data and de novo prediction. Genewise v2.4.1 (Birney et al. 2004), Augustus (Stanke et al. 2008), GlimmerHMM (Majoros et al. 2004), SNAP (http://homepage.mac.com/iankorf/), Genscan (Burge et al. 1997), FgeneSH (Salamov et al. 2000) and geneid v1.4.4 (Alioto et al. 2018) were used to predicate and annotate genes. tRNAscanSE software (Chan et al. 2019) was used to identify tRNAs using default settings. INFERNAL software was used to determine miRNA and snRNA against Rfam database (https://rfam.xfam.org/). Gene family analysis The proteomes of sudangrass and three other sorghum genus species were used to cluster gene families. OrthoFinder (Emms et al. 2015) was used to identify protein paralogs and orthologs sequences among the four species with the default parameters. The Venn graph was drawn using OrthoVenn2 (Xu et al. 2019). Phylogenetic analysis Single-gene families shared by sudangrass and eight other plant species were identified by OrthoFinder. RAxML was used to construct the maximum likelihood phylogenetic tree using the GTRGAMMA model with Arabidposis thaliana as an out group with a bootstrap value of 1000. The MCMCtree program of PAML (Yang 2007) was used to estimate the divergence time. The times of divergence between Arabidposis thaliana and Oryza sativa (115308 Mya), and Oryza sativa and Zea mays (4252 Mya) were from the TimeTree database (http://timetree.org/). To explore the evolutionary history of the gene families, gene expansion and contraction analysis was performed using CAFE 5 (Mendes et al. 2021) with default parameters. Gene trees calculated by Orthofinder were retrieved, and gene families were extracted based on sequence similarity using Orthofinder. Proteomes were collected for 17 sequenced plant varieties. These included sudangrass (S722), the Sorghrum bicolor reference (Sbicolor proteome v3.1.1) (Goodstein et al. 2012), S. bicolor Rio (v2.1, Phytozome) (Cooper et al. 2019), S. bicolor RTx430 (v2.1, Phytozome) (Deschamps et al. 2018), S. bicolor BTx642 (v1.1, Phytozome), SC187 (v1.1, Phytozome), S. bicolor ssp. bicolor durra (IS929) (Tao et al. 2021), S. bicolor ssp. bicolor Guinea /conspicuum (IS3614) (Tao et al. 2021), S. bicolor ssp. bicolor Kafir (IS8525) (Tao et al. 2021), S. bicolor ssp. bicolor Caudatum /zerazera (IS12661) (Mitros et al. 2020), S. bicolor ssp. verticilliflorum (PI536008) (Tao et al. 2021), S. bicolor ssp. drummondii (PI532566) (Tao et al. 2021), S. bicolor ssp. bicolor Margaritiferum (IS19953) (Tao et al. 2021), another variety of S. bicolor ssp. verticilliflorum (AusTRCF317961) (Tao et al. 2021), the wild relative S. propinquum (S369-1) (Tao et al. 2021), Miscanthus sinensis (v7.1, Phytozome) (Mitros et al. 2020), and the outgroup Zea mays reference (v4, Phytozome). For each variety, the longest isoform amino acid sequences were selected and processed using the Orthofinder pipeline to detect orthogroups and orthologs (Emms et al. 2015; Emms et al. 2019). For orthogroup sequence alignments, the -M msa option was used (orthofinder -t 8 -a 8 -M msa -f prots_folder/). The -M msa option invokes a more sensitive sequence alignment using MAFFT (Katoh et al. 2013) v 7.481. Gene and species trees were constructed by Orthofinder using FastTree (Price et al. Page 5/21 2010) version 2.1.11 from multiple sequence alignments. The phylogenetic relationship between varieties (called the species tree), was inferred by Orthofinder based on conserved single copy proteins using the STRIDE (Emms et al. 2017) and STAG (Emms et al. 2018) algorithms. Chromosomal structural change tracking To assess global structural changes, sorghum genome was compared to the sudangrass genome using CHROMEISTER (Prez-Wohlfeil et al. 2019) (command: CHROMEISTER -query genome1.fa -db genome2.fa -out outputfile). The generated dot-plot was drawn using the compute_score.R R script provided by CHROMEISTER to create image files. Before analysis, each genome assembly was filtered to use only its chromosomes. Any genome with only scaffold-level assembly quality was filtered to its 10 largest scaffolds (all > 19Mb). Large scale structural changes and their corresponding coordinates were calculated using CHROMEISTERs detect_events.py script (command: detect_events.py outputfile.raw.txt png). LTR analysis LTR_FINDER and LTRharvest (Xu et al. 2007) were used to search intact long terminal repeat retrotransposons (LTR-RTs) against the genome sequences. LTR-RT insertion time was calculated using T = K/2r (Steinbiss et al. 2009). All LTR-RTs were grouped into Ty1/copia, Ty3/gypsy or other superfamilies based on their structure and proteins domains using LTRdigest (Ossowski et al. 2010). The density graph of LTR-RTs for the Sorghum genus was drawn using ggplot2 in R. HCN-p and GWAS Sorghum mini core and seven sudangrass accessions were planted in plastic trays in triplicate. The plants were grown at 28 under 12 hours light and 12 hours dark photoperiod. Two weeks after planting, the first leaf was sampled to measure HCN-p as described by Gorz et al. (1977) (Gorz et al. 1977). GWAS was performed according to Wang et al. (2021) (Wang et al. 2021) using 6,094,317 SNPs and 957,449 indels. Kinship matrix (K) was generated using EMMAX (Kang et al. 2010). GWAS analyses were performed using EMMAX with Q matrix. The modified Bonferroni correction was used to determine the genome-wide significance thresholds of the GWAS, based on a nominal level of = 0.05 corresponding raw P values of 8.2 10 9 or log10(P) values of 8.08. Candidate genes were identified using the reference sequence Sorghum bicolor v3.1.1 curated at Phytozome 13 (https://phytozomenext.jgi.doe.gov/). Results Genome sequencing and assembly On the basis of K-mer distribution assessment (K = 25), the estimated genome size of sudangrass (2n = 20) was 741.34 Mb with heterozygosity of 0.225% and repeat contents of 58.4% (Table 1, Supplementary Page 6/21 Table 1, Supplementary Fig. 1). DNBseq, ONT, and Hi-C data were combined to yield a high-quality and chromosome-level reference genome. In total, 106.32 Gb of ONT long reads (~ 143.41x coverage of the genome), 113.78 Gb (~ 153.55x coverage of the genome) of DNB clean reads, 107.5Gb (~ 145.07x coverage of the genome) of Hi-C data were produced, resulting in 442fold coverage of the genome. The assembled genome was 715.95 Mb with scaffold N50 of 71.60 Mb and contig N50 of 28.97 Mb (Table 1). The longest contig and scaffold were 44.15 Mb and 86.04 Mb, respectively. The Hi-C data were used to order and anchor the assembled sequences onto the 10 chromosomes (Supplementary Fig. 2). The genome contained 44.33% GC. The mapping rate was 95.72% when BGI sequencing reads and the assembled genome were aligned. BUSCO analysis was carried out to evaluate the quality of the assembled genome and showed that sudangrass assembly contained 97.9% of the highly conserved genes common across eukaryotes (Supplementary Table 2). In addition, 142 syntenic blocks and 1,489 paralog groups were identified based on self-alignment of 35,243 annotated genes, indicating that the sudangrass genome has undergone frequent segmental duplications and interchromosome fusions in its evolutionary history (Fig. 1). Table 1 Assembly and annotation of the sudangrass genome Estimated genome size (Mb) 741.34 Assembled genome size (Mb) 720.10 Number of Scaffolds 10 Number of N50 Scaffolds 5 Number of contigs 115 Number of N50 contigs 11 Longest Chr (Mb) 86.04 GC content (%) 44.33 Transposable elements (%) 67.33 Predicated protein-coding genes 35,243 Average gene length (bp) 3316.36 Average exon length (bp) 282.50 Genome annotation RNA sequence and homology searches were used to identify protein-coding genes in the sudangrass genome. Overall, 35,243 protein-coding genes were identified. On average, gene length was 3.32 kb and exon length was 282.50 bp (Supplementary Table 3). A total of 90.25% (31,086 genes) of the 35,243genes were annotated by homology to known proteins, domains or transcripts (Supplementary Page 7/21 Table 4). In total, 1647 transcription factors (TFs) in 56 TF families were identified in the genome. These included 188 MYB, 160 bHLH and 94 WRKY (Supplementary Table 5). The sudangrass genome contained 510.09 Mb repetitive sequences (71.25% of the genome) using homology-based and de novo methods, of which 3.68% were tandem repeat and interspersed repeats (26.36 Mb). Long terminal repeats (LTRs) retrotransposons was the most abundant interspersed repeats, representing 57.1% of the genome (394.71 Mb), followed by DNA transposons at 10.12% (72.48 Mb). The non-LTR retrotransposons LINEs (long interspersed nuclear elements) and SINEs (short interspersed nuclear elements) accounted for 2.08% (14.88 Mb) of the genome (Supplementary Table 6). Genes annotated as ncRNAs included 2,751 miRNAs, 690 tRNAs, 672 rRNAs, and 4,670 snRNAs (Supplementary Table 7). Comparison of gene families A gene family cluster evaluation from the whold genomes of four Sorghum genus (S. bicolor, S. proniquum, S. bicolor ssp. verticilliflorum and sudangrass) was performed. The four genomes shared 17,155 gene families and 448 gene families were sudangrass-specific (Fig. 2A). These 448 gene families consisting of 3,141 genes were used to perform GO analysis (cutoff < 0.05). These genes were enriched in cell component (endoplasmic reticulum lumen) and 15 molecular function categories (ATPase-coupled cation transmembrane transporter activity, metal ion binding etc.) (Supplementary Fig. 3 and Supplementary Table 8). The CAFE program was used to perform gene expansion and contraction analysis. Comparative genomic analyses were performed among nine representative plant species (Fig. 2B) and 276 and 905 gene family expansion and contractions, respectively, were found in sudangrass, after its divergence from S. bicolor, indicating that more sudangrass gene families have undergone contraction than expansion. Among the gene families, 638 significantly expanded genes and 603 significantly contracted genes were found at the 0.05 level. KEEG analysis showed that expanded genes were enriched in 45 pathways including acridone alkaloid biosynthesis, flavonoid biosynthesis and circadian rhythm (Supplementary Table 9 and Supplementary Fig. 4). Contracted genes were enriched in 17 pathways including isoflavonoid biosynthesis and stilbenoid, diarylheptanoid and gingerol biosynthesis etc. (Supplementary Table 10 and Supplementary Fig. 5). A divergence tree was constructed based on expansion-contraction of 186 single-copy orthologs. The results indicated that the Sorghum genus diverged from Z. mays about 21.6 Mya (16.227.4), and sudangrass diverged from S. bicolor about 1.1 Mya (0.61.7) (Fig. 2B). We also constructed a phylogenetic tree using 17 sequenced plant varieties. In this phylogenetic tree, sudgangrass (S722) was most closely related to the five cultivated sorghums BTx623, Rio, SC187, RTx430 and BTx642 and distinct from wild relatives and cultivated sorghums from Africa (Supplementary Fig. 6). Chromosome changes compared to the sorghum genome Page 8/21 Comparisons of the sudangrass genome with the sorghum reference genome by chromosome using Chromeister (Prez-Wohlfeil et al. 2019) indicated largely collinearity between the two, except between sudangrass chromosome 4 and the reference chromosome 5 (Fig. 3). In this case, while the middle of the two chromosomes was largely colinear, both arms were inverted (Fig. 3). Between sudangrass chromosome 1 and the reference chromosome 1 and between sudangrass chromosome 6 and the reference chromosome 7, it was the middle portion of the chromosomes that were inverted (Fig. 3). The LTR analysis Transposons, especially LTRs, are important to the evolution of genome structure. LTRs were identified and compared among the four sorghum species. In total, 3076, 7019, 6005 and 1940 intact LTRs were found in sudangrass, S. bicolor, S. bicolor ssp. verticilliflorum and S. proniquum, respectively (Fig. 4A). There was no significant proliferation of LTRs in the last 2 Mya for S. proniquum. But for S. bicolor, S.bicolor ssp. verticilliflorum and sudangrass, there has been continuous and substantial LTR accumulation in the last 2 Mya (Supplementary Fig. 6). For S. bicolor and S. bicolor ssp. verticilliflorum, LTR number expanded three times more than S. proniquum. For sudangrass, LTR number only expanded 0.5 times more than S. proniquum. Approximately 81.21%, 81.72%, 79.30% and 84.03% of the intact LTRs had at least one protein domain in the four species (S. bicolor, S. bicolor ssp. verticilliflorum, S. proniquum, and sudangrass), respectively. There was no significant difference among the four species in the number of LTR with protein domain. As in other species, the majority of LTRs were Ty1/copia or Ty3/gypsy. Specifically, 70.96%, 69.69%, 64.14% and 59.92% were Ty3/gypsy in S. bicolor, S. bicolor ssp. verticilliflorum, S. proniquum and sudangrass, respectively, and the respective number for Ty1/copia were 10.76%, 9.61%, 19.89% and 21.29%. Compared to S. proniquum, the number of Ty1/copia was 0.5, 0.7 and 1.0 times more in S. bicolor ssp. verticilliflorum, S. bicolor and sudangrass, respectively. But for Ty3/gypsy, it was 2.4, 3.0 and 1.48 times more in the three species, respectively, compared to that in S. proniquum. We also compared the expansion curve in the four species (Fig. 4B and 4C). For Ty3/gypsy, there was no sharp peak in S. proniquum. For sudangrass, S. bicolor and S. bicolor ssp. verticilliflorum, there were a burst in 1.06, 0.22 and 0.35 Mya for Ty3/gypsy and a burst in 0.32, 0.12 and 0.21 Mya for Ty1/copia, respectively. These showed that S. bicolor and S. bicolor ssp. verticilliflorum had similar expansion pattern and sudangrass had distinct expansion pattern compared to the other two species (Fig. 4B and 4C). HCN-p in mini core/sudangrass accessions and GWAS We measured leaf HCN-p (in ppm) in 2-week-old seedlings of 227 mini core sorghum and seven sudangrass accessions including S722. HCN-p ranged from 189717 with an average of 381 in the mini core accessions while in the sudangrass accessions it ranged from 71233 with an average of 140. Overall, sorghum accessions had higher HCN-p than sudangrass accessions (p = 0.0000383; Fig. 5). Page 9/21 We performed GWAS with the mini core HCN-p data using 6,094,317 SNPs and 957,449 indels. No markers were associated with HCN-p with log10(P) value greater than the threshold of 8.08 but we found one QTL with the highest log10(P) value (7.94 and 7.47 for the two SNPs and 7.73 for the indel) mapped to chromosome 1 (Fig. 6A and 6B), in the same gene cluster mapped by Hayes et al. (2015). The two SNPs (Fig. 6C) and one indel (Fig. 6D) with the strongest association with HCN-p were all located in the 3 UTR of Sobic.001G012300 which encodes CYP79A1 (Fig. 6E), the enzyme that catalyzes the first committed step of dhurrin biosynthesis, converting L-tyrosine into (Z)-p-hydroxyphenylacetaldehyde oxime (Gleadow et al. 2014; Laursen et al. 2016). Discussion In this study, we found that sudgangrass (S722) is most closely related to the five sequenced US commercial sorghums BTx623, Rio, SC187, RTx430 and BTx642 (Supplementary Fig. 6) which all produced panicles under field conditions. Although BTx623, SC187, RTx430 and BTx642 are all known grain sorghum varieties, Rio as a sweet sorghum variety can also produce grain yield comparable to BTx623 in some environments in addition to its high biomass and sugar content (Murray et al. 2008). In contrast, sudangrass produces lower grain yield (Li JQ unpublished results) and in this aspect sudangrass is not as fully domesticated. We analyzed 227 sorghum mini core and seven sudangrass accessions for HCN-p and found that sorghum accessions contained higher HCN-p than sudangrass accessions. This is in agreement with previous studies that showed lower leaf HCN-p in sudangrass compared to sorghum (Gorz et al. 1977; Loyd et al. 1970; McBee et al. 1980). For example, Gorz et al. (1977) analyzed nine grain sorghum A/R lines, six sweet sorghums, 13 forage sorghums, and nine sudangrass varieties with average/(range) HCNp of 1027/(861 ~ 1208), 1130/(976 ~ 1341), 983/(80 ~ 1560), and 445/(286 ~ 614) ppm, respectively. There seems to be a correlation between the degree of domestication and the copy number of copia/gypsy LTR retrotransposons. In the sudangrass and the five US commercial sorghum clade shown in Supplementary Fig. 6, the copy number was 3076 for sudangrass S722 and 7019, 5844, 7203, 7308, and 7467 for BTx623, Rio, RTx430, SC187, and BTx642, respectively. Among the five varieties, the four commercial grain sorghums (BTx623, RTx430, SC187, and BTx642) contain similar copy number, but Rio has lower copy number (Supplementary Fig. 6) and is grown as sweet sorghum for its high stem juice sugar content (Murray et al. 2008). All other cultivated sorghums or wild relatives have copy number lower than the four grain sorghums (Supplementary Fig. 6). Our results confirm findings by other studies in other grasses. For example, in cultivated indica and japonica rice gypsy accounted for 21% and 22% of their respective genomes while this number ranges from 914% in wild rice relatives (Li et al. 2017). In another rice study, the 50 most abundant LTR retrotransposons numbered from 1885 ~ 3224 in cultivated indica and japonica rice and 337 ~ 1491 in wild rice relatives (Stein et al. 2018). Similarly in maize, in a study of 91 improved, 24 landrace and 10 teosinte maize accessions, Zhang and Qi (2019) (Zhang et al. 2019) found that landraces contained more copia/gypsy than teosinte (793,808 vs. 460,394) although improved maize contained far less than teosinte (154,136 vs. 460,394) on average. These results suggest Page 10/21 that crop domestication at least in the grasses was accompanied by increased copia/gypsy LTR retrotransposon insertions in the genomes. The two SNPs (Fig. 6C) and one indel (Fig. 6D) with the strongest association with HCN-p were all located in the 3 UTR of Sobic.001G012300 which encodes CYP79A1 (Fig. 6E), the enzyme that catalyzes the first committed step of dhurrin biosynthesis, converting L-tyrosine into (Z)-p-hydroxyphenylacetaldehyde oxime (Gleadow et al. 2014; Laursen et al. 2016). The CYP79A1 gene is critical to dhurrin biosynthesis as antisense plants reduces HCN from 221.4 g/g to 76.2 g/g (Pandey et al. 2019) and missense mutations P414L (Blomstedt et al. 2012) or C493Y (Skelton 2014) in the gene shuts down dhurrin production. One possible reason is that transcript levels of CYP79A1 and CYP71E1 are almost perfectly correlated (R = 0.956) (Choi et al. 2020) and CYP71E1 catalyzes the second of the three steps in dhurrin biosynthesis (Gleadow et al. 2014; Laursen et al. 2016). These GWAS results are based on HCN-p measurements of 2-week-old seedling leaves. Future studies may need to use data from seedling stage as well as other stages relevant to forage sorghum/sudangrass production. In conclusion, we have sequenced a sudangrass genome producing a chromosome level assembly that is 715.95 Mb in size containing 35,243 genes. Phylogenetic analysis with whole genome proteomes also showed that the sudangrass genome was more similar to but distinct from the cultivated US sorghums. We confirmed that at seedling stage, sudangrass accessions contained significantly lower HCN-p than cultivated sorghum accessions. GWAS identified a QTL most tightly associated with HCN-p and the linked SNPs were located in the 3 UTR of Sobic.001G012300 which encodes CYP79A1, the enzyme that catalyzes the first step of dhurrin biosynthesis. These insights will guide future studies to interrogate the regulatory mechanisms of the dhurrin pathway. Declarations Acknowledgments This work was supported by Anhui Provincial Natural Science Fund (2008085MC73), the National Natural Science Foundation of China (31971993), Anhui Provincial Key R&D Programme (202004b11020003) and the Key Project of Natural Science Research of Anhui Provincial Education Department (KJ2021ZD0108). Conflict of interest We declare that there are no conflicts of interest. Author contribution LW prepared samples for genome sequencing; WT, JZ, PJ, JD and JZ measured HCN-p in the seedlings of the mini core accessions and sudangrass; PWB performed chromosome alignment and phylogenetic analysis; YW performed statistic test for HCN-p between sudangrass and sorghums, and drafted the Page 11/21 manuscript; QZ designed the HCN-p experiment, JL and LW performed GWAS, phylogenetic and genome and transposon analyses. All authors reviewed and approved the final manuscript. 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Zhang X, Qi Y (2019) The Landscape of Copia and Gypsy Retrotransposon During Maize Domestication and Improvement. Front Plant Sci 10:1533. https://doi.org/10.3389/fpls.2019.01533 Figures Figure 1 Genome features of sudangrass (S. sudanense). Track a, the ten chromosomes (in Mb scale). Track b, gene density. Track c, GC content. Track d, repeat density. Colored lines in the center represent interchromosomal synteny. Page 16/21 Figure 2 Comparison of gene families. A. Venn diagrams displaying the number of gene families shared among four sorghum species. B. Phylogenetic tree based on expansion-contraction of 186 single-copy orthologous genes. The divergence time is given in millions of years in node. The red and blue numbers on each branch presents expanded and contracted gene families, respectively. Figure 3 Chromosome structural comparison between sudangrass (first number) and the reference genome (second number) by Chromeister. Red lines indicate inversion. Page 17/21 Figure 4 LTR insertion analysis. A. LTR insertion times of the four sorghum species. B. The density graph of LTR insertion times of the four sorghum species for copia superfamily. C. The density graph of LTR insertion times of 4 sorghum species for gypsy superfamily Page 18/21 Figure 5 Higher HCN-p (ppm) in the sorghum mini core accessions than in the seven sudangrasses. ** indicates significant difference at p < 0.01 (p = 0.0000383). X inside each box in the boxplot represents the mean and horizontal line the median value of each data group. Page 19/21 Figure 6 A QTL on sorghum chromosome 1 (indicated by red arrow in A and B) associated with HCN-p. A. Manhattan plot of SNPs on chromosome 1. B. Manhattan plot of indels on chromosome 1. C. The peak region indicated by red arrow in A magnified. D. The peak region indicated by red arrow in B magnified. E. Genomic region from C and D showing all annotated genes. For A, B, C, and D, the x axis is physical distance in bp and the y axis is -log(p). Supplementary Files This is a list of supplementary files associated with this preprint. Click to download. SupplementaryFig.1.jpg SupplementaryFig.2.png SupplementaryFig.3.png SupplementaryFig.4.png SupplementaryFig.5.png SupplementaryFig.6.png SupplementaryTable1.docx SupplementaryTable2.docx SupplementaryTable3.docx Page 20/21 SupplementaryTable4.docx SupplementaryTable5.xlsx SupplementaryTable6.docx SupplementaryTable7.docx SupplementaryTable8.csv SupplementaryTable9.csv SupplementaryTable10.csv Page 21/21  ...

... METHODS published: 16 March 2022 doi: 10.3389/fmicb.2022.859241 A New Way to Trace SARS-CoV-2 Variants Through Weighted Network Analysis of Frequency Trajectories of Mutations Qiang Huang 1 , Qiang Zhang 2 , Paul W. Bible 3 , Qiaoxing Liang 4 , Fangfang Zheng 5 , Ying Wang 1 , Yuantao Hao 1* and Yu Liu 1* 1 Department of Medical Statistics and Epidemiology, School of Public Health, Sun Yat-sen University, Guangzhou, China, College of Computer, Chengdu University, Chengdu, China, 3 College of Arts and Sciences, Marian University, Indianapolis, IN, United States, 4 State Key Laboratory of Ophthalmology, Zhongshan Ophthalmic Center, Sun Yat-sen University, Guangzhou, China, 5 School of Traditional Chinese Medicine Healthcare, Guangdong Food and Drug Vocational College, Guangzhou, China 2 Edited by: Pragya Dhruv Yadav, National Institute of Virology (ICMR), India Reviewed by: Anna Bernasconi, Politecnico di Milano, Italy Arbind Kumar Patel, Indian Institute of Technology Gandhinagar, India *Correspondence: Yuantao Hao haoyt@mail.sysu.edu.cn Yu Liu liuy683@mail.sysu.edu.cn These authors have contributed equally to this work Specialty section: This article was submitted to Virology, a section of the journal Frontiers in Microbiology Received: 21 January 2022 Accepted: 18 February 2022 Published: 16 March 2022 Citation: Huang Q, Zhang Q, Bible PW, Liang Q, Zheng F, Wang Y, Hao Y and Liu Y (2022) A New Way to Trace SARS-CoV-2 Variants Through Weighted Network Analysis of Frequency Trajectories of Mutations. Front. Microbiol. 13:859241. doi: 10.3389/fmicb.2022.859241 Early detection of SARS-CoV-2 variants enables timely tracking of clinically important strains in order to inform the public health response. Current subtype-based variant surveillance depending on prior subtype assignment according to lag features and their continuous risk assessment may delay this process. We proposed a weighted network framework to model the frequency trajectories of mutations (FTMs) for SARSCoV-2 variant tracing, without requiring prior subtype assignment. This framework modularizes the FTMs and conglomerates synchronous FTMs together to represent the variants. It also generates module clusters to unveil the epidemic stages and their contemporaneous variants. Eventually, the module-based variants are assessed by phylogenetic tree through sub-sampling to facilitate communication and control of the epidemic. This process was benchmarked using worldwide GISAID data, which not only demonstrated all the methodology features but also showed the module-based variant identification had highly specific and sensitive mapping with the global phylogenetic tree. When applying this process to regional data like India and South Africa for SARS-CoV2 variant surveillance, the approach clearly elucidated the national dispersal history of the viral variants and their co-circulation pattern, and provided much earlier warning of Beta (B.1.351), Delta (B.1.617.2), and Omicron (B.1.1.529). In summary, our work showed that the weighted network modeling of FTMs enables us to rapidly and easily track down SARS-CoV-2 variants overcoming prior viral subtyping with lag features, accelerating the understanding and surveillance of COVID-19. Keywords: SARS-CoV-2, mutations, frequency trajectories, weighted network analysis, variant tracing INTRODUCTION The severe acute respiratory syndrome-related coronavirus 2 (SARS-CoV-2) causing coronavirus disease 2019 (COVID-19) has been running rampant all over the world since December 2019. The current pandemic has triggered an unprecedented scale of whole-genome sequencing and sharing of the viruss genome. Surveillance of SARS-CoV-2 variants using sequence data provides insight Frontiers in Microbiology | www.frontiersin.org 1 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing shown in Figure 1B. This framework uses FTMs as an input and is comprised of the following main steps: sequence curation, mutation calling, calculation, and filtering of FTMs, network construction, variant identification and determination using core mutations, and variant validation. We used the worldwide data and the pandemic variants (Supplementary Table 1) as a benchmark and further illustrate the surveillance features of our method using regional data from India and South Africa. Below, we focus on the delineation of each step. into disease virulence, pathogenesis, host range or immune escape, as well as the effectiveness of SARS-CoV-2 diagnostics and therapeutics (Grubaugh et al., 2021; Tegally et al., 2021). Viral subtyping methods such as GISAID (Han et al., 2019), Pangolin (Rambaut et al., 2020) and CMM (Qin et al., 2021) have greatly aided this process. Designating a subtype (e.g., lineage) for each genome according to predetermined genetic features (e.g., mutations) followed by continuous risk assessment of these subtypes serves to identify clinically important emerging variants. However, subtype assignment depends on lag features that may delay the detection of newly emerging variants or the descendants of circulating variants. In addition, a too detailed subtyping (e.g., Pangolin) of the SARS-CoV-2 population has resulted in excess burden on risk monitoring while a rough categorization (e.g., GISAID) delays the detection and communication of dangerous variants (Oude Munnink et al., 2021; Qin et al., 2021; Tang et al., 2021). It is well known that new SARS-CoV-2 variants with their specific mutation features gradually dominate through spatial and temporal expansion (Mascola et al., 2021). The frequencies of different mutations throughout the viral genome can now be tracked over time with high resolution and reliability. Mutations with synchronous frequency trajectories are likely to define a variant or a group of variants (Zhao et al., 2020; Bernasconi et al., 2021; Qin et al., 2021). Thereby, the frequency trajectories of mutations (FTMs) contain information that could allow very sensitive detection of prevalent mutations highlighting important variants, e.g., variants under investigation (VUI) or variants of concern (VOC). Leveraging FTMs to develop new analytics will allow truly real-time surveillance of SARS-CoV-2 variants and improve the lead time for public health interventions. In this paper, we developed a module-based variant surveillance method that enables real-time tracking of historical and circulating SARS-CoV-2 variants without designating their subtypes in advance allowing newly emerging variants or the descendants of circulating variants to be tracked earlier. This method views mutations represented by FTMs as nodes of a network and describes their relationships using network connections. We found that closely connected nodes in the network forming a biologically meaningful module indicate a potential variant, and module clusters indicate potential contemporaneous variants. We demonstrate the FTM network construction and interpretation through analysis of worldwide data of SARS-CoV-2 genomes and validate its variant surveillance capability via tracking the variants circulating in two COVID-19 hotspots, India and South Africa. Data Curation SARS-CoV-2 genomes were retrieved from GISAID database (Shu and McCauley, 2017). Only viruses from human submitted before 2021-11-30 with sample collection date between 202001-05 and 2021-11-27 were extracted, filtering sequences with flags, complete sample collection date, complete genome (genome length > 29,000 bp) and low coverage excluded (exclude genomes with > 5% Ns). Consequently, a total of 5,043,950 genomes were collected. Because significant sampling date errors were found in metadata of some genomes (Supplementary Figure 1), they were firstly excluded from downstream analysis according to their mutation numbers (see below). Bioinformatic Analysis for Mutation Calling Whole genome genetic variations, including single nucleotide polymorphisms (SNPs) and insertions/deletions (INDELs), were determined and annotated using a bioinformatic framework proposed by Massacci et al. (2020) with Wuhan-Hu-1 (GenBank NC_045512.2) (Wu et al., 2020) as the reference. In summary, the viral sequences were first aligned against the reference using the nucmer command with default settings except requiring only the forward matching of the query sequences (forward), provided by the MUMmer package (version 3.23) (Marcais et al., 2018). The generated delta encoded alignment files were then parsed by the show-snps command to produce a catalog of all SNPs and INDELs. Show-snps outputs were summarized and translated to proteins using a R script adapted from Mercatelli and Giorgi (2020). Eventually, an annotated list including 186,399,389 mutational events was exported. The number of mutational events for each study sample was firstly calculated. Since high mutation numbers are not likely to appear in the early stage of the COVID-19 pandemic (Supplementary Figure 1), we excluded genomes with mutation numbers far beyond other samples collected in the same month, where the cutoffs were set to be the average plus 5 standard deviations. MATERIALS AND METHODS Calculation and Filtration of Frequency Trajectories of Mutations A comparison of the workflows between subtype-based and FTM-based variant surveillance methods has been shown in Figure 1A. The outline of our FTM-based SARS-CoV-2 variant identification framework using weighted network modeling is Mutations present at least once across all genomes were extracted and their frequency time series were generated according to calendar weeks of sampling. Specifically, a mutation frequency, denoted by yst , at a sampling week t on a specific site s was calculated as the fraction of genomes with the mutation Frontiers in Microbiology | www.frontiersin.org 2 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing where t denotes the week number and t = 1 represents the first complete calendar week of 2020 (from January 5 to 11, 2020). When aggregating the mutation events for each mutation site, a large amount of multi-directional mutations (e.g., CT and CG) were detected (Supplementary Figure 2). All possible mutation directions were considered in our study to allow the distinction of different variant branches (e.g., G23012A for B.1.351 and G23012C for B.1.617.1) and to avoid erroneous clustering in the network construction due to missing mutation directions. A myriad of mutations (i.e., large S) were detected across the viral genome but most were less informative with the temporal frequency pattern of fluctuating near zero (Supplementary Figure 3). Therefore, FTMs with all mutation frequencies less than a threshold [e.g., 1%, a threshold above which a mutation is considered fixed in a natural population (Wong et al., 2003)] were first excluded. For worldwide data, 1,178 (1.4%) were kept after this filtration and the majority of these FTMs maintained a frequency of 1% only for a limited period, as described by Chiara et al. (2021). To facilitate the demonstration of the methodology features, a hierarchical clustering analysis using Wards method (Ward, 1963) was additionally applied to group and exclude them before investigating the temporal clustering patterns. Weighted Network Construction In the network model, nodes correspond to mutations, or more precisely to scaled FTMs with ys mean(ys ) p (2) var(ys )

P where mean ys = T1 t yst and var ys = P 2 1 t [yst mean(ys )] . The edges between mutations are T1 determined by the pairwise Pearson correlations between FTMs. Then two FTMs will have a correlation coefficient close to 1 if they are synchronous, and non-synchronous relationships will deviate from 1. The connection strength between mutation i and j were quantified with an adjacency score using a power function (Horvath, 2011), 0 ys = 0 0 Aij = (0.5 + 0.5 corr(yi , yj )) , (3)  0 0 wherecorr yi , yj is the Pearson correlation coefficient between 0 FIGURE 1 | Workflows for SARS-CoV-2 variant surveillance. (A) Workflow comparison between subtype-based and FTM-based variant surveillance methods. (B) Outline of a weighted network framework for variant surveillance using FTMs. of all genomes sampled at that week. Then the frequency trajectory of a mutation s (1 = s = S) can be denoted as ys = {yst : 1 t T}, Frontiers in Microbiology | www.frontiersin.org 0 yi and yj . The transformation in the parentheses is applied to map the correlations onto the interval [0, 1] to satisfy the requirement of an adjacency matrix and the exponential transformation with 1 is used to emphasize strong correlations at the expense of weak correlations. This leads to a weighted network and is determined based on the scale-free topology criterion (Zhang and Horvath, 2005). The network connectivity (ks ) of the sth mutation is the sum P of the connection strengths with the other mutations, ks = i 6= s Asi . The summation performed over all mutations in a particular module is the intra-modular connectivity (ks,intra ). (1) 3 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing on December 24, 2021, were retrieved from the GISAID database. A subsample randomly selected from these data was used for the skeleton construction of global SARS-CoV2 phylogenic tree. Second, the module genomes determined by the module core mutations were extracted. Specifically, the pandemic module genomes pointing to S, V, G, GH, GV, GR, GRY, and GK were directly taken from the global reference dataset to show the consistency with the skeleton tree. Other module genomes were extracted from the source data but down-sampling was introduced if the number exceeded 200. Then, the pipeline successively performs an alignment of genomes in MAFFT (Katoh and Standley, 2013), phylogenetic inference in IQ-Tree (Minh et al., 2020), tree dating and ancestral state construction and annotation. The phylogenetic trees were visualized using the R ggtree package (Yu et al., 2018). Network Module Identification In weighted networks, modules are subsets of mutations which are tightly connected. Identifying these modules facilitates rapid identification and designation of a variant. Since the adjacency between two nodes cannot reflect their connectivity with other intra- or inter-modular nodes, we use a topological overlap measure (TOM) instead. The topological overlap is defined by: TOM ij = P l6=i,j Ail Alj +Aij min(ki ,kj )+1Aij 1 i6= j (4) i=j P where quantifies the indirect connection l6=i,j Ail Alj strengths between i and j through their shared neighbors and the denominator serves as a normalization factor. The topological overlap between mutation i and j reflects their relative interconnectedness as mediated through other mutation nodes (Yip and Horvath, 2007). Module identification was done using the TOM-based dissimilarity matrix dissTOM = (1 TOM ij ) coupled with average linkage hierarchical clustering. Modules corresponded to branches of the resulting hierarchical clustering tree. We used a dynamic cut-tree algorithm to determine the branches (Langfelder et al., 2008). All of these were realized with the R WGCNA package (Langfelder and Horvath, 2008). To intuitively display the relationship between nodes of the weighted network, the topological overlap matrix was partitioned by different cutoffs (e.g., 0.1 or higher) and visualized using the R igraph package (Csrdi and Nepusz, 2006). To distinguish between modules, each module was designated with a visually friendly color. RESULTS Variant-Specific Frequency Trajectories of Mutations Present Synchronous Temporal Changes A total of 5,043,950 SARS-CoV-2 sequences during our study period were retrieved. After excluding those with probable sampling date error, 5,042,287 (>99.9%) were eventually included. These viral sequences have been accumulating over time at an unprecedented speed, from a few to hundreds of thousands a week according to their sampling time (Figure 2A). Changes in the prevalence of the SARS-CoV-2 variants over time have been imprinted through these sequences (Figure 2B). Using Wuhan-Hu-1 genome (NC_045512.2) as the reference, 186,253,697 mutation events were detected at 29,825 nucleotide sites, including 28,972 (97.1%) sites with 2 or more mutation directions (Supplementary Figure 2). The time series plots of FTMs showed that majority of them had very low occurrence rate over time (Supplementary Figure 3), indicating a high chance of random or unstable mutations, or even sequencing artifacts. A few mutations with synchronous temporal changes (e.g., C241T, C3037T, C14408T and A23403G) were also observed. To show the association of epidemic variants and genetic variations of SARS-CoV-2 across time, a clustering process using Wards method was done for the FTMs. Due to ultrahigh analytic dimensionality, the cluster having randomly fluctuated series was firstly identified and excluded (see section Materials and Methods). In consequence, 158 time series were left. The clustering analysis showed that mutations with consistent temporal change patterns were clustered together and some of these clusters were clearly linked to variant features (Figure 2C). This suggests that frequency trajectories of variant-specific mutations can be used for identifying and tracking variants. Moreover, there exist other mutation trajectories within each cluster having synchronous temporal changes (Figure 2C), which indicates the availability of more information that can be used to trace the same variant. Core Mutations for Variant Determination According to our hypothesis, modules in our network are expected to be sets of synchronous FTMs that represent variants. Emerging variants develop mutations quickly, but they are characterized by a highly correlated set of characteristic mutations. These characteristic mutations form densely connected intra-modular sub-networks. These sub-networks represent the core of a module and are detected using a high-pass adjacency score threshold. The threshold value is determined empirically by mapping benchmark modules to the global phylogeny (see below) with statistical evaluation of specificity and sensitivity. The historical classification and nomenclature for these variants were extracted from the GISAID metadata. Phylogenetic Assessment of Detected Variants We assessed variants determined by our module core mutations against a global reference dataset provided by GISAID using the pipeline proposed by Nextstrain (Hadfield et al., 2018). First, the metadata of the global SARS-CoV-2 phylogenic tree, with 4,506,129 high quality genomes created Frontiers in Microbiology | www.frontiersin.org 4 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing FIGURE 2 | Synchronous temporal changes between variant-specific FTMs and variant prevalence. (A) Weekly distribution of SARS-CoV-2 genome sequences according to sampling time. (B) Time course of major variant distribution in collected sequences. (C) A Walds linkage hierarchical cluster tree of frequency trajectories of mutations. One hundred and fifty-eight mutations passing filtration were analyzed, annotated and displayed. Variant-specific mutations were flagged. modules while each node represents an FTM-related mutation. Topological overlaps are used to assess the similarity of the synchronous relationship of two FTMs with all the other FTMs in the network. Modules with high topological overlaps are detected using average linkage hierarchical clustering coupled with a dynamic tree-cutting algorithm. Each module is analyzed separately to identify core mutations for variant determination. We used the 158 most frequent mutations from worldwide data for module detection and variant identification to show the capability of the method to track variants using a Identification of Variants Using the Weighted Network The weighted network workflow for SARS-CoV-2 variant tracking has been summarized in Figure 1B and detailed in section Materials and Methods. Briefly, the Pearson correlation coefficient is calculated for all pair-wise comparisons of the scaled FTMs across the viral genome. This correlation matrix is then transformed into a matrix of connection strengths using a power function (connection strength = (0.5 + 0.5 correlation) ). Mutations with similar patterns of connection strengths are speculated to form network Frontiers in Microbiology | www.frontiersin.org 5 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing FIGURE 3 | A benchmark to use weighted network framework for identification of worldwide pandemic variants. (A) Clustering dendrogram of 158 FTMs from GISAID worldwide data. The module numbers are labeled and module clusters are highlighted with different colors. (B) The heatmap of module-based variant prevalence. The variants were determined by core mutations within each module. The modules were reordered and colored according to their module clusters and time course. (C) Network graph with topology overlap values > 10- 3 to show the relationship between nodes and modules of the weighted network. (D) Network graph with topology overlap values > 0.1. (E) Phylogenic evaluation of detected worldwide pandemic variants. Time-resolved maximum clade credibility phylogeny is shown and identified variants are highlighted and annotated with visually friendly colors. Frontiers in Microbiology | www.frontiersin.org 6 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing colored by their modules. As shown in Figure 3E, module core mutations detected by our weighted network successfully identified their lineages. weighted network. This may lead to some information loss about the endemic variants, but we will illustrate later that this workflow will be more sensitive when it is applied to regional data. As showed in Figure 3A, FTMs were grouped into 20 distinct modules with 5 module clusters. Most modules (19/20, 95.0%) point to well-defined variants supported by the module genomes, which were identified from the viral population through the module core mutations (Supplementary Table 2). More precisely, 8 modules were clearly linked to global epidemic clades (S, V, G, GH, GV, GR, GRY, and GK) and 11 were identified as variants or sub-variants causing tens of thousands of COVID-19 cases, including two sub-variants of GRY that were not assigned Pangolin lineages. All the identification showed a very high specificity approaching 100% and a high sensitivity exceeding 70% when using the global phylogeny as a reference with an adjacency cutoff 0.7, an appropriate compromise between area under the receiver-operating characteristic curve and module-based variant discovery (Supplementary Table 3). Another module showed low connection strengths (<0.4) between nodes indicating asynchronous FTMs; thus, it was ignored. In addition, the time course prevalence of the module-based variants suggested that the 5 module clusters represented the five worldwide epidemic stages until the late of November, 2021, with co-circulation of multiple major variants defined by intra-cluster modules during each period (Figure 3B). Network graphs were used to further demonstrate the relationships among nodes within a module as well as to inspect how any module is related to the rest of the network and how closely any two modules are related. The continuous network topology was dichotomized by different cutoffs, and modules were individually colored. These network graphs highlighted our FTM-based weighted network conglomerated variant-specific mutations as modules with contemporaneous variants forming module clusters. First, mutations pointing to the same variant were clustered together to form closely connected modules (Figure 3C). Second, the modules pointing to cotemporaneous variants were likely to be connected to each other (Figure 3C). Third, with the increasing cutoff, linkages were broken in turn, first between module clusters and then between intra-modular nodes (Figure 3D and Supplementary Figure 4). All of these method features provided us with fresh insights to track down the historical, current, or emerging variants. Workflow Application for Variant Surveillance in India and South Africa After showing the capability of weighted network analysis of FTMs in module-based variant identification, we applied this workflow for SARS-CoV-2 variant surveillance in regional data and further tested its efficacy. All 59,069 SARS-CoV-2 genomes in the study period from India were first included. Since the genome numbers in the sampling weeks showed a high fluctuation (Figure 4A), from zero to several thousand, we only kept mutations that have occurred in 10% or more of genomes with occurrences > 10 in at least one sampling week. This resulted in 165 FTMs left for the weighted network construction. Following the automatic parameter selection and clustering process, these mutations were grouped into 33 modules among which 30 (30/33, 90.9%) had sets of mutations with strong synchronous FTMs (Supplementary Table 4). Five module clusters were detected in this process (Supplementary Figure 6). According to this module clustering feature, the heatmap of module-based variant prevalence clearly showed the SARS-CoV-2 epidemic in India by November 2021 could be divided into at least five stages, with the major variants during each stage determined by the module core mutations (Figure 4A). Phylogenetic assessment through a module-based sampling confirmed the results of network analysis and showed the modules corresponded to B.1.617.2 (Delta), B.1.617.1 (Kappa), B.1.1.7 (Alpha), B.1.36, B.1.1.306, B.1.1.326 or their sub-variants (Figure 4B). It is noteworthy that the weighted network would provide much earlier warning of Delta (B.1.617.2) than the date it was reported as VUI by WHO (January 3 2021 vs. April 4 2021, Figure 4A), if the time delay between sample collection, sequencing and analysis could be sufficiently overcome. In addition, the phylogenetic tree suggested that the network analysis detected multiple descendants of the major SARS-CoV-2 variants previously or currently circulating in India. Specifically, four primary descendent variants of B.1.617.2 (Figure 4B), which continued circulating as a dominant lineage in India until the end of November 2021, were tracked down. In contrast, CMM classified this variant to G3.14.1 with no subtype surveillance and Pangolin gave various subtypes of this variant (Supplementary Table 5). The same pipeline was applied in South Africa for SARSCoV-2 variant tracking. The weighted network modeling for FTMs generated by the total available 17,778 SARSCoV-2 genomes showed viral population in South Africa has gone through four prevalent stages with variant cluster pattern (Figure 5A), including a rapid surging of suspected variants with numerous spike protein mutations detected since November 7, 2021 (Supplementary Table 6 and Supplementary Figure 7). The newly circulating variants seemed to split from module 25 with mutation C10029T and C22995A according to the prevalence rate. Phylogenetic Validation Using Phylogenic Analysis Variants determined by core mutations (Supplementary Table 2) were evaluated using phylogenic analysis. Data randomly sampled from the global SARS-CoV-2 phylogenic tree of the GISAID repository were used to establish the phylogenic skeleton (Supplementary Figure 5A). Genomes with module core mutations of S, V, G, GH, GR, GRY, and GK in the skeleton showed almost perfect consistency with the expectation (Supplementary Figure 5B). Samples with other module core mutations were selected from the source data, an updated phylogenetic tree was generated, and nodes were Frontiers in Microbiology | www.frontiersin.org 7 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing FIGURE 4 | A demonstration to identify SARS-CoV-2 variants prevalent in India using the weighted network. (A) Weekly distribution of SARS-CoV-2 genome sequences according to sampling time (top) and the heatmap of module-based variant prevalence (bottom). Core mutations within each module were used to define the variants. The modules were reordered and colored according to their module clusters and time course. The weeks when Delta (B.1.617.2) was identified as a prevalent variant by network model (green) or reported as a VUI by WHO (blue) are highlighted by rectangles. (B) Phylogenic evaluation of detected endemic SARS-CoV-2 variants in South Africa. The detected variants are highlighted and annotated with visually friendly colors. analysis using module-based sampling data showed that the dominant variants at the four stages were B.1.1.529 (Omicron), B.1.617.2, B.1.351, and C.1, respectively, from near to far (Figures 5BE). The descendants of these variants were also tracked down by the weighted network, having consistent but more dedicated subtypes compared with Pangolin classification and more detailed than CMM grouping (Supplementary Table 7). Frontiers in Microbiology | www.frontiersin.org DISCUSSION Scientists are keeping their eyes open for the mutating SARS-CoV-2 virus and making every effort to detect, investigate, and monitor clinically important variants (Chakraborty et al., 2021; Grubaugh et al., 2021; Mascola et al., 2021). In this study, we proposed a module-based variant surveillance framework through weighted network modeling of FTMs, 8 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing FIGURE 5 | SARS-CoV-2 variant surveillance in South Africa using the weighted network. (A) Weekly distribution of SARS-CoV-2 genome sequences according to sampling time (top) and the heatmap of module-based variant prevalence (bottom). Core mutations within each module were used to define the variants. The modules were reordered and colored according to their module clusters and time course. The weeks when Omicron (B.1.1.529) and Beta (B.1.351) were identified as prevalent variants by network model (green) or reported as VUI or VOC by WHO (blue) are highlighted by rectangles. (BE) Phylogenic evaluation of every major SARS-CoV-2 variant detected in South Africa, including Omicron (B), Delta (C), Beta (D) and C.1 (E). The module-based variants having consistent classification with Pangolin lineages are labeled. enabling us to rapidly gain insights into the time-scaled dispersal history of SARS-CoV-2 variants without requiring prior lineage assignment of each viral sequence (Figure 1A). This framework modularizes the FTMs, with synchronous FTMs conglomerating together to represent the variants and module clusters reflecting contemporaneous variants (Figure 3C). The module-based variants are assessed by phylogenetic tree through sub-sampling to facilitate communication and control of the epidemic. The ad hoc viral classification may delay the detection of newly emerging variants or their descendants. Viral subtyping followed by their characterization, prevalence monitoring and Frontiers in Microbiology | www.frontiersin.org risk assessment is continuing to be used in SARS-CoV2 variant surveillance (World Health Organization [WHO], 2021). Either phylogenetic-tree-based partition of GISAID (Han et al., 2019), Nextstrain (Hadfield et al., 2018) and Pangolin (Rambaut et al., 2020), or genetic-feature-based grouping of CMMs (Qin et al., 2021) and ISMs (Zhao et al., 2020), captured viral subtype features according to historical data, resulting in lag signals of classification, and then false subtyping at the early stage of their emergence delayed the public health response. Our module-based variant surveillance would have provided much earlier warning about newly surging variants of B.1.617.2 in India (Figure 4A) and B.1.351/B.1.1.529 9 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing analysis. This might not be true especially for multiple direction mutations at the same nucleotide sites. However, as we can see in our analysis, the assumption may not highly influence our results. Lastly, the threshold value of FTM filtration is empirically chosen. This may result in the loss of less frequent variants. We believe it is a trade-off between detectability and discriminability in variant monitoring. When more samples are available and the cutoff is thought to be too big, analysis at a higher spatial resolution is recommended. In summary, an efficient and easy-to-use weighted network framework was proposed for SARS-CoV-2 variants tracing that could help to accelerate the understanding, surveillance, and control of the emerging viral variants. in South Africa (Figure 5A) prior to their announced VUI/VOC dates by WHO. Our investigation also reveals other advantages of modulebased variant monitoring. First, the surveillance system will automatically divide the whole epidemic period into multiple stages and detect variant co-circulation pattern during each stage (Figures 3B, 4A, 5A). This may give an important insight into viral evolution (Kostaki et al., 2021). Second, the methodology provides variant surveillance at moderate resolution, facilitating an overview of epidemic variants. Our framework focuses on the tracking of prevalent variants rather than comprehensive surveillance. In spite of a rough filtration process, the benchmark analysis using worldwide data tracked down all the major pandemic variants and some regionally epidemic variants (Figure 3E). National level analysis in India and South Africa further demonstrated that this approach not only provided a variant profile (Figures 4B, 5BE) consistent with previous studies (Singh et al., 2021; Tegally et al., 2021), but also gave more detailed variant monitoring than CMM. The weighted network analysis also provided a much more enriched variant investigation than Pangolin (Supplementary Tables 5, 7), which were confirmed by previous reports. Third, our framework allows insertion, deletion and recombination events to be included. This highly extends the surveillance because current variant monitoring mainly involves substitution events (Zhao et al., 2020; Qin et al., 2021) and poses a great challenge in phylogenetic inference (Liu et al., 2021). Our approach can be an alternative method for rapid investigation and early detection of prevalent variants to facilitate regional SARS-CoV-2 genomic surveillance. An efficient variant surveillance is firstly dependent on the timely availability of viral genomes (Kalia et al., 2021). To compensate and minimize the time delay between sample collection and submission, surveillance activities at national and sub-national levels, where first hand data are actually acquired, are highly recommended (World Health Organization [WHO], 2021). Meanwhile, simple surveillance systems, especially employing time-based analysis of SARS-CoV-2 mutations, are developed to assist in the identification of candidate variants of clinical importance. Nevertheless, most of them focus on trend survey of viral mutations (Wada et al., 2020; Showers et al., 2022) or their phenetic clustering (Yang et al., 2020; Chiara et al., 2021) but not real variant monitoring. Based on similar motivation, Bernasconi et al. (2021) applied standard time-series clustering to group 1-month-long FTMs for detection of all SARS-CoV-2 variants at national level. Due to the segmenting and complete analysis of FTMs, they have to face the challenge of handling the discrepancies between cluster features of the same variants, especially when these variants are new and not included in the lineage dictionary. Our module-based variant monitoring overcomes these difficulties by concentrating on high-frequency FTMs for prevalent variant identification. Some limitations are also acknowledged. First, the mutation modules detected by our workflow may not represent a nominated lineage, but the analysis offers perceptive insights into novel variants which could be causing more transmission. Second, the independence between FTMs were assumed in the Frontiers in Microbiology | www.frontiersin.org DATA AVAILABILITY STATEMENT The original contributions presented in the study are included in the article/Supplementary Material, further inquiries can be directed to the corresponding author/s. AUTHOR CONTRIBUTIONS YL and YH conceived, designed, and supervised the project. QL and FZ collected the data. QH, QZ, YW, and YL performed computations, analyzed the results, and drafted the manuscript. PB and YH provided critical revision for important intellectual content. All authors contributed to the article and approved the submitted version. FUNDING This work was supported by the National Natural Science Foundation of China (81973150 to YH), the Guangdong Basic and Applied Basic Research Foundation (2021A1515011591 to YL), and the Guangdong Medical Science and Technology Research Foundation (A2021104 to YL). ACKNOWLEDGMENTS We would like to thank Prof. Jinghua Li, Drs. Zhicheng Du, and Xiao Lin for the fruitful discussions and Mr. Shuming Zhu for his precious IT support. SUPPLEMENTARY MATERIAL The Supplementary Material for this article can be found online at: https://www.frontiersin.org/articles/10.3389/fmicb.2022. 859241/full#supplementary-material Supplementary Figure 1 | Frequency distribution of mutational number of each SARS-CoV-2 genome at each sampling week. Supplementary Figure 2 | Frequency distribution of number of mutation directions at each mutation sites. 10 March 2022 | Volume 13 | Article 859241 Huang et al. SARS-CoV-2 Variant Tracing Supplementary Figure 3 | Frequency trajectories of mutations by SARS-CoV-2 genome regions. UTR, Untranslated region; NSP, non-structural protein; S, Spike protein; ORF, Open reading frame; M, Membrane protein; N, Nucleocapsid protein; E, Envelope protein. edges colored by the GISAID clade nomenclature system. (B) Comparison of the genome classification consistency between the expectation and those determined by the core mutations. Supplementary Figure 4 | Network graphs with different topological overlap cutoffs for identification of worldwide pandemic variants. Supplementary Figure 6 | Clustering dendrogram of 165 FTMs from India, with dissimilarity based on topological overlap. The module numbers were labeled and module clusters were highlighted with different colors. Supplementary Figure 5 | The global SARS-CoV-2 phylogenic skeleton. (A) The SARS-CoV-2 phylogenic skeleton generated by the Nextstrain pipeline based on a random sample of the global phylogenic tree from the GISAID database, with the Supplementary Figure 7 | Clustering dendrogram of 223 FTMs from South Africa, with dissimilarity based on topological overlap. The module numbers were labeled and module clusters were highlighted with different colors. 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