Doctor of Philosophy (PhD)



Document Type



ABSTRACT In 1995, Moses Hogan ushered in a resurgence of interest in the arranged spiritual at the national conference of the American Choral Directors Association in Washington, D. C. The impact of his arrangements was so profound that today he is widely recognized as being responsible for the mid-1990’s revitalization of interest in the arranged spiritual. In a day when various opinions abound on how Moses Hogan’s spirituals should be performed, the purpose of this study was to describe and define the sound ideal for Moses Hogan spirituals. Qualitative methods were used for the collection and analysis of data relevant to this study. Approximately 90 hours were spent doing archival research at the Amistad Research Center at Tulane University in New Orleans, LA, and 14 semi-structured interviews were conducted with former members of Moses Hogan ensembles and expert choral conductors. Data analysis consisted of reviewing and organizing archival documents, transcribing and coding interviews, member checking, and examining evidence in recordings, scores, and the Moses Hogan archives for triangulation. Characteristics of Moses Hogan’s sound ideal include a warm and rich tone, dialect performed naturally, extreme pianissimos, long phrases, and attention to the relationship between text and rhythm when used in word painting. Hogan’s sound ideal is also articulated in the detail found in his scores. This study highlights influences on Moses Hogan’s sound ideal, ways in which he defined and achieved his sound ideal with his choirs, and ways in which various choral conductors believe that sound ideal can be achieved. Choral music educators may use the information contained in this document to gain a deeper appreciation for influences regarding Moses Hogan’s sound ideal and in preparing ensembles to perform Moses Hogan spirituals.



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Release the entire work immediately for access worldwide.

Committee Chair

Bartolome, Sarah



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