Florida State University Libraries

Electronic Theses, Treatises and Dissertations The Graduate School

2007

Signifyin(g): A Semiotic Analysis of

Symphonic Works by William Grant Still,
William Levi Dawson, and Florence B.
Price
Scott David Farrah

Follow this and additional works at the FSU Digital Library. For more information, please contact lib-ir@fsu.edu
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./
 The was composed in 1932. Dawson revised it in 1952 to include
more authentic African rhythmic patterns; however this study will examine the original score to
preserve the African"American musical tendencies that were in place and to compare it with Still
and Price’s symphonies as contextualized by developments of the Harlem Renaissance.
Dawson’s own remarks, written for the premiere performance in 1934, make clear the
importance of the folk tendencies in this work.
This Symphony is based entirely upon Negro folk"music. The themes are taken from
what are popularly known as Negro spirituals, and the practised ear will recognize the
recurrence of characteristic themes throughout the composition. This folk"music springs
spontaneously from the life of the Negro people as freely today [1934] as at any time in
the past, though the modes and forms of the present day are sometimes vastly different
from the older creations. In this composition the composer has employed three themes
taken from typical melodies over which he has brooded since childhood, having learned
them at his mother’s knee.144

The analysis of the 1932 manuscript is made all the more difficult for, as Michael Fleming points
out, it is the 1952 version that Leopold Stokowski recorded and it is this form that is most
frequently played today.145

144
William Levi Dawson, quoted by Michael Fleming on the CD liner notes for
! "
!# $ % , Detroit Symphony Orchestra, Neeme Järvi, conductor
[Chandos Records Ltd. CHAN 9226].
145
Fleming, liner notes [CHAN 9226].

127
 The is a programmatic work as is indicated by the titles of each of
its three movements: & ' ( ) ,% , and *+ , " +"
- . Unlike the Still and Price symphonies, the underlying forms of the individual
movements adhere to traditional nineteenth"century Romantic styles.
Since Dawson’s symphony was premiered well after Still’s, he was criticized for
attempting to imitate Still’s work. In response to these critics, Dawson proclaimed that he was
trying “to be just myself, a Negro. To me, the finest compliment that could be paid my
symphony when it had its premiere is that it unmistakably is not the work of a white man. I want
audiences to say only a Negro could have written that!”146 Indeed Dawson’s work is quite
different from Still’s. Where Still chose to create all original themes based in the blues idiom,
Dawson chose to combine original themes with known black spiritual themes within his
symphony. In fact, while commenting on his symphony in an interview with Nathaniel
Standifer, Dawson states that he would like the public to know and aurally identify these tunes
not just the highly recognizable “missing link” motive, Dawson’s primary motive.
I should like them to try to know the two or three Negro folk songs that I use. Not all of
the song, bits of it, and then develop it. I wish they could learn that. I have been to one
or two sessions while they were studying that and they wanted me there to ask an [sic]
questions. All the [sic] knew was the opening theme called the missing link. All of them
knew that. But that is just a symbol of something. Something like a light motif [sic].147

John Andrew Johnson elaborates further on the spirituals and the original themes that Dawson
used:
Several of these ideas are original (“written in the style of spirituals” and thus perceptible
as indicative of other genres, black or white), the traditional tunes that are used are not
among the better known pieces from the repertory, and the melodies are only briefly
excerpted, harmonized anew, fragmented, continually varied, and developed. This
combination yields, as Floyd put it, “something more” than simply an attempt to depict

146
Hildred Roach, ' ) -#" / " ( / " (Boston: Crescendo Publishing
Company, 1976), 106, quoted by Marcia Mitchell Hood, “William Levi Dawson and His Music:
A Teachers Guide to Interpretting his Choral Spirituals” (DMA diss., University of Alabama,
2004), 17.
147
Nathaniel C. Standifer, “Interview with William Dawson,” 5 October 1985,
http://www.umich.edu/~afroammu/standifer/dawson.html. Accessed 14 December 2006.

128
 the “Negro folk” experience in sound. Dawson’s work is thus really a meta"work,
showing how such a piece need not to be “blue” in order to be “black.”148

The first movement of the symphony is in sonata form. As Table 5.1 illustrates, it begins
with an extensive introduction before moving into the exposition.

! "#$ Formal Outline, Dawson First Movement

& '( )

Missing Link Motive (MLM) 1"5 C minor

Cadential Extension 5"6
Introductory Theme 7"12 C min/maj
Extension 13"14
MLM 15"19 F minor
Extension 19"20
Introductory Theme 21"26 F min/maj
Extension 27"28
Transition 29"38 F min→Eb major

*+
Primary Theme 39"48 Eb major
Linking material 48"57
Primary Theme 57"66 Eb major
Transition 67"127 Eb maj→Bb major
(MLM)
Secondary Theme 128"137 Bb major
Secondary Theme 138"145 Bb major
Transition 146"178

+
Developing MLM and PT 178"207
Varied Repetition 208"236
(Transposed up a half"step)
Developing MLM and ST 237"287
Retransition 289"301

148
John Andrew Johnson, “William Dawson, ‘The New Negro,’ and his Folk Idiom,” '
-#" " 0 # 19, no. 1 (spring 1999): 58"59.

129
 ! "#

& '( )

+ 302" 425 Eb major

426"521 Eb major

The introduction is quite elaborate, presenting two different themes in two different keys
before making the transition into the main body of the movement. While such an introductory
section may seem extraordinary, Michael Tilmouth and Julian Budden point out that in the
“Classical period an introduction (comparatively rare in a minor"key work) might consist of
anything from a chord or two functioning primarily as a call to attention, to a lengthy section
with a definite thematic content developed and extended within an appreciable form.” They
provide several examples of works that incorporated lengthy introductions:
In Haydn’s Quartet op. 71 no.2 the introduction is not a few chords but a complete
phrase, and this development is carried much further in many of his London symphonies.
The introduction to no. 99 in Eb, for example, embraces clear thematic contrasts and a
degree of development in its binary structure. It retains the essential characteristics of an
introduction, however, in that its tonal scheme is completed only when the music is
precipitated into the ensuing Vivace assai. Introductions on this extended scale are found
in many of Mozart’s orchestral divertimentos and serenades and in his Symphonies nos.
36, 38 and 39.149

Dawson’s introduction opens with one of his original themes, which Dawson refers to as
the “missing link,” which, as he describes, represents a link that “was taken out of a human chain
when the first African was taken from the shores of his native land and sent to slavery.”150 This
motive, seen in Figure 5.1, is very important not only to this movement, but also to the
symphony as a whole because it is the binding element that links all the movements together.

149
Michael Tilmouth and Julian Budden, “Introduction,” -#" * ed. L. Macy
(Accessed 2 February 2007), <http://www.grovemusic.com.proxy.lib.fsu.edu>
150
Southern, -#" ' ) ", 427.

130
 , "#$ “Missing Link” Motive (call), Dawson First Movement, mm 1"5

This melody introduces the work’s pentatonicism, linking it with black melodies and the other
two symphonies discussed earlier. In addition, it introduces the black musical procedure of call
and response. The motive is first performed by a solo French horn, which acts as the leader,
presenting an opening call to both the movement and the symphony.
The response comes from a chorus of strings and woodwinds in the form of another
introductory melody that shifts back and forth between the major and minor modes. This theme,
Figure 5.2, answers the call in a diatonic fashion.

, "-$ Introductory Theme (response), Dawson First Movement, mm 7"12

After a short two"measure extension that outlines both C major and C minor arpeggiations, the
missing"link motive returns. The extending measures act as a dominant pivot chord changing the
tonal center to that of F minor, in which both the call and response are heard in their entirety.
Following this second statement, the missing link motive returns in a fragmented fashion at its
original pitch level. This creates an illusion of returning to the key of C minor. However, this is
the beginning of the transition, which also includes fragments of the introductory theme, and

131
transports the piece toward a Bb dominant chord, preparing the exposition for the key of Eb
major.
The intricate introduction to the symphony at first is harmonically confusing leading into
the exposition and the key of Eb. However, from a structural standpoint, the harmonic
progression provided by the introductory material indeed does prepare for the arrival of the
exposition. As the voice"leading graph shows, Figure 5.3, the keys of C minor and F minor
function as the submediant and supertonic chords of Eb; therefore, the underlying chord
progression of the introduction becomes submediant, supertonic, dominant leading into the tonic
Eb when the exposition begins.

, ".$ Voice"leading sketch, Dawson First Movement, mm 1"39

132
 The exposition of this movement changes both time signature and tempo, changing from
)( in four to ) in cut"time. At its beginning, an original primary theme is heard for
the first time. It is shown in Figure 5.4.

* + "/$ Primary Theme, Dawson First Movement, mm 39"48

After this initial statement, eight measures of cadential material links to a second statement of the
primary theme. This second statement of the theme is recognizable, though it is abruptly cut
short by the start of an extended transition, which is based on a portion of the missing link
motive.
The transition begins with a diminution of the missing link motive in the key of G major.
It then travels through the key of A minor toward the key of D major. At this point in the
transition, Dawson uses a unique sequence, the repetition of the material of the entire 16 measure
transition. This transitional sequence continues to show the importance of the missing link
motive, and begins to illustrate the significance of the black musical technique of repetition in
this movement, which will also become a major issue in the symphony as a whole. As the
sequence continues, the tonal center changes from D major to E minor finally arriving on Eb
minor, a half"step away. The missing link motive begins making appearances in a stretto fashion
and in differing rhythmic values emerging both in diminution and augmentation. Before the end
of the transition, the primary thematic material is briefly heard, which helps conclude the
transition and set up the first statement of the secondary theme.

133
 The secondary theme is loosely based on the chorus of the black folk song * ,
# 1 , a version of which is given in Figure 5.5. It is first heard played by the solo
oboe.

232
, " $ * , # 1

Figure 5.6 provides Dawson’s theme, which is based on the basic idea of the chorus and
develops and expands upon it.

, "0$ Secondary Theme, Dawson First Movement, mm 128"137

151
John W. Work, ) " 45 " ( # "+ #" ( #
(New York: Crown Publishers, Inc., 1940; Mineola: Dover Publications, Inc., 1998), 141.

134
This theme is composed of asymmetrical phrases; the antecedent phrase, or call, is four measures
long while the consequent phrase (response) is six measures. The harmony that accompanies
this melody is quite simple, primarily the dominant and tonic chords, perhaps signifyin(g) the
simpler times of African life before being placed in bondage. The secondary theme is restated in
the upper strings and woodwinds, projecting a call and response setting from the first solo
statement through orchestration. At the conclusion of this second statement, Dawson begins the
transition to the development. Before arriving at the development, a contrasting section that
“clearly captures the rhythmic spirit of the juba in an orchestral countermelody that mimics the
effect of hand"clapping and, by its lively character, concludes the exposition…”152 is heard
(Figure 5.7).

, "1$ Juba Rhythm, Dawson First Movement, mm 164"175

152
Johnson, “Dawson, ‘The New Negro’ and His Folk Idiom,” 50.

135
 The development begins in sharp contrast to the exposition by recalling the opening
missing"link motive through a sudden shift back to an )( that is reminiscent of the
introduction, this time played in the key of Ab minor. It quickly returns to the faster tempo after
three measures that continue to develop the missing"link motive. As this section progresses, the
primary theme as well as the missing link motive may be heard entering in a stretto fashion.
Interest is added to the missing link theme as it is sometimes heard in inversion and in
diminution. This layering of melodies enhances harmonic tension as they create a polytonal
section. Dawson is using the black musical technique of stratification, which may be
signifyin(g) the two different themes. Figure 5.8 illustrates a portion of this section.

* + "2$ Development, Dawson First Movement, mm 190"201

136
As the development continues, however, another technique continues to be heard, repetition.
After 30 measures, Dawson interrupts the flow of the development by once again invoking the
introduction’s missing link motive in the slower tempo. On further inspection, this is the
beginning of a repetition of the previous developmental material transposed up a half"step. This
may also be signifyin(g) the transition, which had a similar repeated area.
Following the repeated section, Dawson continues to develop the missing"link motive
before moving into a fragment of the secondary theme, which is performed both in its traditional
form and in inversion. Once again, this thematic material enters in stretto fashion recalling the
earlier stratification of the development. As the development comes to a close, the “juba”
rhythm returns before the beginning of the retransition.
The retransition begins with another sudden tempo change while the missing link motive
is performed by full orchestra. It progresses to the recapitulation by gradually reducing the
instrumentation, until the primary theme is heard in a single cello voice with minimal harmonic
backing.
The recapitulation continues the practice of thematic repetition that was established
earlier in the transition and development. Following Classical/Romantic tradition, Dawson
literally repeats the exposition with the secondary thematic material transposed up a perfect
fourth to allow the movement to remain in the tonic key. The movement closes with an extended
coda that continues to develop all the main themes.
%
The second movement of Dawson’s symphony is entitled “Hope in the Night.” It is the
only movement in this symphony that is composed entirely with original themes. However,
there are similarities between these themes and the first movement.
The form of this movement is a modified ABA’ form, in which the A portion is written in
a fugue"like manner. The different sections of the form are clearly delineated by the slow
() ( ), fast () ), and slow () ( ) tempo markings. Table 5.2 provides an outline
of the form.

137
 ! "-$ Formal Outline, Dawson Second Movement

Three Gong Strikes 1"4

Primary Theme (Subject) 5"8 B minor

Cadential Episode 9"12
Repeat of Primary Theme 13"16 B minor
Episode 17"37
Primary Theme 38"41 B minor
Cadential Episode 42"46
Link 47

3
Secondary Theme 48"58 D major
Cadential Extension 59"61
Secondary Theme 62"72 D major
Developmental 73"126
Primary Theme 127"130 D maj/B minor
Cadential Episode 131"133
Retransition 134"161

Episode 162"176 B minor

Primary Theme 177"180
Cadential Episode 181"187
Primary Theme 188"191
Cadential Episode 192"197
Coda 198"211

The movement begins with a solo gong that is struck three times which represents a
“symbol of the Trinity that guides the destiny of man.”153 This leads into a plodding string line
on a pedal G major seventh chord—which Dawson described as “suggesting the monotonous life

153
William Levi Dawson, Liner notes, , 1964, Decca DL 71077. Quoted
by John Andrew Johnson, “William Dawson, ‘The New Negro,’ and his Folk Idiom,” '
-#" " 0 # 19, no. 1 (spring 1999): 51.

138
of the people who were held in bondage for 250 years”154—and becomes the accompaniment to
the primary theme which is heard in the solo English horn. The primary theme or “subject,” seen
in Figure 5.9, is a variation of the “missing link” motive that was heard in the opening
movement. This theme exhibits all the characteristics of a fugal subject: a short duration,
propelling motion and a weak ending. Therefore, this melody could be considered a subject,
helping further the idea of a fugal section.

, "4$ Primary Theme, Dawson Second Movement, mm 5"8

The suggested harmony of the melody in the example clearly supports B minor which
creates a moment of uncertainty when placed above the G major harmony created by the strings.
Dawson may be signifyin(g) the insecurity the slaves felt by creating an ambiguous opening key
center. He is also emphasizing the plagal relationship, which is a common black musical trait.
After this initial statement of the motive, a four measure cadential episode, which provides the
first change in harmony, leads into a restatement of the primary theme with an elision, Figure
5.10. Figure 5.11 provides a voice"leading graph of these same measures.

154
Ibid.

139
, "#5$ Primary theme with pedal bass line, Dawson Second Movement, mm 5"16

140
 , "##$ Voice"leading sketch, Dawson Second Movement, mm 5"16

After the second statement of the motive, Dawson begins a long episodic passage. An
episode, according to Wallace Berry, is “an area of tonal movement, of often substantial
explorative manipulation of subject or countersubject motives.” He goes on to say that episodes
may sometimes use “material not explicitly related to that of the exposition” and that
fragmentation and sequence are the “most fundamental traditional techniques of episodic
development.”155 This passage functions as a transitional segment using a fragment of the
cadential episode in a sequential fashion. While the music travels through several tonal centers,
the episode ultimately leads to the original key and theme. This is significant because, as was
discussed in Chapter 2, the lack of modulation, as well as repetition, is a common trait in black
music. After the repeated primary theme a short cadential episode closes the A section both
tonally and thematically, as indicated in Figure 5.12.

155
Berry, -#" , 361"362.

141
 * + "#-$ Voice"leading sketch, Dawson Second Movement, mm 38"46

The example shows an internal fifth descent locally replicating the 6 completing its
descent at the end of the A section. The line is supported by chord progression of tonic,
dominant of dominant, dominant seventh, and finally concludes on tonic.
The B portion of this movement begins with a melody over a pedal bass chord, just as in
the previous section. It is in the key of D major, the relative major of B minor, and provides
much needed contrast to the continuously brooding primary theme.
The secondary theme, Figure 5.13, is lively symbolizing the “merry play of children yet
unaware of the hopelessness beclouding their future.”156 It consists of an antecedent and
consequent phrase, which may also be recognized as call and response form. After its initial
statement, a short cadential extension precedes a repetition of the secondary theme with an
altered consequent phrase.

156
Dawson, Liner notes in Johnson, “William Dawson, ‘The New Negro’,” 52.

142
 , "#.$ Secondary Theme, Dawson Second Movement, mm 48"58

This playful melody is reminiscent of the juba dance rhythms in the first movement as well as
the Price third movement. Therefore Dawson could be signifyin(g) the first movement of this
symphony as well as the dance rhythms. However, this joyful dance is periodically interrupted
by not only the primary theme but also the missing link motive, perhaps reminding the dancing
children of their impending plight as evidenced in the upcoming developmental area.
The developmental portion of this section begins perhaps signifyin(g) the first movement
with a restatement of its primary theme as well as the missing link motive. These melodies,
though recognizable, are altered through augmentation and diminution. These themes along with
the original are given in Figure 5.14.

, "#/$ Developmental motives and their originals, Dawson Second Movement

143
The tonal center moves around quite freely as well—from D to A to B minor to Db and back to
D—at which point the antecedent phrase of the secondary theme and the hopefulness returns.
The tonal area continues fluctuating moving from Eb to C minor back to B minor as the thematic
material continues to develop through fragmentation and transposition.
The return of the primary theme is very similar to the opening statement, in that it is
heard in the English horn played over a G major seventh chord in the strings just as in the
beginning. However, this is a false entrance of the primary theme because the development of
the dance melody has not finished. This statement, therefore, may be signifyin(g) the return by
anticipation. The continued fragmentation of the dance melody is also a significant event, it
could be signifyin(g) that the “dancing children” are still not ready to give in and lose sight of
their hope. This hope, though, is fleeting because the music makes a short retransition, passing
through several key centers, before the A section returns in mirror fashion, with themes
reversed.157
The return begins with an episodic passage that could function as the resolution of the
false or anticipated entrance of the primary theme heard before the retransition. It is also very
similar to the earlier statement, producing the same harmonic progression that leads into a new
statement of the primary theme.
Though the melodies are heard in reverse order, Dawson once again conforms to the
traditional Romantic standards by literally repeating them, with the exception of one interpolated
measure in the middle and a few extra cadential measures. The piece comes to a close with a
short coda that not only rhythmically imitates the episode, but also includes the missing link
motive before ending with three strikes of the gong over open fifths.
6
The final movement is entitled *+ , " +" - . Like the first
movement, it is in a sonata form; however, this movement does not begin with an introduction.
Table 5.3 provides the formal outline of the finale.

157
This musical style has been discussed previously in relation to Still’s first movement in
Chapter 3. For any further explanation of this concept, please see pages 41 and 42.

144
 ! ".$ Formal Outline, Dawson Third Movement

& '( )

*+
& Strings 1"4 Eb
Primary Theme 5"12 Eb
Variation Primary Theme 13"22 Eb
(consequent)
Transition 23"91
Secondary Theme 92"95 G
Episode 96"99
Secondary Theme 100"103 (C)
Episode 104"107
Secondary Theme 108"111 G
Transition 112"121

+
% #7 verse melody 122"125
(developing melody) 126"149
Stratification of PT 150"197
Second Movement ST 198"205
Secondary Theme 206"221
ST in inversion 222"227
Inversion of PT and ST 228"240
“Juba"like” syncopation 241"265
PT (augmentation) 266"291
ST 292"300
“Juba” 301"315
False Recapitulation 316"325

+
Primary theme area 326"381 Eb
Secondary theme area 382"409 Eb
Developmental area 410"439 Eb
440"555 Eb

145
 The movement begins with & strings that lead into the first statement of the
primary theme, which is based on the traditional spiritual *+ ,- + -
.158 This melody is presented in a call"and"response manner, first stated by the upper"
woodwinds and answered by the low"woodwinds and brass, revealed in Figure 5.15. The leaders
repeat the call before the answer is complete, creating overlapping phrases.

, "# $ Primary Theme, call"and"response, Dawson Third Movement, mm 5"13

This melody is similar to Dawson’s missing link motive from movement 1, shown here as Figure
5.16. Therefore, his missing link melody may retroactively be signifyin(g) this spiritual, as well
as creating a stronger bond between the different movements of this work, because the missing
link motive is interspersed throughout the second and third movements.

158
I was unable to locate any notated version of this spiritual however, several scholars indicate
that the primary theme is based on this folk song including Eileen Southern, John Andrew
Johnson, and Mark Hugh Malone.

146
 , "#0$ Missing Link Motive

At the conclusion of the second theme “call,” a new answer leads into a lengthy
transition, which includes the motive of the primary theme performed at different pitch levels as
well as recalling the missing link motive. The black musical technique of stratification in the
accompanying strings creates a chord progression which may also be described as
“heterophony.” Chadwick Hansen defines this process as, “a kind of horizontal texture in which
each instrument or voice performs a variation on the same melody.”159 Figure 5.17 provides the
string line.
This accompanying line tonicizes the key of G minor until the second half of measure 30,
at which point, as was also observed in the first movement, the transitional material repeats in the
tonal center of B minor. The transition continues to develop the primary theme, missing link
motive, and key. At the conclusion of this repeated material, Dawson includes an interesting
twist to this transition by introducing a motive of the secondary theme, which is heard over a
series of dominant and diminished seventh chords that lead into the secondary tonal area. By
incorporating this theme into the transition, Dawson could be signifyin(g) the secondary melody
through anticipation.

159
Chadwick Hansen, “The Ages of Jazz: A Study of Jazz in Its Cultural Context” (Ph.D. diss.,
University of Minnesota, 1956), 31, quoted by Marsha Jean Reisser, “Compositional Techniques
and Afro"American Musical Traits in Selected Published Works by Howard Swanson” (Ph.D.
diss., University of Wisconsin"Madison, 1982), 109.

147
 , "#1$ Stratification, Dawson Third Movement transition, mm 22"31

The secondary theme, provided in Figure 5.18, is four measures long and followed by
four measures of linking material before it is repeated.

, "#2$ Secondary Theme, Dawson Third Movement, mm 92"95

148
It is based on the chorus of the traditional spiritual % #7 + (8' ! ,a
version of which is given in Figure 5.19.

295
, "#4$ % #7 + (8' !

The tonal center of the secondary theme begins in G major but quickly seems to shift to a
new tonal center, concluding on E minor harmony by the end of the four measures. The linking
material adds to the harmonic confusion, as it seems to transition to C major, concluding on a
French augmented sixth chord of C that elides into the repetition of the secondary theme. While
the notes of the melody are on the same pitches as heard previously, the harmony continues to
center on the tonal area C, eliding into another linking episode with a cadence on a first inversion
C chord. The episodic passage quickly makes a retransition closing with an authentic cadence in
G major. Dawson instantly complicates the harmonic issue once more as the secondary theme

160
James Weldon Johnson and J. Rosamond Johnson, & ' " ) # "
(1926; reprint books 1 and 2, New York: Da Capo Press, Inc., 1969), book 1, 172.

149
returns. This statement of the melody is heard over a chromatically moving bass accompaniment
that creates a non"functional chord progression, which continues into a transition and again
cadences in G as the development begins. Figure 5.20 provides an illustration of these events.

, "-5$ Dawson, Secondary Tonal Area, third movement, mm 92"112

The development of this final movement incorporates stratification of both the primary
and secondary themes, while developing them through augmentation, diminution, and inversion.
He also includes syncopation of the rhythms, perhaps signifyin(g), once again, the hand clapping
patterns of the juba.
The development is tonally unstable, though cadences are certainly heard throughout,
including ones in G major and minor, Eb major, and Bb minor. The section does not stay in any
one tonal center long enough to establish a key, which is very much in keeping within the
traditional nineteenth"century idea of developmental sections. Charles Rosen explains that

150
within the development “modulations must not only be rapid, but must also never give the
impression of a second tonality.” He goes on to say that “chromaticism of the development
section is almost always more pronounced than in any other for the same reason—to postpone
stability.”161
Although Dawson featured a portion of the chorus of the % #7 spiritual as the
secondary theme, he slips the verse in as a thematic device for the development. It is clearly
heard in the oboes, after which the rhythm is manipulated through augmentation. Dawson could
be signifyin(g) this spiritual by delaying the arrival of the verse including it in the developmental
section rather than integrating it into the secondary theme. Figure 5.21 provides the original and
one variation of the theme.

, "-#$ % #7 verse, Dawson Third Movement, mm 122"125

Stratification plays an important role in the development creating an unstable

environment for both melody and harmony. Dawson cleverly incorporates diminution,
augmentation, and elision into the stratification of the primary theme as Figure 5.22 illustrates.

161
Charles Rosen, " (New York: W. W. Norton & Company, 1980), 263.

151
 , "--$ Stratification of PT in development, Dawson Third Movement, mm 162"171

Dawson features many other techniques that propel the development forward, including
inversions of both the primary and secondary themes (performed separately and together),
syncopated rhythms, and perhaps to help unify the symphony, the secondary theme of the second
movement (Figure 5.13, pg. 143) is briefly identifiable and explored. He also includes a “false
recapitulation” that functions as a retransition into the recapitulation. Figures 5.23 and 5.24
show the development of the second movement theme and the syncopated, “juba” rhythms
respectively.

152
 , "-.$ Development of Second Movement Secondary Theme, Dawson Third Movement,
mm 198"205

, "-/$ Juba Rhythm, Dawson Third Movement, mm 257"266

The recapitulation, as might be expected from the discussion of the previous two
movements, repeats the exposition almost verbatim, changing the instrumentation as well as the
transition into the secondary theme, which is heard in its entirety in the tonic key a major third
lower than the original. This next event in the recapitulation is surprising—the return of a
segment of the development—the first time Dawson includes a developmental passage outside of
the recapitulation section in this symphony. Although this is rare, Rosen points out that “when

153
the development contains new material, it, too, may be resolved in the recapitulation.”162 In the
earlier discussion the transition elided into the development, cadencing on G major, before
stating a new theme based on the verse of the spiritual % #7 : likewise, in the recapitulation
the elision is heard with a plagal cadence in Eb, the tonic key, leading into the new theme. This
developmental section resolves the issue of the new theme and progresses into the coda as it
strays into a new section. However, Johnson points out that the coda’s “exact location is difficult
to pinpoint…since it grows directly from the ongoing development or summation.”163 Before the
close of the symphony the primary theme is heard again prior to the secondary theme, which
reinforces both the themes and the emotion of the movement, possibly suggesting that there is
still hope for a promising future.

162
Rosen, , 276.
163
Johnson, “William Dawson, ‘The New Negro,’” 53"54.

154
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