Vivian Blythe Owen
1898 - 2000
Blythe Owen, composer, pianist, educator, and amateur cellist, had a long and productive career that created a remarkable legacy in music and touched the lives of countless students. She taught in seven colleges and universities, performed around the world as a piano soloist, and composed a number of prize-winning works. In a life that started in one century, spanned another, and then ended at the beginning of a third, she witnessed changes and innovations unlike those that had happened in any previous age.
Owen was born in Long, Prairie, Minnesota, one of two children and the only daughter of Minnie and Herbert Lee Owen. From her earliest years she was encouraged in her musical studies by her mother, and after an early childhood spent in North Dakota, she spent her teenage years in Newberg, Oregon, where she graduated at age eighteen with a music diploma from Pacific College Conservatory of Music.
She then studied briefly with Dent Mowery, a pianist and composer who had been born in Utah and then resided in Germany and France, where he studied with Claude Debussy before returning to the U.S. He maintained studios in Portland and Seattle and she later studied with him again at both studios before settling in the Chicago area.
Owen from her earliest years was outspoken and socially progressive, characteristics that continued throughout her life. When in 1919, at the age of twenty, she was hired by Walla Walla College, now University, to teach piano, she got into trouble over her attitude and dress, being rehired at one point only on "the express condition that she conform to the dress regulation." Because of her attitude, attractiveness, and prowess in performance she soon had a following of young men, which led to problems. She later wrote about the situation:
Even though I was a teacher, I was also school age. I had a hard time because I had a string of admirers, all of them students. On one occasion I was campus-bound for something perfectly innocent.
They wouldn’t give me a key for my office because I was so young. Since I had to go early in the morning to give my lessons, I had to either climb through the window or let someone else climb in and open my door. The night watchman, who would lock my office at night and escort me home when it was dark, got tired of my not having a key and told my boyfriend, "Someday I’m going to lose a key and you’ll find it." So, we were walking along and, plink, on the walk went a key. When the president found out that I had a key, I was called in on the carpet.
Owen married Theodore (Ted) Cramlet, a physical education teacher at the college. They left campus in 1923 and lived in Newberg, Oregon, where he completed an undergraduate degree. At that time they moved to Ironwood, Michigan, a small isolated town in northwestern Michigan on the Wisconsin border, where he would teach at Ironwood College. After living there for a year, she began commuting to Chicago to study music, residing in a women's boarding house and later at Jane Addams’ Hull House while away from home. In the first year of their five-year stay in Ironwood she maintained a piano and cello studio there and then became musically active in Chicago, returning occasionally to Ironwood to perform recitals.
With the coming of the 1929 financial collapse and the onset of the Great Depression, the Cramlets separated, she returning to Oregon, where she briefly stayed with her mother and taught lessons, and he staying in Ironwood before leaving for New York to pursue graduate work. One of her students of that time, Stanley Walker, would teach theory and keyboard at Walla Walla College and eventually chair the music department.
She was hurt when her husband refused to let her go to New York while he pursued and completed a master’s degree. In the ensuing years the Cramlets periodically reconciled and shared in life at Greenbay, Wisconsin, and Chicago. This arrangement continued until 1953, when they separated and divorced and he remarried. During those years she used both his surname and her maiden name at different times.
Owen had returned to the Chicago area in the late 1930s, where she completed a music degree in 1941 at the Chicago Musical College, studying piano under Rudolf Ganz and theory under Louis Gruenberg. In that same year she wrote Suite for Strings. While studying at CMC, she had also written Sonata in A in 1939 and, in 1940, Sonata Fantasie for Cello and Piano; the first of these works won 2nd prize in a Mu Phi Epsilon Biennial Contest, and the second won 1st Prize.
She continued study at Northwestern University, completing a master's degree in composition in 1942. During that year she assisted in teaching when one of the teachers was ill and, following graduation, taught there.
Twelve years later she completed a Ph.D. in composition at the Eastman School of Music, the fourth woman to graduate with that degree from Eastman. Owen's dissertation, a composition titled Concerto for Piano and Orchestra, won the Mu Phi Epsilon Award in 1955 and was performed with Howard Hanson, legendary head of ESM, conducting. By the time she had completed her study at ESM, she had written over thirty works, including her dissertation, and had won prizes in eleven composition contests.
While residing in the Chicago area in the late 1930s through the end of the 1950s, Owen taught in the Cosmopolitan House Conservatory of Music, Northwestern University, Chicago Teachers College, and Roosevelt University. By the time she returned to teach at Walla Walla College in 1961, she had won the Mu Phi Epsilon prize, a national award for composing, ten times, along with other awards. She had also studied with leading pianists and composition teachers of the time, foremost among them being Howard Hanson and Bernard Rogers at Eastman, Robert and Gaby Casadesus, and Nadia Boulanger, internationally famous teacher of several noted 20th century composers.
In her five years at WWC, Owen composed From Shakespeare's Time, later renamed Elizabethan Suite. Written on the occasion of Shakespeare's 400th birthday, it was premiered by the Walla Walla Symphony in April 1964. She was a member of the cello section, a performance outlet she enjoyed, whenever possible, in other orchestras also. She also wrote two choral works at WWC, Festival Te Deum and This is the House of the Lord, to celebrate the dedications of the college's church organ and sanctuary, respectively.
In 1965 Owen accepted an invitation to teach at Andrews University as a professor in their newly established graduate program in music. Although she was past the usual retirement age, she continued to perform; teach piano, theory, and composition; and compose for three more decades. While at AU, she would write over 100 compositions.
Owen traveled extensively and toured in Europe and Asia, where she gave recitals and conducted master classes. In 1972, she was a guest lecturer at Avondale College in Australia in the spring quarter and in 1981 a guest professor and performer at the University of Montemorelos in Mexico during the winter quarter.
A number of her students have made significant contributions as performers, composers, administrators, and teachers in Seventh-day Adventist college and university music departments. Additionally, other former students have gained recognition outside that system, including Sheldon Harnick, lyricist for Fiddler on the Roof; Patty Clarke, noted woman entertainer in Chicago; and James Hansen, violinist with the Chicago symphony for over 35 years.
By the end of Owen's life at age 101, she had been recognized in the first edition of Who's Who in American Women and in the International Who's Who in Music and listed in the Dictionary of International Biography. The Michigan Music Teachers Association elected her Michigan Composer of the Year in 1980, and in that same year AU awarded her an honorary doctorate. In 1986 she was given the Elizabeth Mathias Award from Mu Phi Epsilon, its highest award.
Owen also received numerous honors from the several professional organizations of which she had been a member. In 1988 the Association of Adventist Women chose her as Professional Woman of the Year. Following her death, scholarship funds named for her were established with gifts from her estate at both Andrews University and Walla Walla College.
Sources: Interview with Blythe Owen, 27 June 1988 and correspondence in the 1980s and 1990s; Information provided by Linda Mack, music librarian at Andrews University, 2011 and 2012; 2010, 20, and 30 U.S. Federal Census records; Ironwood Daily Globe, articles from 1925 to1929; Ancestory.com., remarriage of Theodore Cramlet in October 1957, Cook County, Illinois; Online sources; San Dee Wallace, "Noted composer dies," and an obituary, both in the Benton Harbor Herald-Palladium, 29 February 2000; Wayne H. Hooper and Edward E. White, Companion to the Seventh-day Adventist Hymnal, 1988, Review and Herald Publishing Association, 310-11.
Linda Mack, Music Librarian, Andrews University
Blythe Owen was born December 26, 1898, in Long Prairie (Bruce Township), Minnesota. Attracted by the government's offer of free land, the family soon moved to the booming community of Lisbon, North Dakota. Encouraged by her musical mother, young Blythe showed an early love of music, singing, and playing the family's parlor organ. Her first lessons were from a neighbor who had graduated from the New England Conservatory.
Following a move to the Pacific Northwest, Blythe studied at the Pacific College Conservatory, graduating in 1917. As a teenager, she began giving piano lessons, which she continued doing until the age of 97. After spending some time studying in Portland, Oregon, with pianist and composer Dent Mowery, Blythe was invited to join the faculty at Walla Walla College in southeastern Washington. It was not an easy time for her, a woman who was the same age as the students, but during those years she gained valuable teaching and performing experience.
In 1926 Blythe moved to Chicago to study and establish herself as a teacher/performer. Her Chicago debut, sponsored by the Young American Artists Series, helped launch an active performing career as soloist and accompanist, and in chamber music.
During the late 30's she began work toward an undergraduate degree in piano performance at the Chicago Musical College with Rudolf Ganz. Theory studies under Louis Gruenberg encouraged her interest in composition, an interest that grew to produce more than 150 works over the next 50+ years. With the world at war, Blythe had the opportunity to study with French pianist, Robert Casadesus, who had taken refuge in America.
Following graduation in 1941, she immediately began a master’s degree in composition at Northwestern University, Evanston, Illinois, studying with Albert Nolte, head of the composition department. Upon graduation, Blythe was invited to join the Northwestern faculty. She also continued teaching at the Cosmopolitan House Conservatory. In 1950 she left Northwestern to take positions at Roosevelt University School of Music and Chicago Teachers College.
Beginning in 1946 she embarked on the doctorate in composition program at the Eastman School of Music, studying with Howard Hanson and Bernard Rogers. She took the summer of 1949 to study with Nadia Boulanger, Jean Batalla, Casadesus, and others in Fountainebleau, France. One of the first women to do so, Owen earned her Ph.D. in composition from Eastman in 1953. Her dissertation was a piano concerto.
In 1961, after 25 years of teaching in the Chicago area, Owen returned to Walla Walla College as professor of piano and composer in residence. At the age of 66, when most people would be retiring, she moved to Berrien Springs, Michigan, joining the faculty of Andrews University, where she taught composition, theory, and piano. Over the next 25+ years she continued her energetic career of composition, teaching, concertizing, international concert tours, adjudicating, and guest lectureships.
Throughout her entire professional life, she was active in women's music clubs, music teachers' organizations, and societies promoting new music. Her compositions received many awards from these organizations and other groups. She continued teaching and composing until her late 90's.
Dr. Owen's students remember her as a warm, but exacting teacher, encouraging them to aspire to do their best. In December of 1998, friends, students, and colleagues gathered to celebrate this remarkable woman's 100th birthday with a concert of her music. Having lived a full life of more than 101 years, doing what she most wanted to -make music, teach, travel, enjoy wonderful friends - Blythe Owen passed away February 28, 2000, in Berrien Springs, Michigan.
Dr. Blythe Owen
Peter Cooper, Chair, Andrews University Music Department, 1997-2006
Dr. Blythe Owen was born on 26 December 1898 in what is now Long Prairie, Minnesota, a small town northwest of Minneapolis. She died Monday morning 28 February 2000 at Teresa’s Harvest Home in Berrien Springs, Michigan. If we stopped here you would think that this is the life sketch of a centenarian who happened to be from two small Midwestern towns. And, of course, if you knew Blythe you would know that you were wrong. For there is much to tell about what happened in the 101 years and the many, many places in Blythe’s life which separate those dates.
Blythe Owen lived at the end of the 1800s; she lived through all of the 1900s; and she made a good start on the 2000s. Now, for us in the year 2000 it might seem difficult to recall the 1800s. Let me put this into a different perspective by relating a few facts of history.
When Blythe was born, Queen Victoria was on the throne in England; the president of the United States was William McKinley; the vice-president was Theodore Roosevelt. When she was four years old, the Wright brothers made their historic human-carrying powered flight at Kitty Hawk. When she was sixteen, the age of many of our Andrews Academy students, World War I began. Blythe was seventeen when Ellen G. White died. And, she was 29 when Charles Lindbergh made his historic trans-Atlantic flight.
In the area of music, she was born one year after the death of Johannes Brahms. Hers was the time of Mahler, Debussy, Poulenc, Gershwin, Vaughan Williams, Elgar, Rachmaninoff, Schoenberg. Two of her favorite composers were the Russian Alexander Scriabin and the Frenchman Maurice Ravel. Blythe was 17 when Scriabin died; 39 when Ravel died. That is, these three were arguably contemporaries. The remarkable musical career of Blythe Owen spanned over 80 years of composing, teaching, and music making. Her time and career forged a strong and vibrant link in the chain of musical legacy passed on from teacher to pupil in the great musical tradition from the 19th century through virtually all of the 20th century.
Blythe’s early formal musical studies were at the Pacific College Conservatory from which she graduated in 1917. Her undergraduate training was at the Chicago Musical College, where she studied composition with Louis Gruenberg and from which she graduated with a Bachelor of Music in 1941. Her Master of Music degree was taken at Northwestern University, where she was a composition and theory student of Albert Nolte.
In 1953, at the age of 55, she became only the fourth woman to receive the Ph.D. in composition from the prestigious Eastman School of Music, where she was a member of the composition classes of Bernard Rogers and Howard Hanson. Additional composition study was with Nadia Boulanger at the École des Americains in Fountainebleau, France.
Her piano teachers have included Louis Gruenberg, Rudolph Ganz, Jean Batalla, and Robert Casadesus. As a personal aside, I was delighted to discover that she and I shared two teachers, so to speak: I am the pupil of a teacher who also studied with Nadia Boulanger and Jean Batalla.
Blythe was a prolific and diverse composer, composing works in virtually every genre except opera. Opus numbers of her works reach into the 70s. Her compositions have garnered numerous awards, including six Mu Phi Epsilon Biennial Awards, 1st Prize from the Chicago Musicians Club of Women, 1st Prize from the American Pen Women of Chicago, a University of Maryland Award, and the Composers Press Award.
She was awarded an honorary Doctor of Music from Andrews University and was elected the Michigan Composer of the Year in 1980 by the Michigan Music Teachers Association. She has been honored locally with a celebration of her music by the St. Joseph Monday Musicale.
College and university teaching appointments have included positions at the Chicago Musical College, Northwestern University, and Andrews University. She served as the Chairperson of the Composition Department and was Composer-in-Residence at Andrews University, and she held the rank of Emeritus Professor of Music in the Andrews University Department of Music.
Throughout her career, and until 1995, she was active as a piano teacher. Her students have ranged in ages and levels from beginning children to advanced graduate music majors.
As a performer, Blythe Owen gave recitals throughout the United States and in Japan, Taipei, Hong Kong, Manila, Singapore, Scotland, and Mexico. Her programs were noted for their appealing blend of the traditional and contemporary repertoire.
Her professional memberships included the Michigan Music Teachers Association, International Society for Contemporary Music, Society of American Musicians, University Composers Exchange, Music Teachers National Association, Mu Phi Epsilon, Pi Kappa Lambda, and the League of Women Composers. She has been listed in the Who’s Who in American Women, the International Who’s Who in Music, the Dictionary of International Biography, and was a life fellow of the International Institute of Arts and Letters.
Blythe Owen distinguished herself professionally and personally as a vigorous and dedicated composer, teacher, and performer. She endeared herself as a caring and sensitive mentor, colleague, and friend. One writer has commented that "in dealing with her students she demanded precision and quality in order to bring out their talents and potential. Yet at the same time, she was also keen and sensitive in detecting their problems."
Upon receipt of the Michigan Music Teachers Composer of the Year Award in 1980, she said, when speaking about teaching music to children: "I think it's vital to help these children learn to love music at an early age. Watching them learn is an exciting process for me, too. Some of them can barely span five keys on the piano, but they're trying and that's the important thing."
In 1998 the Andrews University Department of Music celebrated Blythe Owen’s centennial in this sanctuary with a gala program of performances and tributes. She received congratulatory messages from former alma maters, and she received the key to Long Prairie, Minnesota, the town of her birth. It was a high day, a day of joy; and Blythe was there to experience it. In fact, several of us thought she was going to just take off out of her wheelchair, she was so excited. The picture which appeared in the Herald-Palladium obituary was taken at this celebration.
Blythe Owen will live on, of course, through her music. There are as we speak projects underway to write about her, to publish her compositions, and to record and perform these works.
Blythe will also live on through the legacy of her generosity. Her two grand pianos are used by faculty and students in the Andrews University Department of Music; the Blythe Owen Music Scholarship is now fully funded, and the scholarship will be awarded beginning in the 2000-01 academic year. And, we are getting closer to the opening of the Blythe Owen Music Technology Lab in Hamel Hall on the Andrews University campus.
I know that many in this room, and around the country, will join me in saying that it was a privilege and honor to have known Blythe Owen, to have talked shop with her, and to have come under the generous, caring, and mentoring influence of this great musician and person.
Memorial Service 2 March 2000 Pioneer Memorial Church
A Century of Achievement!
Andrews University celebrated Blythe Owen’s 100th birthday with a concert of her music in December of this past year. The "Gala Centennial Celebration" featured performances of Owen's works by Andrews music faculty and students, along with testimonials from her former students. A composer of national renown who celebrated her 100th year of life on December 26, Owen was in attendance for the event.
A composer and piano professor at Andrews from 1965 to 1981, Owen won numerous national and international awards during her storied 80-year career of active music endeavor. "Dr. Owen was a trailblazer in the truest sense of the word," said Peter Cooper, chair of the Andrews Department of Music. "There are few musicians of whom it can be said 'Their music deserves to be heard.' Blythe Owen is one of them."
Born into a musical family in 1898 in Long Prairie, Minnesota, Owen began her lifelong association with the piano at age eight with her first lessons. Natural inclination and talent led her to study piano, and in 1917 she received a music diploma from the Pacific College Conservatory of Music. In 1939 she completed a music degree at Chicago Musical College and in 1942 received her master's degree in music from Northwestern University. When she received her doctorate in composition in 1953 from the Eastman School of Music at age fifty-five, Owen was just the fourth woman to achieve the distinction from the prestigious Rochester, New York, school.
Her life and career spanned the 20th century, and as Copper observed recently, Owen openly embraced the century's diverse zeitgeist. From late Romanticism, groundbreaking European Impressionism, and the emerging American musical tradition, she composed piano music in a variety of modern musical genres. Though solidly rooted in American Midwestern sensibilities, Owen's musical voice was also strongly influenced by different cultural traditions.
Beyond her studies in America, she studied piano and theory in the French school Ecole des Americains in Fountainebleau. The Impressionist work of French composers Maurice Ravel and Claude Debussy had their effect on her style, as did the sound of Russian composer Alexander Scriabin. "The body of her work is eclectic," Cooper said. "But no matter what the genre, certain hallmarks remain: brilliant phrasing and wonderfully melodic lines. She was known as an impeccable craftsperson, and this always comes through."
Although her career started with a piano position at Walla Walla College at the age of twenty, Owen really first gained recognition and made her mark in Chicago musical circles in the early half of the 20th century. She was a performer, composer, and teacher at the Cosmopolitan School of Music, Northwestern University, Chicago Teachers College, and Roosevelt University.
In 1961, after twenty-five years of teaching in the Chicago area, Owen returned to Walla Walla College, where she taught for four years before coming to Andrews University at age 66 to teach piano and composition. Her students at Andrews knew her as an exacting but warm professor, and many of them went on to illustrious careers in music, including Sheldon Harnick, lyricist for the Broadway production of Fiddler on the Roof.
But even more than her teaching, Owen's legacy will be her extensive body of work. Her compositions were recognized nationally and internationally, and among the awards she received were the Henry Lytton Award, the Delta Omicron Award, the Composers' Prize Award, the Lakeview Musical Society Award, Chicago Chapter of American Pen Women and six citations from Mu Phi Epsilon, a professional music society. In 1986 she received Mu Phi Epsilon's Elizabeth Mathias award, the organization's highest award for achievement.
Her sacred choral work was published by a number of prominent publishers and was the subject for a 1979 doctoral dissertation by Alfendy Mamora, a graduate of New York University. She contributed a hymn for the 1985 Seventh-day Adventist Hymnal.
Recognition would follow her well past 1981, the year of her "official" retirement at age eighty-two from Andrews. In 1980, she was named the Composer of the Year by the Michigan Music Teachers Association and was awarded an honorary doctorate from Andrews.
Her teaching career spanned the better part of the 20th century and touched all ages, from beginning children to advanced graduate students. The boundless energy that marked her prodigious musical output also had her teaching piano students as recently as 1995, three years short of her 100th birthday!
This was published in the Spring/Summer 1999 issue of Notes, publication of International Adventist Musicians Association. Stenger was serving as editor of the Andrews University alumni magazine, Focus, at that time.
Elsie Landon Buck
An extraordinary life span for an extraordinary woman, Blythe Owen, closed in the early morning hours of Monday, February 28. Alive in the 1800s, 1900s and 2000s, Dr. Blythe Owen was a highly esteemed presence and person among those with whom she shared her musical talents as composer, pianist, cellist, music teacher, and friend. Hers was a life to be admired and remembered for her many, many contributions to the church, to the community, and to the entire world of music, in which she was recognized as one of the eminent composers of the twentieth century.
It was Valentine’s Day this year , when my husband, Edwin, and I went to see Blythe Owen in the retirement home where she had spent the last few years of her life, to take a gift and card which would assure her of our affection for her, and good wishes for continued strength and joy during the days ahead. We tried to see her as often as we could, always encouraged by her welcome smile and the chance to hear her tell of matters of interest surrounding her at the time, or reflections of the past.
It was not hard for Edwin and me to accept the request to be a part of the funeral service, March 2, which took place at Pioneer Memorial Church, on the campus of Andrews University, where she had been a member of the music faculty for many years.
In that beautiful service for Blythe Owen, we all poured out our hearts in praise and thanksgiving to God for her life, her devotion and dedication to Him, and for her gift of music, which she shared so generously with everyone.
Perhaps for me, one of the lasting gifts which I will always cherish, a gift to all Christians, is the hymn which the congregation sang at the funeral, Hymn 277 of the Seventh-day Adventist Hymnal, "For Your Holy Book We Thank You," for which Blythe composed the music. In a short interview which was videotaped for the millennium celebration in the church, several weeks earlier, and shared with those present at the funeral, her knowledge of the Bible, in quoting Scripture, made us all aware of her deep love of God’s Word. How fitting it was to sing this great hymn of thanksgiving at that time.
God grant us all a continued love for music that touches our hearts in reverence and thanksgiving, and in all the years ahead, may there be many others of great talent who also give of their best in honor of God. May God always be praised by the sounds of music which flow from the pens of composers, and from the performers of today and all time, to bless listening audiences and worshippers everywhere.
This was published in the Winter 2000 issue of Notes, publication of International Adventist Musicians Association. Buck was serving as president of IAMA at that time.
Music by Blythe Owen
Linda Mack, Professor Emerita and former Music Librarian at Andrews University, working with the staff at the James White Library, Andrews University, has prepared the following list of compositions by Blythe Owen. It is still a work in progress. The library is seeking to acquire copies of all her compositions and to discover additional works as well as recordings of performances. Works the library does not currently own are indicated by the * symbol. If you have a copy of any of these works, or know of other pieces not on this list please contact:
Marianne Kordas, Music Librarian, Music Materials Center, Andrews University, Berrien Springs MI 49104-0230; email firstname.lastname@example.org; phone: (269) 471-3114 or Linda Mack, e-mail email@example.com; Phone: (269) 313-7593
Suite for Strings, Op. 4, 1941.
Pastorale & Dance for Chamber Orchestra, Op. 7, 1942.
State Street (Suite), 2nd place Henry P. Lytton Award, 1946, Op. 11, 1946.
Symphony No. 1, Op. 13, 1947.
Concerto for Piano and Orchestra, Mu Phi Epsilon Biennial Award, 1955, Op. 24, 1953.
Elegiac Poem, Op. 19, 1954.
I Heard Emmanuel Singing, Chorus and Orchestra, Op. 20, 1957.
Concerto Grosso, for Strings, Oboes, Horns, and Bassoons, Op. 29, 1961. Mu Phi Epsilon Biennial Award 1961.
Elizabethan Suite, Op. 32, 1964. Written on the occasion of Shakespeare's 400th birthday, premiered as From Shakespeare's Time by the Walla Walla Symphony, 4 April 1964.
Fantasy for Orchestra (Lift High the Cross), Op. 76.
Chorale and Fugue, Op. 38, 1966.
Sonata Fantaisie for Cello and Piano, Op. 3, 1940, Mu Phi Epsilon Biennial Award.
Quintet for Piano and String Quartet, Op. 8, No. 1, 1944, Delta Omicron Award.
Quartet for Strings, No. 1, Op. 8, No. 2, 1944.
*Ballad for Organ and Strings, Op. 10, 1944.
Sonata for Violin and Piano, Op. 12, 1946, 1951 Mu Phi Epsilon Biennial Award.
Trio for Oboe, Clarinet, and Bassoon, Op. 18, 1950, 1951 Mu Phi Epsilon Biennial Award, Honorable Mention 1961 Gedok Competition, Germany, Published by Hall-Orion 1972.
Quartet for Strings, No. 2, Op. 15, 1951, 1951 Mu Phi Epsilon Biennial Award.
Trio for Flute, Clarinet, and Piano, Op. 28, No. 1, 1959, First Prize, Musicians Club of Women, Chicago, 1959.
Trio for Violin, Cello, and Piano Op. 28, No. 21962, Special Merit Citation, 1967 Mu Phi Epsilon
Quartet for Piano, Violin, Viola, and Cello, Op. 28, No. 3, 1963.
Two Inventions for Woodwinds, Op. 35, No. 1, 1964, Special Merit Citation, 1967 Mu Phi Epsilon, Published by Hall-Orion in 1972.
Diversion for Bassoon and Harpsichord, Op. 42, No. 2, 1967.
Sarabande and Gigue for Four Tubas, Op. 43, 1969.
* Diversion for Alto Sax and Piano, Op. 42, No. 3, 1973.
Ein Feste Burg for Trumpet Trio with Piano, Op. 52, No.1, 1978.
Trio for Clarinet, Cello and Piano, Op. 57, 1980.
Sonata in A, Op. 2, 1939, 2nd prize - Mu Phi Epsilon Biennial Contest 1942.
Sonata No. 1, Op. 14, 1948, 1st prize - Lakeview Musical Society, Chicago 1950.
Toccata, Op. 21, No. 1, 1950, Mu Phi Epsilon Biennial Award 1957.
A Little Game Op. 25, No. 1, 1955, Published by Summy Birchard in Album of Contemporary Music.
March of the Plastic Soldiers, Op. 25, No. 2, 1955.
Whirly Skirts, Op. 25, No. 3, 1956.
The Dorian Dude, Op. 26, No. 1, 1956, Published by Rochester Music.
Variations on American Folk Song "Old Texas," Op. 27, No. 1, 1959.
Variations on American Folk Song "Sacramento," Op. 27, No. 2, 1959.
Black Key Jig, Op. 30, No. 1, 1962.
Over the Telephone, Op. 30, No. 2, 1962.
Two Little Trumpeters, Op. 30, No. 3, 1962.
Ring Dance, Op. 30, No. 4, 1962.
The Phrygian Flirt, Op. 26, No. 2, 1963.
The Lydian Lady, Op. 26, No. 3, 1964.
Nativity Suite, Op. 34, Nos.1-5, 1964.
* Good-Morning, Op. 36, No. 1, 1964.
* Playing Games, Op. 36, No. 2, 1964.
* Swinging, Op. 36, No. 3, 1964, Published by Summy Birchard.
Three Little Preludes and Fughettas, Op. 40, Nos. 1-3, 1965-66.
Two Nocturnes, Op. 41, Nos. 1-2, 1966-67.
Serially Serious (Three pieces), Op. 46, Nos. 1-3, 1971, Published by Hall-Orion.
The Mixolydian Maiden, Op. 58, No. 1, 1979.
* The Aeolian Acrobat, Op. 58, No. 2, 1979.
Sonatina for Piano or Harpsichord, Op. 56, No. 1, 1979.
* Wigwam, Op. 56, No. 2, 1979.
The Ionian Imp, Op. 58, No. 3, 1980.
Fairest Lord Jesus, Op. 64, No. 2, 1982.
A Little Ballad/Five Friends , Op. 65, No. 1, 1982.
Mysterious Waltz/Six Equal Steps Waltz, Op. 65, No. 2, 1982.
Pasde Deux, Op. 65, No. 3, 1982.
Shining Waters, Op. 65, No. 4, 1983.
A Sunny Day , Op. 65, No. 5, 1983.
Sonatinetta Op. 69, No. 1, 2, 1983.
Clowns, Op. 73, No. 2, 1984.
On the Lake (Barcarolle), Op. 21, No. 2, 1949.
Sprites (Scherzo), Op. 21, No. 6, 1950.
Sonatina from "God's Time is Best" - Bach 1957 Op. 21, No. 3, Published by Summy Birchard.
Largo - from Bach’s Clavier Concerto No. V, Op. 21, No. 4, 1957.
Air - Handel (Recital Duos) Op. 21, No. 5, 1960, Published by Summy Birchard.
Pieces for Harpsichord with 2 Rows of Keys, (Sonata) - Handel, Op. 70, No. 1, 1978.
Pieces for Harpsichord with 2 Rows of Keys, (Chaconne) - Handel, Op. 70, No. 2, 1978.
Sonata, Op. 71, No. 1 by G. F. Handel, Op. 71, No.1, 1984.
Easter - 4 part anthem, Published by University of Miami Press, Op. 5, No. 1, 1942.
Victimae Paschale - 4 part anthem, Op. 5, No. 2, 1942.
Song of the Oppressed - 4 part anthem, Op. 6, No. 1, 1944.
Let God Arise - 4 part anthem with organ, Op. 6, No. 2, 1944, Published by Summy Birchard (out of print).
My Soul is an Enchanted Boat - 4 part women's chorus, Op. 9, No. 1, 1944.
Go, Lovely Rose - madrigal, 4 part, Op. 9, No. 2, 1944, Published by University of Miami Press.
O Lord, I Will Praise Thee - 5 part a cappella, Op. 9, No. 3, 1944.
Fairest Lord Jesus - SAB and Organ, Op. 9, No.4, 1947
Blessed be the God and Father - 4 part - soprano and instruments, Op. 23, No. 4, 1950, 1st Honorable Mention - Friends of Harvey Gaul Contest, 1951.
The Trinity - 4 part with organ, Op. 17, No. 3, 1950.
Festival Te Deum - 4 part with organ, Op. 17, No. 2, 1951.
Awake, O Zion - women's trio with piano and trumpet, Op. 17, No. 1, 1952, 1st Prize - American Pen Women Chicago Chapter, 1953; University of Maryland Award, 1957; Published by Lake State.
The Rock/O Light Invisible - male chorus, Op. 23, No. 2, 1954.
The Little Jesus Come to Town - 4 part with piano, Op. 23, No. 3, 1955.
* Hearken Unto Me - 4 part with organ, Op. 17, No. 4, 1957, Composers Press Award 1957, Published by Composers Press Opus Publishing Company.
We Wish You a Merry Christmas - SAB with piano (arr.), 1958.
Praise the Lord - 4 part with organ, Op. 23, No. 1, 1959.
Whispering Willows, Op. 31, No. 2, 1960.
11 Choral Responses, Op. 33, No. 1-11, 1963, 66, 69, Published by Hall Orion, 1974.
This is the Gate of the Lord - chorus, organ, brass, percussion, Op. 43, No. 1, 1964.
Antiphon No. 1, Op. 39, No. 1, 1966.
The Man on the White Horse - chorus, narrator, brass, percussion, Op. 43, No. 2, 1970.
An Indian Prayer - women's voices, SSAA, flute, drum, Op. 43, No. 3, 1970, Honorable Mention - Harvey Gaul, 1970.
Song of Infinitude - SATB with piano, Op. 43, No. 4, 1970.
How Shall I Sing the Majesty - 4 part male chorus or quartet, Op. 47, No. 1, 1972.
Amen I & II, Op. 31, No.9, 10, 1973.
Home of the Soul - chorus with organ, Op. 49, No. 1, 1974.
God of Eagles, God of Sparrows - hymn, Op. 47, No. 4, 1975.
Centennial Anthem (Prophetic Song) - chorus, organ, brass, percussion, Op. 50, No. 1, 1975.
Almighty God, Who Made the Things - hymn, Op. 47, No. 5, 1975.
With Trust in God - hymn, Op. 47, No. 6, 1975.
Dear God of All Creation - hymn, Op. 47, No. 7, 1975.
Centennial Anthem (Prophetic Song) - chorus, organ, brass, percussion Op. 50, No. 1, 1975.
Jesus Passed Within the Veil - hymn-anthem, Op. 47, No. 9, 1976.
Lo, He Comes - 2 choirs, orchestra, brass, organ (arr.), Op. 49, No. 2, 1976.
Peace Hymn of the Republic - organ, brass, chorus, Op. 50, No. 2, 1976, Bicentennial Commission, Published by Lake State.
Of the Father's Love Begotten - anthem, chorus and organ, Op. 49, No. 3, 1977
Blessed Be the Lord, Op. 53, No. 1, 1979
Rejoice and Sing, Op. 53, No.2, 1981.
La Mayor Necessidad, Op. 61, No.1, 1981.
Trilogy: The Three Angels of Annunciation, Op. 61, No.2 1981, Commissioned by McGill University
Rejoice and Sing, Op. 62, No.2, 1982.
Sleep Baby, Sleep, Op. 53, No.3, 1982.
Shelter of Voices, Op. 53, No.5, 1984.
For Your Holy Book We Thank You, Op. 71, No.9, 1984.
All Nations of the Earth, Op. 72, No.3, 4, 1985.
Fanfare for "Lift up the Trumpet", Op. 72, No.5, 1985.
Praise the Lord (for Junior Choir), Op. 74, No.1, 1986.
Gentle Chains, Op. 74, No. 9, 1993.
Pierrot - high voice and piano, Op. 1, No. 1, 1940.
I Know Not Why - high voice and piano, Op. 1, No. 2, 1941.
My Heart Shall Bear No Burden - high voice and piano, Op. 1, No.3, 1942.
Out of the Depths - high/medium voice and organ, Op. 10, No. 1, 1942.
Rise, O My Soul - high voice and organ, Op. 10, No. 2, 1942.
Make a Joyful Noise - high/medium voice and organ, Op. 10, No. 3, 1948.
Rain - high voice and piano, Op. 16, No. 1, 1951.
Morning Glories at My Window - high voice and piano, Op. 16, No. 2, 1951.
Blessed be the God and Father - high voice and organ, Op. 10, No. 4, 1956.
A Daughter's Prayer on Mother's Day, Op. 10, No. 5, 1956.
Songs of the Night - medium voice and piano, Op. 22, 1958.
Autumn Dusk - No. 1, The Fountain - No. 2, Night Plane - No. 3
The Cloud - high voice and piano, Op. 16, No. 3, 1958.
My Heart Shall Bear No Burden - high voice with violin (or clarinet) and piano, Op. 42, No. 1, 1969, Pedro Pay Award.
Song Cycle for Solo Voice - high voice and piano (may not have been completed), Op. 45, 1970.
O Lord, I Have Heard the Report of Thee - high voice and piano, Op. 55, No.1, 1979.
O Lord, Thou Hast Searched Me - with cello and organ, Op. 55, No.2, 1980.
Festal Prelude, Op. 37, No. 1, 1966.
Fantasia on "Of the Father's Love Begotten, Op. 37, No. 2, 1967.
Fanfare and Processional with Brass Quartet, Op. 44, No. 1, 1969, Published by Hall-Orion.
*Praeludium, Op. 44, No. 2, 1973.
Processional, Op. 48, No. 1, 1973.
Chorale Prelude on "Rothwell", Op. 51, No. 1, 1975.
Variations on "Herr Jesu Christ, ich weiss gar wohl", Op. 51, No. 2, 1975.
Passacaglia on Prout's Impossible Theme, Op. 56, 1980.
Processional on an Austrian Hymn, Op. 60, No. 1, 1981.
The King of Love My Sheperd Is (Organ & Piano), Op. 64, No. 1, 1982.
Sonatina Michiana/Sonatina for Organ, Op. 67, No. 1, 1982.
Praise to the Lord, Op. 70, No. 1, 1983.
We Wish You a Merry Christmas - SAB, 1958.
The Carpenter of Galilee Text by Hilda W. Smith, Op. 47, No. 2, 1973.
Though Christ a Thousand Times be Born Text by Angelus Silesius, Op. 47, No. 3, 1974.
The Coming Child Text by Richard Crashaw, Op. 47, No. 8, 1975.
Christ is Born Anew Text by Elizabeth Stuart Philip, Op. 47, No. 10, 1976.
I Saw a Stable Text by Mary Elizabeth Coleridge, Op. 47, No. 11, 1977.
Shall I Be Silent Text by George Herbert, Op. 47, No. 12, 1978.
O Wondrous Night Text by Nancy Byrd Turner, Op. 47, No. 13, 1979.
Christmas Eve Author unknown, Op. 47, No. 14, 1980.
Far Trumpets Blowing Text by Louis F. Benson, Op. 47, No. 15, 1981.
Christmas Antiphon Text by Algernon Charles Swinburne, Op. 47, No. 16, 1982.
A Christmas Carmen Text by John Greenleaf Whittier, Op. 47, No. 16b, 1983.
The Star of Bethlehem Text by William Cullen Bryant, Op. 47, No. 17, 1984.
Go Little Poem Text by Alice Hansche Mortinson, Op. 47, No. 18, 1985.
Consecration Text by Roxie Lusk Smith, Op. 74, No. 2, 1986.
Christmas Day Text by Edgar Quest, Op. 74, No. 3, 1987.
For All My Friends Text by Alice Hanshe Mortinson, Op. 74, No. 4, 1988.
Behold I Come Quickly, Op. 62, No. 3, 1989.
*The Wondrous Star Text by Roxie Lusk Smith, Op. 74, No. 5, 1989.
Our Savior King Text by Fanny Crosby. Op. 74, No. 6, 1990.
I Do Not Know, I Cannot See Text anonymous, Op. 74, No. 7, 1992.
Love Incarnate Text by Christina G. Rossetti, Op. 74, No. 8, 1992.
A Christmas Carol Text by Robert Herrick, Op. 74, No. 10, 1994.
A Christmas Prayer, Op.74, No. 11, 1995.