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Of A Rose

In the deep

The Lake Isle of Innisfree


<p>
for SSAA and piano 
She Sang the Stars uses the lens of Elias Lönnrot's Finnish epic, the Kalevala, to explore the stages of womanhood. With all texts in English translation, the work's outer movements act as an introduction and conclusion, while the central movements profile three female characters from the Kalevala at different stages of life.</p>


She Sang the Stars

New Horizons

for SSATB unaccompanied McDowall's moving and poignant setting of this three-movement work is both an exposition on the horrors of war and a celebration of healers. Inspired by renowned nurse Clara Barton, the text is drawn from Barton's own words, the poetry of Séan Street, and the African American spiritual There is a balm in Gilead.

Angel of the Battlefield

Adam lay ybounden

Tota pulchra es

O little one sweet

Routledge Library Editions: Medieval Culture, Society, & Religion

An Anthology of Hymns and Lyrics

Medieval Song

Voice Junction

for SSATB (with S. solo) and piano Written for the California Junior High All-State Honor Choir, this piece sets a motivational text by the composer on the theme of embracing new opportunities and, using the metaphor of a river, encouraging singers to champion the bravery required to go against the flow.

If the River Leaves without me

Keep me as the apple of the eye

Christmas Fantasy

Elements in the Gothic


<p>
Music plays an essential role in Gothic in the years 1789-1820, but it signifies very differently at the end of the period compared with the beginning. In the 1790s, the music of Gothic novels and plays is not Gothic music; it is celebratory, calming or transcendent rather than scary. By 1820, the music of Gothic is more likely to provoke shock, discomfort and unease. Melodrama brings about this change. Its ascendancy had long-lasting effects on the music of the Gothic more generally - in fiction and poetry, on the stage and the screen. The book considers work by writers including Ann Radcliffe, Matthew Lewis, Eliza Fenwick, Samuel Taylor Coleridge and James Boaden in conjunction with music by composers such as Michael Kelly, Stephen Storace and Samuel Arnold. Audio files of the music accompany the book.</p>


In the 1790s, the music of Gothic novels and plays was celebratory, calming rather than scary. By 1820, the music of Gothic is more likely to provoke shock, discomfort, and unease. This Element shows Melodrama brings about this change which had long-lasting effects on the music of the Gothic in fiction and poetry, on the stage and the screen.

The Music of the Gothic 1789–1820

Long, Long Ago

Of A Rose

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