Canticles for voices and percussion, 1976

Two Voices, Handbells, Tambourine and Triangle. I. Song of Mary (Soprano Solo, Treble Voices, Hanbells, and Tambourine). II. Song of Simeon (Treble Verson); Song of Simeon (Alternate Verson - Men's Voices). III. Interlude/Cadenza. IV. Song of the Angels. 3 scores from earlier printing, 1 score from later printing. 1 score is marked "Bell Parts" and contains markings throughout the score. 1 score has initials "RP."

The title of this set of songs is "Canticles for Voices and Percussion." The individual songs included in the set are the following: I. Song of Mary; II. Song of Simeon; III. Interlude/Cadenza; IV. Song of the Angels. The following was written by Proulx and was included as an explanation of this set of songs: "These songs were commissioned by Sigma Alpha Iota. The invitation to write a set of pieces for voices and percussion seemed to offer an opportunity for basic music-making as experience and language, using forces available. There is certainly nothing avant-garde in the compositional vocabulary, no conscious effort at the profound, and in that sense, it is "instant music" and quite disposable, depending upon circumstances of performance. Though stylistic comparisons can be misleading, a general effect that seems to evolve in these pieces is a generic growth from plainsong and medieval dance. In the belief that most music is either song or dance, rhtyhm emerges as the crucial element, springing directly from speech-patterns of the text. Hence, the tambourine resumes its ancient role as the time-keeper, the rhythmic life-line, opening up the further possibility of singing these pieces in procession, adding the dimension of movement to an otherwise purely sonic experience. The handbells are also used in a medieval manner -- as very practical percussion instruments -- providing additional rhythm, rather than specific melodic or harmonic colors. The music itself will suggest two ancient monastic uses of bells: ringing at cadences in psalms to ensure pauses for antiphonal chanting, and the aleatoric sequences rung during longer chants such as the Te Deum. The use of Dutch bells, with their exceedingly rich overtone series (as compared to relatively 'tame' American and English bells) will make the percussive possibility even stronger! The choral writing is never more than two-parts, and is intended for any combination of voices, even doubled. This attempts to accept the challenge of the demise of the SATB choir as a practical performing medium in many places. The style itself suggests a certain inevitability in the parts for congregation."