Thesis (M.A.)--Ohio State University, 1957. / Available online via OhioLINK's ETD Center

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 223-239. Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of North Texas, 2001. / Includes bibliographical references (p. 303-307).

Thesis (D.M.A.)--University of Oklahoma, 1990. / Includes bibliographical references (leaves 321-331).

Requiem / Maurice Durufle -- Ach wie fluchtig, ach wie nichtig, BWV 26 / J. S. Bach. / text

Numerous studies have been made looking at the differences in the resonance of choral and solo singing modes. None of these studies, however, have taken into account the particular challenges of a great majority of choral singers: undergraduate and graduate students. An experiment designed to remedy this situation was carried out in which nine baritones and bass-baritones were recording while singing in both solo and choral modes. The singers were divided in to three groups of three singers each, with each group representing a grade-achievement level: undergraduate underclassmen, undergraduate upperclassmen, and graduate students. Singers sang three examples of choral music and two examples of solo music. All the examples were sung in each of four different conditions. The recordings were analyzed in several different ways including spectrogram, formant mapping, long-term average spectrogram, and energy contour. The relative strengths of the fundamental frequency peak and the singer's formant peak were calculated. Results showed that the amount of change in the relative strength of the fundamental frequency between solo and choral modes became greater as the age and experience of the singer increased. Conversely, the amount of change in the relative strength of the singer's formant peak between the two modes dramatically decreased as the age and experience level of the singer increased. The ramifications of these findings on university choral and solo voice programs are discussed.

Six songs for four-part mixed chorus to be sung outdoors, op.59 / Felix Mendelssohn Bartholdy -- Six songs for four-part mixed chorus to be sung outdoors, op.41 / Felix Mendelssohn Bartholdy -- Lecture: The English adaptations of Felix Mendelssohn Bartholdy's secular part songs, op.59 and op.41 / text

Lecture: Vibrator theories: A choral director's guide to teaching vibrato management -- Exultate justi / Ludovico da Viadana -- Agnus Dei from Missa brevis / William Walton -- Ubi Caritas / Maurice Durufle -- Jesu, dulcis memoria / Tomas Luis de Victoria -- Abendfriede / Josef Gabriel Rheinberger -- Chorus of the Hebrew slaves from Nabucco / Biuseppe Verdi / text

Sonnets and Psalm investigates the relationships between the sacred nature of Psalm 91 and the secular nature of two sonnets, William Shakespeare's Sonnet 73 and Henry Howard, Earl of Surrey's Sonnet 8. Sonnets and Psalm exploits a dynamic that arises from the juxtaposition of disparate musical universes, choral and instrumental, and the unique and, at times, ineffable aesthetic qualities that emerge as a result of the intentional ordering of musical language and block structures. In a five movement form the listener is guided from vocal events painted on orchestral palettes, to solely instrumental movements, and back again. While the movements can stand independently of each other, there are ponderous transformations of material within and throughout the piece that create a thread that functions as a consistent generative unifying element. A recurrent utilization of motive, color, register, pitch-specific sonorities and gesture, enhances the unity of the work while exploiting the contradistinctive nature of each movement. Relational aspects of hidden and transformed materials from the Psalm and the sonnets (including the Mosaic movements) that are present throughout create a forward and back-relating dynamic. There is a programmatic element at work as well that in itself is a statement: after the sonnets and the mosaics, the listener is finally presented with the Psalm, a conclusion.

Daniel Pinkham (1923-2006) composed numerous works for chorus, orchestra, organ, and combinations of these forces. This body of repertoire comprises a broad and eclectic collection of styles and levels of complexity. Pinkham’s compositional career was driven by the commissions he received, and the diversity of his oeuvre is a reflection of the varying size, make-up, and ability of the commissioning ensembles. Pinkham’s compositions show influences of his mentors, and are colored by his tastes and philosophy. The stylistic contrast in Pinkham’s choral cantatas as a whole makes it difficult to place the works into categories or style periods. In his late cantatas, however, an amalgamation of styles is found. Multiple elements from his past can be found in his late works. Additionally, the application of Gebrauchsmusik as understood by Pinkham is evident in these late compositions. This potpourri of Pinkham’s musical interests melds to create a unique sound - distinctly contemporary by twentieth-century standards - that maintains accessibility for a broad range of performers and listeners. The purpose of this study is to demonstrate that in Pinkham’s late choral cantatas - specifically Advent Cantata (1991) and The Creation of the World (1994) - his compositional style is defined by serial writing, economy of means, and classic formal structures, and these devices are utilized in a fashion consistent with the composer’s understanding of Gebrauchsmusik.