Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T08:35:25Z (GMT). No. of bitstreams: 1 Gomes_HermesCoelho_M.pdf: 911382 bytes, checksum: 050139607e19dab18b8ad22ab3baecab (MD5) Previous issue date: 2006 / Resumo: Em busca de uma maior compreensão da Sinfonia dos Salmos de Igor Stravinsky, tendo em vista sua interpretação dentro de um processo de preparação e execução, o presente trabalho apresenta recursos teóricos, históricos e técnicos bem como aponta elementos interpretativos como subsídios para o desenvolvimento de tal processo. O trabalho é composto de quatro capítulos que, tendo como foco central a obra em questão, aborda assuntos diversos buscando maior compreensão. O primeiro capítulo apresenta dados do compositor em uma perspectiva histórica. O segundo é uma reflexão sobre os textos bíblicos utilizados na obra e suas origens dentro da tradição hebraica. Já o terceiro capítulo é uma análise da partitura, onde são abordados parâmetros de forma, orquestração, instrumentação, escrita vocal, harmonia e contraponto. Concluindo o presente trabalho, o quarto capítulo apresenta elementos de interpretação da obra, com sugestões para sua preparação e execução. Este último capítulo, além de ser o objetivo primeiro do trabalho, justifica todo o esforço de sua realização / Abstract: As a means for a better understanding of The Symphony of Psalms by Igor Stravinsky, and having in mind its interpretation through the process of preparation and performance, this dissertation discusses theoretical, historical and technical elements that participate in the development of the interpretive process. It is comprised of four chapters each approaching distinct aspects of the composition. The first chapter, in historical perspective, presents data about the composer's life . The second reflects on the Biblical texts used in the work and their origins within the Hebrew tradition. The third presents an analysis of the score as it discusses technical aspects such as musical form, instrumentation, orchestration, vocal writing, harmony and counterpoint. As a conclusion, the fourth chapter discusses interpretive elements and practical suggestions for its performance and interpretation. This final chapter, is indeed the prime objective of this work, and justifies all effort for its realization / Mestrado / Mestre em Música

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Edwin Fissinger (1920-1990) was a conductor and prolific choral composer. His compositional techniques, settings of text, jazz-influenced harmonies, and melodic propulsion fulfill an important role in each of his compositions. In the eight choral cycles he composed, Fissinger unified each cycle through thematic and textual elements. Although this resulted in a logical progression of poetry and music, Fissinger's final choral cycle, Prairie Scenes, was not published as he intended. Rather, individual selections from the cycle were published by two different publishing houses, out of sequence, and sixteen years apart. Consequently, the eight pieces are not currently performed together. Today's choral conductors, singers, and audience do not fully appreciate the value of this choral cycle and cannot understand its intended context. It is necessary to provide an in-depth investigation of the original eight-piece work Prairie Scenes: A Choral Cycle to place the appropriate organizational set together. This study illustrates the importance of the unification of Fissinger's Prairie Scenes: A Choral Cycle through a study of the poetry, the thematic material as it relates to the natural elements of the prairies, the manuscripts, and interviews with Fissinger's publishers and colleagues. An examination of Fissinger's compositional technique to convey the meaning of the text reveals a clear link between Prairie Scenes and the North Dakota prairies and its seasons. A description of the development of the choral cycle throughout music history and a biography of Edwin Fissinger and his compositional style are also included.

Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.

According to the American League of Orchestras' most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty's music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can "hang their hat on." Despite widespread success, relatively little scholarly work has been done on Daugherty's music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor's guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of diverse musical backgrounds. The work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who wish to engage further. Daugherty's Mount Rushmore offers immediate appeal and an excellent return on investment. Using interviews with the composer as well as detailed formal, harmonic, and historical-textual analysis, this paper provides in-depth information and guidance to future conductors who wish to present an appealing choral-orchestral work by a prominent, living American composer. Conductors who program Daugherty's Mount Rushmore will find it valuable for their ensemble and community for years to come.

Vol. 1. Chapters 1-5 (Musical transcriptions of hymns) -- v. 2. Chapters 6-8 (Letters and documents, appendices) / by James Daniel Bagwell. / Includes musical examples and the complete musical transcriptions (conventional notation)--of unaccompanied shape-note hymns by A. Marcus Cagle, Paine Denson, S.M. Denson and T.J. Denson; most hymns with text / Typescript / M.M. Florida State University 1991 / Includes bibliographical references and indexes

Vol. 1. Chapters 1-5 (Musical transcriptions of hymns) -- v. 2. Chapters 6-8 (Letters and documents, appendices) / by James Daniel Bagwell. / Includes musical examples and the complete musical transcriptions (conventional notation)--of unaccompanied shape-note hymns by A. Marcus Cagle, Paine Denson, S.M. Denson and T.J. Denson; most hymns with text / Typescript / M.M. Florida State University 1991 / Includes bibliographical references and indexes

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Die Tabelle bietet eine Übersicht aller bekannten Auftritte der Leipziger Singakademie(n). Zu jedem Auftritt sind Datum, Ort, Anlass, Mitwirkende, Werke und Quellen angegeben. Das Dokument ist ein Anhang zu folgendem Buch: Stephan Wünsche: Die Leipziger Singakademie – Mitglieder, Repertoire und Geschichte. Studien zur Chormusik in Leipzig, besonders am Gewandhaus, Leipzig 2014 (ISBN 978-3-86583-906-0). Wichtige Hinweise zum Zustandekommen des Verzeichnisses, den Darstellungsprinzipien und Grenzen dieser Übersicht sind dem gedruckten Buch zu entnehmen. Die verwendeten Abkürzungen sind ebenfalls dort aufgeschlüsselt.

This thesis presents research on an amateur composer-oriented Bach choir. Its main purpose is to study the development of musical identities and musical preferences of choir members as they take shape through the collective learning process of rehearsing and performing large-scale choral music. The study analyses how the choral participation and performance creates a certain type of ‘choral capital’ (a combination of social and cultural capital within the choral setting) and how the choristers reconstruct and relate to the composer (J.S. Bach) by creating ‘choral identities’ linked to the composer-orientation of their choir. This study is based on an interdisciplinary approach, seeking concepts and ideas from different fields of study – primarily sociology and music sociology (music in everyday life and the concepts of social and cultural capital in the amateur choral setting) but also music psychology regarding concepts of musical and vocal identities, history of music (especially Bach scholars, previous biographical writings about J.S. Bach), music and education (choral singing as informal music education) and interdisciplinary studies on music, health and well-being. The methodological approach of this research consists of a grounded theory based, single case study where the case was the Croydon Bach Choir in London performing J.S. Bach’s Mass in B Minor, using participant observation (where I sang with the choir for one semester) and qualitative interviews as main research methods and gathering demographic background data on choir members via paper-based survey. Whereas significant research on music performances has been conducted, so far choral research, where the direct participation of the researcher as a member of the choir is used as one of the main research methods, is still quite rare. Results indicate that participants develop socio-musical identity both through their choral participation in general, performance experiences and early music consumption in the family household and the emphasis of the importance of choral singing as a fulfilment instead of pursuing a professional career. Through choral singing, participants developed ‘choral capital’ through a) the effects of collective learning on their musical taste and preferences (thus broadening their musical taste and preferences and reconstructing the composer) and b) the well-being factor of collective singing and communal learning through the process of rehearsing and performing the Mass in B Minor. Furthermore, findings indicated that participants construct Bach as a genius and a devout Lutheran, an image that relates to the romantic image of Bach presented in the late 19th – early 20th century biographical writings on the composer. Thus in general, their choral activities form a valuable addition to their social and cultural capital (´choral capital´), which they use as a source of well-being in everyday life. In addition, participants create a certain ‘choral identity’ by relating to the composer-orientation of their choir; the promotional label of Bach as a synonym for quality choral singing and the emphasis of challenging repertoire.