Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 98-100). Available also in a digital version from Dissertation Abstracts.

Research Project (D.M.A.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains v, 90 p. : music. Vita. Includes abstract. Includes bibliographical references (p. 85-86).

Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains xi, 117 p.; also includes graphics. Includes bibliographical references. Available online via OhioLINK's ETD Center.

A primary purpose of the study was to articulate the significance of these compositions to the twentieth century repertoire, with special attention given to Dies Natalis, recognized as an outstanding contribution to English music literature. Overviews and specific analyses, with pertinent performance applications and background data, fulfill this purpose and provide information of merit for the programming and performance of Finzi's songs for high male voice.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Harry R. Wilson. Dissertation Committee: Frederick D. Mayer, Charles W. Walton, . Includes bibliographical references.

This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived model which focuses on a critical examination of the texts and considers the basic elements of music in each song. Certain stylistic features are apparent from this study and are reflected in Volume I. After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is presented. The basic elements of music are then discussed: timbre, duration, pitch organization, dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement on the stylistic features of the composer and considers the artists' genius in the light of the study. Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense interest in English literature and sympathy with much of Hardy's personal philosophies such as the uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The declamation of the texts is of superior quality and the composer achieves an individual language of expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I weergegee. Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur, toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae. Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in Engeland, tot stand / D.Mus. (Musicology)

This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived model which focuses on a critical examination of the texts and considers the basic elements of music in each song. Certain stylistic features are apparent from this study and are reflected in Volume I. After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is presented. The basic elements of music are then discussed: timbre, duration, pitch organization, dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement on the stylistic features of the composer and considers the artists' genius in the light of the study. Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense interest in English literature and sympathy with much of Hardy's personal philosophies such as the uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The declamation of the texts is of superior quality and the composer achieves an individual language of expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I weergegee. Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur, toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae. Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in Engeland, tot stand / D.Mus. (Musicology)

This song cycle consists of ten settings, and has been divided into two parts by the composer. Each part is preceded by a short quotation in Latin which has been inserted by the composer. The two parts of the cycle are evidently meant to typify the division of a human life into the periods of youth and old age. The Latin quotations which divide the cycle into its two parts are taken from the Latin Vulgate version of the Bible, Psalm 89, verse six.