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1	A history of the Stabat Mater and an analysis of the Stabat Mater by Giovanni Pergolesi. Carpenter, Phyllis Diane. January 1948 (has links) Thesis (M.M.)--University of Rochester, 1948. / Typewritten. Bibliography: p. 91. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4558
2	Stabat Mater by Frank Ferko a mosaic of mourning, the universality of mothers' grief, ancient texts made relevant by the addition of English interpolations / Wilson, Barbara Sue Johnston. January 2006 (has links) Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 69-70).
3	Stabat Mater by Frank Ferko, A Mosaic of Mourning: The Universality of Mothers' Grief, Ancient Texts Made Relevant by the Addition of English Interpolations Wilson, Barbara Sue Johnston 05 1900 (has links) This document examines Frank Ferko's unique setting of the ancient Latin sequence, Stabat Mater that incorporates five English interpolations dealing with the subject of parental grief over the loss of a child. The twenty Latin stanzas and five English interpolations are examined harmonically and philosophically, as two separate works. The tonal architecture of the work, outlined in two large arches built on key relationships, is explored in the body of the paper in addition to a graphic depiction and table of key centers. The interrelationship between key centers and textual considerations is examined. An extensive interview with the composer provided invaluable information regarding the creative process as it relates to the choice of English texts, compositional techniques and influences, and the stylistic musical diversity that characterizes the work. Three prominent American conductors, who have conducted significant performances Stabat Mater discussed specific problems and solutions in preparing and performing the work. Data pertaining to Stabat Mater history and other settings was gathered from reference materials, periodicals, and internet sources. Ferko, Frank. Stabat Mater. Stabat Mater dolorosa (Music) Frank Ferko Stabat Mater interpolations
4	Stabat Mater : opus 7 Kolosick, J. Timothy 01 January 1972 (has links) (PDF) No description available. Choruses Sacred (Mixed voices) Orchestra Scores Stabat Mater dolorosa Arts and Humanities Music Music Performance Other Music
5	Blood, Tears, and Wounded Eyes: Holy Effluvia and the Compassion of the Virgin in Early Modern Flemish Visual and Devotional Culture Bekker, Katharine Grace Davidson 15 April 2022 (has links) Images of the Mater dolorosa, the weeping Mother of God mourning over her dead son, are plentiful art of Northern Europe during the fifteenth and sixteenth centuries and often foreground the shedding of effluvia—blood, sweat, and tears—in their depictions of the holy pair. This paper explores the visual themes of tears, blood, eyes, and wounds as vital actors in images that require close, meditative, and affective looking and engagement. Such image formats include small-scale pairings of the Man of Sorrows and Mater dolorosa as well as books of hours. In these contexts, the holy fluids and their bodily sources expand the images' narratives and allow for greater exegesis of their devotional prompts. This phenomenon of expansion via effluvia occurs throughout Flemish devotional culture of this period; this paper uses Albrecht Bouts's diptych panels of the Mater dolorosa and Man of Sorrows, produced between 1490 and 1525, as the chief case study to encapsulate and ground those ideas while still acknowledging that they also apply beyond this image. Considering the widespread commonalities between blood and tears in visual and textual representations of the early modern Flemish devotional culture and the visual similarities between weeping eyes and bleeding wounds, this paper argues that Mary's eyes act as the external manifestations of her internal wounds and become locus of her Compassion for Christ. Furthermore, pictorial blood and tears function as metonymic devices that, like the Man of Sorrows type, invoke the entirety of the Passion and Compassion. The multivalent functions of the blood and tears in Bouts's diptych expand it beyond just a representation of Mary and her son and allow it to become a window and mirror into which viewers could look to engage in penance and communion with Mary and Christ. Mater dolorosa Man of Sorrows Albrecht Bouts Boussu Hours Compassion of the Virgin effluvia blood tears eyes wounds weeping bleeding gendered devotion soul formation penitence weeping pictoriality materiality diptychs book of hours affective piety vision marginalia devotional touch Arts and Humanities

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