György Orbán (b.1947) is a prominent Hungarian composer; his compositions include instrumental pieces, opera, film music, vocal and choral music. Among these works, his fondness of choral music is shown through the more than a hundred choral works he has composed. Orbán¡¦s choral works have combined traditional and modern elements and developed a unique style of his own. Choral lovers are deeply attracted to Orban¡¦s music and it has become very popular among international competitions and concerts these days. Orbán¡¦s Mass No.9 was commissioned by Ko Matsushita in the year 2000 for the ladies' choir ¡§Angelica¡¨ of the Kunitachi College of Music. Mass No.9 is a suite for a four-part female choir with piano accompaniment. This suite contains four pieces which are traditionally sung in Roman Catholic Mass. First is the Kyrie, a cry of repentance from the people to their Lord. Second is the Gloria, a praise sung to the Holy Trinity of the Father, Son and Holy Spirit. Third is the Sanctus-Benedictus, which consists of the Sanctus, praise to the glory of God, and the Benedictus, joyful shouting from the crowd as Jesus enters Jerusalem in full glory. Fourth is the Agnus Dei, a prayer to the Lamb of God for forgiveness. In the Kyrie, the texture of the music is built from thin to thick, and the pitch range moves from low to high, fully displaying the change in the people¡¦s emotion while they call upon the Lord three times. Meter change is used throughout the piece. At the end of this piece, in the piano accompaniment, a unique dance rhythm is created by accenting certain beats. In the Gloria¡Adotted notes and syncopated rhythm is used to create a forward-moving and lively atmosphere. In the first and third part of this piece, the choir sings together, praising God in the heaven; in the second part, only two soloists sing for the Lord¡¦s mercy. The textural difference creates contrasting sound within this piece. In Sanctus, the choir shows an obvious use of the pentatonic scale, and the music flows through a homophonic style while the piano part imitates the sound of a bell, all together creating solemnity and grandeur. In the latter part, a fugue theme runs through the Benedictus. With each part closely imitating the others, the fast tempo and short rhythm becomes a strong contrast to the Sanctus. In the Agnus Dei, the motif heard in the Kyrie is used once again, unifying the first and last piece of the Mass. This final piece is soothing and peaceful, the rhythm is simple and a few dissonant intervals are inserted to express the sin of the world. By combining beautiful melodies, different tonality and modes, changing meters and rhythms and by adding in many dissonant tones, Orbán created a unique style for Mass No.9, and thus this music have been highly received on the international stage. Besides the preface and conclusion, this master thesis consists of two parts. Part one includes a biographic sketch of György Orbán¡¦s life, his musical style and the different genres of his compositions. The second part consists of analysis and musical interpretation of the Mass No.9. There are two appendices at the end of this thesis. Appendix one contains e-mails between Ko Matsushita and the writer. Appendix two contains emails between Orbán and the writer.

This document uses historical research and performance practices in choral music to reveal the meaning of Mozart’s Missa Brevis in C, K. 220. The focus of this research compares the development of Mozart’s composition to the Hungarian Twentieth-century composer, Zoltan Kodaly’s, setting of the Missa Brevis written for choir and organ. The author gives a detailed analysis of both compositions, which further explains the influences and musical nuances of the 18th century Catholic church music. In addition to preparing a choral performance for K. 220, other missa brevis by Mozart are briefly discussed and organized by origin, performing forces, difficulty level, and duration. This analytical approach ultimately reveals that Mozart’s K. 220 serves as a festive and unified model of choral excellence throughout the history of sacred choral music. INDEX WORDS: W.A Mozart, 1756-1791, Missa brevis, K.220, Zoltan Kodaly, 1882- 1897, Spatzenmesse, Masses, Eighteenth- Century church music, Thesis (M.Mu), Choral Conductor’s analysis, Georgia State University, College of Arts and Science

This document uses historical research and performance practices in choral music to reveal the meaning of Mozart’s Missa Brevis in C, K. 220. The focus of this research compares the development of Mozart’s composition to the Hungarian Twentieth-century composer, Zoltan Kodaly’s, setting of the Missa Brevis written for choir and organ. The author gives a detailed analysis of both compositions, which further explains the influences and musical nuances of the 18th century Catholic church music. In addition to preparing a choral performance for K. 220, other missa brevis by Mozart are briefly discussed and organized by origin, performing forces, difficulty level, and duration. This analytical approach ultimately reveals that Mozart’s K. 220 serves as a festive and unified model of choral excellence throughout the history of sacred choral music. INDEX WORDS: W.A Mozart, 1756-1791, Missa brevis, K.220, Zoltan Kodaly, 1882- 1897, Spatzenmesse, Masses, Eighteenth- Century church music, Thesis (M.Mu), Choral Conductor’s analysis, Georgia State University, College of Arts and Science

90 f.:il / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-15T13:12:45Z No. of bitstreams: 1 Dissertacao Edilson Assuncao Rocha.pdf: 6266721 bytes, checksum: 169fe7347751b0d1336a28dd4fba7116 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-15T13:34:42Z (GMT) No. of bitstreams: 1 Dissertacao Edilson Assuncao Rocha.pdf: 6266721 bytes, checksum: 169fe7347751b0d1336a28dd4fba7116 (MD5) / Made available in DSpace on 2013-03-15T13:34:42Z (GMT). No. of bitstreams: 1 Dissertacao Edilson Assuncao Rocha.pdf: 6266721 bytes, checksum: 169fe7347751b0d1336a28dd4fba7116 (MD5) Previous issue date: 2005 / A presente pesquisa procurou identificar procedimentos interpretativos para a obra Missa Grande de Antônio dos Santos Cunha, cuja data aproximada é a virada do século XVIII. Foi realizada pesquisa bibliográfica sobre a regência, estilos musicais, historia da música brasileira, sobre o contexto histórico e cultural das Minas Gerais, coletando dados para reflexões sobre interpretação. Foi realizada também pesquisa de campo, entrevistando e coletando dados junto aos músicos e às orquestras bicentenárias de São João del-Rei, MG, local de origem da composição. Nestas foram acompanhados os ensaios, apresentações e outras atividades. Foram buscadas informações sobre a obra e o autor através de entrevistas com musicistas do passado e outros em atuação, além de estudiosos e especialistas sobre a música desta localidade. Foi realizada revisão musicológica dos originais encontrados e edição em mídia moderna para execução pública em concerto e o posterior retorno deste material revisado às instituições de origem, para a continuidade de suas interpretações naquela comunidade. Foi efetuado também o registro em áudio da obra. Chegou-se a conclusão que apesar de existirem fatores sociais, econômicos e culturais que poderiam ter influenciado a composição da peça estudada, estes não foram profundos o suficiente para distanciá-la de sua principal referencia, que foi o classicismo europeu. O mesmo constitui base segura para sua interpretação. Foi constatado que a audição das orquestras bicentenárias de São João del-Rei pode ser um elemento importante para aqueles que desejem interpretar fora do seu contexto original as composições constantes em seus acervos. / Salvador

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T00:41:59Z (GMT). No. of bitstreams: 1 Pimenta_JosaniKeunecke_M.pdf: 5965197 bytes, checksum: 4d96d20724fd197b5ce5391a295d0297 (MD5) Previous issue date: 2003 / Resumo: Este trabalho tem dois objetivos principais. O primeiro é o de divulgar a obra de canto coral a cappella do compositor brasileiro Heitor Villa-Lobos através do estudo de suas obras: Missa São Sebastião e Bendita Sabedoria. O segundo objetivo é o de, através das duas obras do compositor, apresentar um método de estudo de música coral para estudantes de regência e regentes. O trabalho está dividido em 3 capítulos: 1. Estudo Preliminar da Partitura; 2. Estudo Interpretativo da Partitura; 3. Preparação dos Ensaios e Considerações Interpretativas. No Estudo Preliminar da Partitura são apresentados aspectos gerais das obras como número de movimentos, extensão das vozes, origem do texto, duração aproximada, entre outros. Assim, o regente terá dados suficientes para analisar se o seu grupo está apto tecnicamente e musicalmente para interpretar as obras. O Estudo Interpretativo da Partitura inicia-se com uma introdução de cada obra e segue com a análise de todos os movimentos das mesmas com foco no texto, ritmo, melodia, tonalidade/modalidade, harmonia, textura, timbre, elementos de expressão e forma; finalizando com o estudo paralelo à análise que abrange o estudo de cada voz, a linha de regência, o gestual, os ensaios e a concepção da peça. Por fim, no capítulo 3, há um levantamento de aspectos que podem gerar dificuldade na execução, sugestão de andamento e alguns exercícios de técnica vocal que preparam o coro para a linguagem composicional utilizada nas obras. O trabalho destaca a importância de se estudar e preparar a obra antes do 10 ensaio do regente com o coro. Há aspectos importantes da obra que só são revelados através da análise e só através dela é que o regente sentir-se-á preparado para trabalhar a obra com seu coro e interpretá-Ia. O método de estudo desenvolvido neste trabalho pode ser utilizado no estudo de outras obras musicais / Abstract: The two-fold purpose of this dissertation is: first to divulge Villa-Lobos a cappella choral music through the study of his two masterpieces: Missa São Sebastião and Bendita Sabedoria; second, to present a method for the study of choral music to be used by students and conductors. The work is divided into 3 chapters: 1. Preliminary Score Study; 2. Interpretive Score Study; 3. Rehearsal Preparation and Interpretative Considerations. In the Preliminary Score Study general aspects of the pieces are presented such as number of movements, voice extensions, text origin, approximate duration of each movement, amongst others. Thus, the conductor has basic data to help consider whether his ensemble is technically and musically able to perform the pieces. The Interpretive Score Study includes an introduction to each piece and the analyses of the various movements of the compositions focusing on: text, rhythm, melody, tonality/modality, harmony, texture, timbre, expression elements and formo The detailed examination of each voice, conducting gestures, rehearsal considerations and the overall conceiving of the pieces are also included in this chapter. Finally, in chapter 3, there is a discussion about technical aspects pointing to. performance difficulties, suggestions for expressive conducting beat-pattems and vocal technique exercises which will help the choir with the stylistic language used throughout the pieces. The study calls attention to the importance of score preparation before the leading of the first choir rehearsal by the conductor. There are important musical and technical aspects of the score that are only revealed through preliminary analysis and only through this procedure will he be better prepared for an effective rehearsal and moving performance. The study method here proposed can also be used to advantage for the preparation of Other musical compositions / Mestrado / Mestre em Artes

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Made available in DSpace on 2016-07-27T13:49:42Z (GMT). No. of bitstreams: 1 Djalma Barreto Neves.pdf: 821590 bytes, checksum: f81d82bcda6e3c4115501ec121e34366 (MD5) Previous issue date: 2001-08-31 / The object of this study is the TV Mass: Mass in tlhe home , transmitted by Anhanguera Television Channel of Jaime Câmara Organization. This Mass is intended, mainly, to the people that are not able to go to church in their communities, turning them into an eletronic community of Faith. For those people, the TV Mass corry out the same function of a sacramental Mass celebrated in their local church. When people participate of the local Mass or the TV Mass, they realize the feeling of pertain, they feel identifyed with the Catholic Church and, socially, recognized as catholics. In this manifestation of pertain they confirm, simultaneously, the value of the religious principles received that they were capable to understand and conservate the esteen of what is essencial to church: The Mass. However, a study about Mass can only be done if we take the pure point of view of the phenomenology. This was the method colopted in this paper. This, the conclusion of this study is that, the participation in the Mass, eletronicoly or in their local churches, give people the feeling of Catholic pertain in various degrees, and they are recoganized by that. This corroborate, strongly, to the plentiful correspondence of an expressive and compromized evidences with the Catholic Faith life. / O objeto deste estudo é a Missa de TV: Santa Missa em seu Lar , transmitida pela Televisão Anhanguera, Canal-2 da Organização Jaime Câmara. Essa Missa destina-se, principalmente, às pessoas impossibilitadas de ir à igreja de sua localidade, constituindo-se, por isso, comunidade eletrônica de fé. Para essas pessoas essa Missa de TV. cumpre a mesma função sacramental da missa celebrada na igreja local. Ao participar tanto de uma como de outra, percebem vivo o sentido de pertença, sentem-se identificadas com a Igreja Católica e, socialmente, reconhecidas como católicas. Nessa manifestação de pertença confirmam, simultaneamente, o valor da catequese recebida que lhes fora capaz de inculcar e conservar nelas o apreço pelo que é essencial à Igreja: A Missa: O estudo sobre a missa só pode ser feito de um ponto de vista puramente fenomenológico. Esse é o método adotado nesta monografia. Por meio dele, chega-se à conclusão de que, é realmente, a participação na missa, quer presencial, quer eletrônica, que confere o sentido de pertença católica, em vários graus, e é reconhecida como tal. Corrobora fortemente essa relação a farta correspondência prenhe de testemunhos expressivos e comprometidos com a vida de fé católica.

Bohemian-born Baroque composer, Jan Dismas Zelenka (1679 --1745) and his music have been little known until recently. During his career in Dresden as a court church composer from 1710 until his death in 1745, Zelenka composed over150 sacred choral compositions.The three masses in the collection entitled Missae ultimae (ZWV 19 -- 21) were written toward the end of his life, between 1740 and 1741. Like his other masses, these three are cantata masses, in which the texts of the mass ordinary are divided, and set as separate movements.In each movement of each mass, Zelenka uses various forms, and compositional techniques in two different styles. Some movements are written in stile antico featuring imitative or fugal techniques. Other movements are written in stile moderno, and can be divided into two categories: choruses with orchestral ritornellos, and arias for solo voice or soli voices. Of great interest, however, is the skill with which Zelenka uses these two different styles within a complete setting of the mass ordinary, or even within single movements, creating stile misto in Missae ultimae by matching specific musical approaches to the character of the different texts.I will first discuss various musical forms and styles in the three masses of Missae ultimae. In Chapter 4, I will focus on the first mass, Missa Dei Patris (ZWV 19), since this work shows more stylistic contrast between movements than the other two masses. In Chapter 4, I will outline the compositional techniques of each movement. For the sake of consistency, the titles of each movement have been capitalized as published in Das Erbe Deutscher Musik -- Bands 93 (1985), 100 (1989), and 101 (1989) -- of Breitkopf und Hartel.

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I have enjoyed this year, writing pieces that are special to me because they relate to experiences during 2008. I've written for orchestra, choir and an ensemble of xylophones and saxophone. Each piece has extended my skills and creativity in different ways from previous compositions. Prelude to the Unspoken This work is for symphony orchestra. Last year, it was rehearsed and recorded by the NZSO as part of the NZSO/Todd Young Composers Awards 2008. The pieces were recorded in the Michael Fowler Centre and conducted by Hamish McKeich. It was exciting to hear the piece come alive and watch the orchestra rehearse. Now I have heard the recording in a calmer state and know what it actually sounds like, I have been able to evaluate some decisions and whether or not they worked. As long as I have played instruments, I have played in orchestras. I can draw on these experiences when composing because as a clarinettist, you sit in the middle of the orchestra, and can hear the different sections playing and how their parts/notes relate to the rest of the orchestra. As a percussionist, hearing the orchestra from the back (when counting rests!) also reveals a different point of view. This year I chose to compose a slower, more contemplative piece. Last year, my compositions were dense and busy, so writing this piece required me to use space and texture in new ways. The title Prelude to the Unspoken alludes to something being stated but stopping before anything is revealed. A Schulwerk Orffering I was inspired to compose for the forces used in this piece because of an Orff- Schulwerk teacher training course I attended in 2008. As part of the Masters of Music degree, I completed a Level 1 workshop and on-line component - Orff Music Education-Theory and Practice 1, and more recently, completed the Level 2 workshop. Orff-Schulwerk education is a holistic, hands-on approach that explores music physically and through different instruments such as body percussion and approachable instruments (for children) such as recorders, mallet instruments and small percussion. One activity during the course was playing a tune from the Orff-Schulwerk volumes, where everyone was playing a mallet instrument - xylophone, marimba, glockenspiel, from soprano to bass, while the teacher improvised a tune on the recorder, over the top of this moving carpet of sound we were making with our ostinatos and drones. This was just like being in the middle of the orchestra. While playing my ostinato, I was in the centre of all of this sound, hearing how each simple ostinato made an interesting accompaniment. I was also influenced by Philip GIass' Fascades, where the cross rhythms of the accompaniment create a carpet of sound, while the simple saxophone melody floats over top. I wanted to create something similar with tenor saxophone and the educational xylophones. I chose to write for two alto and two bass xylophones (small, educational instruments with no chromatic notes). These instruments were available at the course and I was able to have these with me while I composed. Because I do not usually play a mallet instrument, I composed ostinatos that I was able to play. All the techniques are those explored in Orff-Schulwerk - ostinato, drone, sound carpet, imitation. The saxophone sits quite high in the first movement, holding long notes, while in the second movement, the saxophone is active with a wide range of notes. I recently had an item about this piece in the Orff New Zealand Aotearoa newsletter 'Sounding Orff'. I hope to get a recording/performance of this piece from a response to the newsletter. Missa Brevis I sing in the Hamilton Civic Choir and have sung many Masses so was interested in writing a Missa Brevis. The movements Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei are for SATB with some movements scored for divisi voices. The style of this piece is approachable for many choirs because of traditional harmonic and musical organisation, while including modern arrangements of the text and approach to the music. Some choir members queried the fact that sometimes their part does not say a whole word, for example, just singing 'Dom', not 'Domine'. The words were deliberately set like this because when using block writing, as opposed to polyphony, I felt the extra syllables would change the desired musical and rhythmic texture. I wrote this piece with the Hamilton Civic Choir in mind because I know their capabilities. For example, I know the second basses can reach a low D. For the very low notes, I've added an octave option for the first basses or all basses if another choir cannot reach them. This recording by members of the choir was not up to the choir's usual standard because of time restrictions. The piano is used in my recording but is for rehearsal use only. The Gloria will be performed in the Choir's first 2009 concert in March.