The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.

Thesis (M. Mus.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 425-426). Also available via the World Wide Web.

Thesis--Freie Universität Berlin. / Summary in German. Anthems by I.H. Whyte, for chorus (SATB): v. 2. Includes bibliographical references (v. 1, p. 412-416).

Thesis--Freie Universität Berlin. / Summary in German. Anthems by I.H. Whyte, for chorus (SATB): v. 2. Includes bibliographical references (v. 1, p. 412-416).

Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.

Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.

In the Midst of Spoils is a setting, for SATB choir and small instrumental ensemble, of the poem "Blight," by Ralph Waldo Emerson. Emerson's poem contrasts modern man's exploitative attitude toward nature with the more reverent attitude assumed by ancient or primitive cultures. This setting is in a single movement, approximately twenty minutes in duration, consisting of fifteen distinct sections.

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

John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. The sacred polyphony of John Blow represents the last great flowering of the English polyphonic tradition, with all of its idiosyncracies, in a lively, as yet unfettered style.