Thesis (D. Mus. Arts)--University of Washington, 1999. / Vita. Includes bibliographical references (p. 192-195).

Thesis (doctoral)--Ludwig-Maximilians-Universität zu München, 1989. / Includes bibliographical references (p. 218-220).

No description available.

In comparing oratorio traits across history, three aspects of oratorio were found to be particularly applicable to the creation of "Deborah: A Chamber Oratorio in One Act." These aspects were: the selection of topic and the creation or adaptation of text; the differences between recitative and aria, in form and function; and the level of stylistic diversity within a given work.

This document was created to provide a new English translation to Franz Joseph Haydn's (1732-1809) oratorio<italic>The Creation</italic>that both respects Hadyn's original musical content and employs contemporary English language and idioms. In preparing The Creation for performances with English text it became clear that, at this time, no English libretto is available which completely supports the composer's intended relationship between text and music. This document explores the research on Haydn's oratorio The Creation, most notably the research of A. Peter Brown and Nicholas Temperley. English librettos from Nicholas Temperley, Robert Shaw and Alice Parker, and the original English libretto of Baron Gottfried van Swieten (1733-1803) have all been explored through the course of this document. No English-texted editions of Haydn's oratorio The Creation entirely capture what appears to be the composer's intended relationship between text and music while employing contemporary English language and idioms. I demonstrate that it is possible to create a contemporary English libretto for The Creation that both holds true to Haydn's original musical content and employs contemporary English language and idioms. The methodology I have used during the translation process is provided and examples are discussed. Finally, a complete English translation of The Creation has been included in the form of a piano/vocal score for reference purposes.

This oratorio tells the story of Queen Esther as presented in the Old Testament Book of Esther. Its format includes choruses and solos with an orchestral accompaniment. The main characters in the story are Esther, King Xerxes, Esther’s uncle Mordecai and their antagonist Haman, with occasional insertions by a narrator. In addition to the primary scripture used, there are several inclusions from the Psalms, Song of Songs, and a commentary poem by Wayne Watson highlighting the oratorio’s sub-title, “For Such a Time as This,” which is the overriding textural theme. The orchestration focuses on reed woodwinds, brass, strings, and percussion, including consistent use of the Persian tanbak (bongo type drum). Rhythms are regularly freely used to support the text. Dissonant melodic construction and its resulting harmonic dissonance present a panoply of sound beyond the traditional classical approach of dominant/tonic tonality.

The Florentine Jew Mario Castelnuovo-Tedesco (1895-1968), garnered international acclaim as a composer and performer in the 1920s and 1930s. He studied composition with Ildebrando Pizzetti and became associated with the International Society for Contemporary Music. Castelnuovo-Tedesco received particular attention for his operas, winning the Concorso Lirico Nazionale in 1925 for La Mandragola, and his concertos, with prominent performances by Jascha Heifetz and Andrés Segovia. During the 1930s, Castelnuovo-Tedesco and his family were negatively affected by the Fascist government’s racial laws restricting the rights of Italian Jews. In 1938, after public performances of his music were canceled and his children were forbidden from attending public school, Castelnuovo-Tedesco and his wife Clara decided to immigrate to the United States. They sailed for the U.S. in 1939, settled in Beverly Hills, and gained citizenship in 1946. In 1949, at the end of that turbulent decade, Castelnuovo-Tedesco completed his first oratorio, The Book of Ruth. This study features a new edition of The Book of Ruth, the first complete publication of the work in full score. The edition is accompanied by a musical analysis that examines melody, harmony, rhythm, text setting, vocal texture, orchestration, and formal design in The Book of Ruth, comparing it with his other works. Furthermore, selected passages from Castelnuovo-Tedesco’s autobiography, newly translated into English, provide insight into the eventful decade preceding the work’s composition and uncover several personal connections that exist between Castelnuovo-Tedesco and the story of The Book of Ruth.

Thesis--University of North Carolina. / Includes indexes. Includes bibliographical references (v. 1, leaves [386]-394).

Thesis (M.A.)--University of North Texas, 2001. / Includes bibliographical references (p. 61-63).

Thesis--University of North Carolina. / Includes indexes. Includes bibliographical references (v. 1, leaves [386]-394).