Thesis (M.M.)--Duquesne University, 2004. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 93-96).

My thesis covers the materials and methods of my composition, The Passion According to the Gospels of Matthew and John. It features an extensive analysis of Penderecki's Passio et mors Domini nostri Iesu Christi secundum Lucam. The research also covers some history of the Passion genre and its development. The second half of the paper presents a background and analysis of my work. It details many of the creative processes and methods I employed.

This document facilitates the study of the bass roles, including the bass arias and recitatives that are in the Old Testament English oratorios of George Frideric Handel. This study is largely dependent upon the Chrysander editions of the oratorios, however both the Bärenreiter and Novello editions are consulted where available. This work may serve as a reference for bass soloists, or vocal pedagogues in selecting bass oratorio arias and recitatives, and in study for preparation of a bass role in one or more of the selected oratorios. Ten oratorios were selected for this study, based on their dramatic emphasis, Handel's more mature compositional style, and the use of the English language. While all arias are discussed, recitatives were selected on the basis that they stand-alone and are not in dialogue with another character. The study is limited to ten of Handel's Old Testament English oratorios: Esther (1718-20 version and 1732 revision), Deborah (1733), Athalia (1733), Saul (1738), Samson (1741), Joseph and His Brethren (1743), Belshazzar (1744), Joshua (1747), Solomon (1748), and Jephtha (1751). The study in concerned with the dramatic function of each aria and recitative within the plot of the oratorio, as well as the range, tessitura, literary rhyme scheme (if applicable), and tonal structure of each aria and recitative. Compositional devices that are used in melodic construction, level of difficulty, and maturity of voice needed for performance will be also be discussed for each aria and recitative. Chapter 1 of the study is the introduction to the dissertation, including objectives, delimitations, need for study, basic assumptions, and related literature. Chapter 2 discusses Handel's compositional development from Germany, while in Italy, and finally in England. Chapter 3 is concerned with a historical overview of the genre of oratorio. Chapter 4 focuses on the bass roles and the arias and recitatives within the selected oratorios. Chapter 5 concludes the dissertation, makes observations and directs for further study. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

Thesis (D. M. A.)--University of Oregon, 2003. / Sacred oratorio for female narrator, 4 solo female voices, SA chorus, and chamber orchestra. Libretto compiled from biblical sources and the writings of Makeda, Queen of Sheba, Mechthild of Magdeburg, and Hildegard of Bingen. Includes libretto, p. 309-313. Includes vita and abstract. Also available for download via the World Wide Web; free to University of Oregon users.

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.

A collection of Italian oratorios and cantatas exists in the Archives of the Krakow Cathedral Chapter.

The lecture was given on April 23, 1979. The discussion consisted of an exploration of the history and derivation of the Baroque idiomatic technique for trumpet to which Handel was heir. Consideration for Baroque performance practice is included along with stylistic and formal analyses of the trumpet arias that were performed. Four works were rendered; they were selected on the basis of their adaptability to the recital situation. The first recital was presented on April 24, 1970, and included solo works of Giuseppe Torelli, Geoffrey Robbins, Marcel Poot, Halsey Stevens, and Fanfares Liturgiques by Henri Tomasi which featured Mr. Morley as conductor of a sixteen member brass choir. The second recital, on February 18, 1971, featured solo works by von Oskar Bohme, Roger Goeb, Robert Weast, Merrill Ellis, and the Septet fur Biasinstrumente by Paul Hindemith. The third recital included solo works of Paul Hinderoith, Kent Kennan, Georges Enesco, and Marcel Bitsch, and was presented on August 16, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

History shows that Johann Sebastian Bach (1685-1750) was a devout member of the Lutheran faith. Studying Bach’s life reveals that two sects of Lutheranism were the most influential to him, Orthodoxy and Pietism. A brief historical study of these two sects’ founders and their theology are presented in this document. All of Bach’s compositions are a reflection of his Christian beliefs but none is greater than his St. Matthew Passion. Although Bach is known to be a member of the Orthodox denomination, by observing the parallels between the beliefs of the two sects and the St. Matthew Passion, this document reveals Bach to take a more liberal view. This thesis intends to show that Bach’s St. Matthew Passion is a universal piece of Christian music that transcends religious denomination. Ultimately, Bach’s faith was centered on Jesus Christ and His message. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2015-07-22T00:36:03Z No. of bitstreams: 1 Viviane_Santos_Disserta??o_Santo_de_casa_PDF_OK.pdf: 6457593 bytes, checksum: 8991571a795ca6322f3f00bd14fd7841 (MD5) / Made available in DSpace on 2015-07-22T00:36:03Z (GMT). No. of bitstreams: 1 Viviane_Santos_Disserta??o_Santo_de_casa_PDF_OK.pdf: 6457593 bytes, checksum: 8991571a795ca6322f3f00bd14fd7841 (MD5) Previous issue date: 2014-12-16 / Esta obra se caracteriza por la investigaci?n de los objetos religiosos llamados oratorios, composici?n populares encontrado en la casa de los hogares, fincas, granjas, tiendas de antig?edades y museos en la ciudad de Feira de Santana - BA. En este estudio los oratorios se abordan en cuanto al valor de la cultura material y la memoria visual que emerge de los lugares donde se ubican. La elecci?n de este tema se justifica por las siguientes caracter?sticas: darse cuenta de la reducci?n de la presencia de capillas y "sala de santo" en los hogares contempor?neos. Esto se puede correlacionar con el hecho de que cada vez m?s no se ser posible casas m?s peque?as para reservar una habitaci?n individual para las oraciones, sin embargo, durante nuestra investigaci?n nos dimos cuenta de que para cuando hay un objeto en la familia de estas personas ha llevado a la venta en tiendas de antig?edades o ya que era com?n encontrar informes, se ha reducido. Los que existen en la actualidad se encuentran en mal estado, ya que en algunos casos la baja calidad de la materia prima para su fabricaci?n. La escasez de estudios sobre los oratorios de Bah?a, la investigaci?n relacionada con el uso, las pr?cticas devocionales y forma de oratorios son todav?a escasos en Brasil y, hasta la fecha, no tenemos conocimiento de estudios realizados sobre el tema en Bah?a. Buscar todos los oratorios dom?sticos populares de Feira de Santana es investigar las ausencias y recuerdos, es rescatar la materialidad almacenado en la conciencia de las personas. Para ello se parti? en busca de trazar el ambiente que condujo a la utilizaci?n y difusi?n de los oratorios dom?sticos en Bah?a y en Feira de Santana, tratando de asignarles utilizando una nomenclatura y clasificaci?n para facilitar el estudio. Despu?s de este tiempo, los due?os de los oratorios fueron entrevistados y los aspectos particulares de su relaci?n con el objeto fueron expuestos y las cruces se hicieron con hechos cotidianos de la ciudad. En un ?ltimo momento en que se hizo el an?lisis gr?fico de oratorios estudiados. Fue utilizado como metodolog?a general de este estudio el an?lisis de las teor?as de la visualidad propuestas por Michael Baxandall, mediante la realizaci?n de un viaje al pasado con el fin de investigar las circunstancias en que se produjo el objeto. Acerca de este locus de vista, es un objeto m?s de su materialidad: esto incluye no s?lo la historia del proceso de trabajo t?cnico y art?stico de quien produjo, pero tambi?n la apropiaci?n de la experiencia y la informaci?n que recibe enviado a ?l y se articula con su la cultura, la memoria y la subjetividad. / Esta disserta??o caracteriza-se pela investiga??o dos os objetos religiosos denominados orat?rios, de composi??o popular encontrados no ambiente dom?stico de casas, ch?caras, fazendas, antiqu?rios e museus da cidade de Feira de Santana ? BA. Neste estudo os orat?rios s?o abordados quanto ao seu valor de cultura material e de mem?ria visual que emerge dos lugares onde se localizam. A escolha deste tema justifica-se pelos seguintes aspectos: percebemos a diminui??o da ocorr?ncia de capelas e ?quartos de santo? nas casas contempor?neas. Isto pode ter correla??o com o fato de as resid?ncias estarem cada vez menores e n?o ser poss?vel reservar um espa?o ?nico para ora??es, conquanto, durante nossa pesquisa constamos que, quando h? um objeto desses na fam?lia as pessoas tem levado ? venda em antiqu?rios, ou como foi comum encontrar relatos, tem os descartado. Os que existem hoje est?o em estado de conserva??o, dado em alguns casos a baixa qualidade da mat?ria-prima de sua fabrica??o. A escassez de estudos sobre os orat?rios baianos, as pesquisas relacionadas ao uso, pr?ticas de devo??o e forma dos orat?rios ainda s?o escassas no Brasil e, at? a presente data, n?o tomamos conhecimento de estudos feitos sobre a tem?tica na Bahia. Pesquisar os orat?rios populares dom?sticos em Feira de Santana ? investigar aus?ncias e lembran?as, ? resgatar a materialidade guardada na consci?ncia das pessoas. Para tal partiu-se em busca de tra?ar o ambiente que propiciou a utiliza??o e dissemina??o dos orat?rios dom?sticos na Bahia e em Feira de Santana, buscando atribuir-lhes atrav?s do uso uma nomenclatura e classifica??o para facilitar o estudo. Ap?s esse momento, os propriet?rios dos orat?rios foram entrevistados e aspectos particulares de sua rela??o com o objeto foram expostas e foram feitos cruzamentos com fatos cotidianos da cidade. Num ?ltimo momento foi feita a an?lise gr?fica dos orat?rios estudados. Utilizou-se como metodologia geral deste estudo as teorias de an?lise da visualidade propostas por Michael Baxandall, atrav?s da realiza??o de um percurso ao passado no intuito de investigar as circunst?ncias em que o objeto foi produzido. Sobre este l?cus de vis?o, um objeto representa mais que sua materialidade: neste cont?m n?o s? a hist?ria do processo t?cnico e art?stico de trabalho de quem o produziu, mas tamb?m a experi?ncia de apropria??o e recep??o de informa??es que lhe chegaram e foram articuladas com sua cultura, mem?ria e subjetividade.

Three works by Tippett stand together among his compositions because of their similarity of subject and performance medium. All are large works for soloists, chorus and orchestra, on meditative librettos, and intended for unstaged presentation. Only A Child of Our Time is given the genre designation "oratorio" by Tippett. An in-depth analysis of these works and the model for A Child of Our Time, Handel's Messiah, reveals that though they neither present religious subjects nor, in the case of The Vision of Saint Augustine and The Mask of Time, exhibit traditional formal divisions associated with oratorio, Tippett's works do indeed belong to the oratorio repertoire of the twentieth century.