The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. By applying modern compositional techniques to an older, abstract form, composers have maintained the original aesthetic while allowing for fanfares to be used as concert music. This document adds to the limited body of scholarly writing on modern fanfares.

This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of musical structures, motives, and text-painting to highlight the meaning of religious texts.

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This paper analyzes the use of Igor Stravinsky's ballet, Le Sacre de Printemps (The Rite of Spring) in shows that are in the Drum Corps International circuit since 2000. The paper is divided into five main sections that cover information about drum corps, The Rite and its music, corps that use The Rite as their show theme, corps that use The Rite as movement, and other uses of The Rite in shows. The Rite of Spring is a renowned piece of orchestral and ballet repertoire that has become increasingly popular in drum corps shows.

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En la presente tesis se estudia la significación del texto y la profunda relación existente entre éste y la música en la producción sacra de Igor Stravinsky, que se da desde su primera composición religiosa (Pater Noster, 1926) hasta su última gran creación, Requiem Canticles (1965-1966). Asimismo, se pone de manifiesto que esa estrecha conexión alcanza su cenit en Canticum Sacrum (1955) y Threni (1957-1958), obras de gran importancia por su riqueza musical y por la hondura de su mensaje. Tras realizarse una contextualización de dichas composiciones dentro de la producción de Stravinsky y un análisis pormenorizado de las mismas, se demuestra que en ellas se dan cita diferentes elementos representativos de los tres periodos creativos del artista, por lo que, además de ser un compendio de las aportaciones de éste en el terreno de la música sacra, las dos obras mencionadas constituyen un auténtico modelo prototípico de su experiencia musical. Se evidencia que si bien Canticum Sacrum y Threni son las primeras piezas en las que el compositor ruso emplea el método dodecafónico serial de Arnold Schoenberg (dejando a salvo algunos fragmentos del ballet Agon), en ellas se hallan las claves que permiten entender la manera personal en que éste aplica dicho sistema, y se prefigura la futura evolución de su técnica. Igualmente, en este trabajo se analizan los medios por los cuales Stravinsky fusiona distintos lenguajes y procedimientos compositivos en las dos citadas obras. / Orfila Abadía, F. (2014). La significación del texto, la interrelación texto-música y la integración de lenguajes y procedimientos compositivos en la obra sacra de Igor Stravinsky. El caso Canticum Sacrum y Threni [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/45998