Vertonung von Psalm 104 (in Auszügen) für vierstimmigen gemischten Chor a cappella, mit freundlicher Genehmigung des Concertino-Musikverlags

Motette auf den Text des 23. Psalms für zwei vier- bis sechsstimmige Chöre a capella, Dauer 5'

Despite increasing popularity and interest in contemporary a cappella, little research exists involving this genre of music making. In this study, I investigated how SIX, a professional contemporary a cappella group, utilizes a primary practice of aural arranging to create original, a cappella cover arrangements entirely by ear. From one initial question and use of classic grounded theory analysis, three questions emerged: what did SIX do, how did SIX carry out what they do, and what characterizes how SIX carries out what they do? The substantive theory of aural arranging and the substantive and formal theories of fluid leadership emerged from the data. The theory of aural arranging posits that SIX creates original cover arrangements by ear through the use of interactive activities initiated by application of task and social-emotional leadership. This substantive theory addresses the questions: what does SIX do and how does SIX carry out what they do? The theory of fluid leadership posits that SIX uses a form of horizontal leadership governed by five principles; 1) no single, primary leader, 2) leading in areas of strength, 3) accurate awareness of strengths, 4) a practice of unassuming leadership, and 5) the maintenance of a healthy relational climate. These substantive and formal theories address the question, what characterizes how SIX carries out what they do? Aural arranging and fluid leadership emerged from an environment of complex challenges wherein SIX established environments of safety and empowerment, promoting the sharing and utilization of musical and leadership thinking and knowing toward creation of an aural arrangement. Although the findings from this research are not generalizable given the single case study methodology, the theory of aural arranging presents a viable structure for creation of aural arrangements in other contemporary a cappella groups, and fluid leadership illustrates potential as a leadership model within small musical ensembles both within and beyond the formal music education classroom. The principles of fluid leadership may potentially be useful in dissimilar small groups traversing many disciplines. This study expands and enhances the current knowledge base related to contemporary a cappella, aural arranging, and leadership within small ensembles and groups.

Die ausgewählten Liebesgedichte korrespondieren inhaltlich stark, da jeweils ganz konkret ein „Du“ angesprochen wird und ganz unsentimental und doch voller Leidenschaft Emotionen zum Ausdruck gebracht werden. Darüber hinaus gibt es - trotz der weit auseinander liegenden Entstehungszeiten - große Ähnlichkeiten in der Sprachbehandlung zwischen den Gedichten von Stramm und Schwitters. Sprache wird hier als Material verwendet, es finden sich Wort-Neuschöpfungen, durch die ein einmaliges Erlebnis einmalig wiedergeben wird. Das Wort wird aus konventionellen syntaktisch-semantischen Beziehungen herausgelöst und geht neue, befremdlich-irritierende Beziehungen ein. Die Musik versucht diesen Ansatz aufzugreifen und zu verstärken: aus einem vielseitigen und mitunter unkonventionellen Materialfundus resultieren Motive, die entweder melodisch, rhythmisch oder klangfarblich geprägt sind. Diese entwickeln sich zu größeren Gebilden und lassen durch Überlagerungen eine Polysemantik entstehen. Das, was in den Gedichten sukzessive verläuft, geschieht in der Musik simultan.:

No description available.

No description available.

No description available.

Rossignolet des bois pour chœur à quatre voix mixtes, Pièce concertante pour saxophone alto, percussion et 24 cordes, et Rives pour orchestre sont des œuvres réalisées au cours des trois dernières années dans le cadre de la maîtrise en composition. Des rapports entre les protagonistes et la musique sont établis dans la pièce pour chœur. Ces protagonistes sont représentés par les différents solistes et les regroupements vocaux. Le contenu poétique correspond à la forme musicale et à la série utilisée dans la pièce pour orchestre. La Pièce concertante s’inspire du motif musical de l’œuvre The Unanswered Question de Charles Ives. Ces compositions font appel à divers langages musicaux : modalité, chromatisme et sérialisme. La Pièce concertante et Rives sont construites à partir d’une organisation de la durée, du tempo, de la métrique, de l’orchestration et du jeu instrumental. / Québec Université Laval, Bibliothèque 2019

This thesis is a comparative study between Michelangelo Buonarroti's ceiling frescoes in the Sistine Chapel and John Milton's Paradise Lost. The parallels discussed arise out of the Renaissance humanism shared by both of these artists and expressed their works of art. Beginning with Michelangelo, I will establish the relation of Renaissance humanism to the Sistine Chapel ceiling decoration and define Michelangelo's specific conception of the theories associated with this movement. Subsequently, the same critical approach will be applied to Milton's Paradise Lost, which will be revealed to be notably humanistic despite its positioning at the end of the Renaissance in a Protestant country. After exploring the individual works of Michelangelo and Milton separately, I will then consider the views shared by these two in their treatments of the myth of the Fall of humanity: both artists believe in the ultimate dignity and freedom of humankind, and portray both Adam and Eve as free and autonomous individuals; the Sistine ceiling frescoes and Paradise Lost likewise emphasize the regenerative rather than the damning aspect of the Fall of humanity, expressing the humanistic insistence on the value of human experience; finally, the humanistic notion that art, both literary and visual, instructs its audience while entertaining it, provides the governing artistic theory behind the works of both Michelangelo and Milton. Although the commonalities between Michelangelo's Sistine ceiling and Milton's Paradise Lost are extensive, I will not attempt to claim that Milton was specifically influenced by Michelangelo's frescoes. However, my study will reveal the potential for interart analogies to provide greater insight into the individual works of art and literature being analysed.

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).