Thesis (D.M.A.)--Louisiana State University, Baton Rouge, 2003. / Includes bibliographical references.

Thesis (M.A.)--Boston University Bibliography:

The structure of the present work is clearly described in the foregoing definition. Consisting of fourteen movements of varying length, it is primarily a vocal work for soprano, tenor, and baritone soloists, mixed chorus and an orchestra of moderate size.

"Gethsemane to Calvary" is a sacred cantata for mixed voices and keyboard accompaniment. It is divided into six sections which are called parts. With the exception of part one which is a potpourri overture, the parts are divided into a variety of choral forms.

No description available.

This five movement cantata is scored for large SATB chorus, bass and soprano soloists, piano, organ, and percussion (2 players). The text, sung in Hebrew, comprises selections from the Psalms, Isaiah, and the Jewish daily prayer book. A transliteration into the Roman alphabet and an English translation (not for singing) are provided.

An assessment of the contributions of Christoph Graupner's 1,418 extant church cantatas is enhanced by a study of his fifty-five surviving Christmas cantatas, written for the feasts of Christmas, St. Stephen's, St. John's, and the Sunday after Christmas. Graupner's training in Kirchberg, Reichenbach and at the Thomas School in Leipzig is recounted as well as his subsequent tenures in Hamburg and Darmstadt. This volume contains the appendices and bibliography.

An assessment of the contributions of Christoph Graupner's 1,418 extant church cantatas is enhanced by a study of his fifty-five surviving Christmas cantatas, written for the feasts of Christmas, St. Stephen's, St. John's, and the Sunday after Christmas. Graupner's training in Kirchberg, Reichenbach and at the Thomas School in Leipzig is recounted as well as his subsequent tenures in Hamburg and Darmstadt.

The English Walnut Joke is a composition for concert band and dramatic soprano. The English Walnut Joke was based on a text of the same title by Alec Rowell and is divided into two movements with a total duration of approximately twenty-two minutes. The joke concerns itself with the dealings between a wood-chopper and a jongleur in medieval England and is related to the audience by a destitute factory worker (the dramatic soprano) in the early Industrial Age of that country.

J.F. Fasch, the Kapellmeister at the Court of Anhalt-Zerbst from 1722 to 1758 and one of the most neglected contemporaries of J.S. Bach, composed approximately 1400 sacred cantatas during his life time. Seven cycles comprising 1000 cantatas were listed by Fasch in a music inventory, the Concert=Stube des Zerbster Schloβes. Using data recorded in volumes 352-369 of the Konsistorium Zerbst Rep 15 IXa chronicle, this dissertation sheds light on the musical-liturgical activities at the Court Chapel during the years of Fasch's tenure. This primary source was hitherto thought to be lost but it is indeed held at the Landesarchiv Oranienbaum, Germany, and has provided a wealth of illuminating information for this study. It allows us to solve a number of enigmas which have long puzzled scholars. First, we can gain insight into the music and worship traditions at the Court Chapel and examine Fasch's role as Kapellmeister in a contemporary mid-eighteenth century context. In addition to performing his own cantata cycles and premiering cycles by other composers such as Telemann and G.F. Stölzel, Fasch repeated these cycles between two and six times. Secondly, we can date the largest collection of sacred cantatas by Fasch preserved at the Staatsbibliothek zu Berlin—Preuβischer Kulturbesitz. The majority of cantatas form part of a cycle from 1735/36, Das in Bitte, Gebeth, Fürbitte and Dancksagung bestehende Opffer. The extant copies were prepared by Fasch in the early 1750s, probably upon the request of a fellow composer who participated in the Musikalientausch which Fasch had begun organizing in 1728. Finally, an examination of Fasch's compositional procedures as evident in the sacred cantatas preserved at the Staatsbibliothek shows that while his musical style was firmly rooted in the mid-eighteenth century, Fasch also employed forward-oriented techniques and developed an Individualstil. This investigation, having brought to light important source materials and offered significant insights, provides a useful basis for, and stimulus to any future research into the sacred music of J.F. Fasch as well as the musical-liturgical activities at German Courts during the first half of the eighteenth century. / Graduate