The Seven Last Words of Christ is a sacred cantata for SATB chorus with soloists accompanied by a woodwind quintet, brass quintet and three percussionists. The text employed in this work is based on the Gospel accounts of the crucifixion of Jesus Christ in the King James Version of the of the Holy Bible. The cantata consists of seven movements with an instrumental introduction and postlude, and has a duration of approximately twenty-seven minutes. The majority of the movements are slow in tempo, reflecting the somber mood of the text. The major goal of this work is to musically represent the drama and prevailing mood present at an event of extreme magnitude and importance in the lives of Christians around the world, and to provide additional literature for special church services through the use of individual movements.

A New Song is a sacred contata in four parts written for mixed chorus, soloists, narrator, congregation, and chamber ensemble consisting of organ, brass ensemble, and percussion. It is designed to be performed within the limitations of a church sanctuary. The text is taken from the New American Standard Version of the Bible. The four parts are based on prophecies found in the book of Isaiah and the fulfillment of these prophecies as found in the New Testament books of Matthew, Luke, and John. The texture and orchestration throughout the contata change according to the mood of the text. For practical performance purposes, vocal parts are based on traditional harmonic, melodic, and rhythmic patterns, leaving the more complex patterns to the instrumental parts.

Thesis (M.M.)--Boston University

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

In this study I examine the genesis and compositional purpose of Mendelssohn's seven chorale cantatas which include "Christe, du Lamm Gottes" (1827); "Jesu, meine Freude" (1828); "Wer nur den lieben Gott läßt walten" (1829); "O Haupt voll Blut und Wunden" (1830); "Vom Himmel hoch" (1831); "Wir Glauben all an einem Gott" (1831); and "Ach Gott, vom Himmel sieh’ darein" (1832). I also re-examine the widely held belief that Mendelssohn's chorale cantatas were juvenilia, functioning only as compositional exercises to better learn the style of J.S. Bach. My examination includes a stylistic analysis of each cantata that shows a direct deviation from an imitation of Bach's musical syntax and form to a re-creation of the chorale cantata genre using nineteenth-century idioms. My approach to analysis is modeled after that of James Garratt, who has done a great deal of research on Mendelssohn's psalm settings. These works, like the chorale cantatas, have also been criticized for being compositional exercises that imitate Palestrina's musical syntax and form. Garratt believes that by using a literary method called translation theory, one can gain an unbiased assessment and evaluation of compositions that are based on pre-existent models. I have applied the tenets of translation theory as the foundation for my analysis to determine if the chorale cantatas were imitations of Bach's model or re-creations of the genre. This approach provides, as Garratt states, "a means of differentiating between the degree of affinity that links the works of Mendelssohn...and [his] models." The stylistic analysis also illustrates how the chorale cantatas are exemplars of Mendelssohn's compositional style. Unique characteristics such as Mendelssohn's frank religious convictions; his perceptive and creative treatment of chorales; his understanding of Baroque forms and styles; and his remarkable contrapuntal prowess are all beautifully exemplified in the chorale cantatas. I conclude that instead of being regarded as archaic, compositional exercises, Mendelssohn's chorale cantatas can and should be viewed as seminal works in his sacred choral-orchestral output.

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

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript and manuscript. V. 1. Text (29 cm.) -- v. 2. Score (49 x 33 cm.). Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 98-100).

Title from accompanying document. / A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator. / Digitized by Kansas Correctional Industries

Thesis (M.M.)--The University of North Carolina at Greensboro, 2008. / Directed by Mark Engebretson; submitted to the School of Music. Title from PDF t.p. (viewed Aug. 27, 2009). Includes bibliographical references (p. 30-31).

Thesis (doctoral) - Universität, Zürich, 2006. / Includes bibliographical references and indexes.