by Lai Boon Tsing Joseph. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 212-214) and discography (leave 215). / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The Development of I. Stravinsky's Word- setting Philosophy --- p.8 / Chapter Chapter 3 --- The Word-setting of Threni: id est Lamentationes Jeremiae Prophetae (1957/58) --- p.29 / Chapter Chapter 4 --- "The Word-setting of A Sermon, a Narrative and a Prayer (1960/1)" --- p.70 / Chapter Chapter 5 --- The Word-setting of Abraham and Isaac (1962/3) --- p.102 / Chapter Chapter 6 --- Comparison of the Word-setting of the Three Selected Passages --- p.137 / Chapter Chapter 7 --- Conclusion --- p.156 / Appendices --- p.162 / Bibliography --- p.212 / Discography --- p.215 / List of Appendices / Appendix I THRENI: The metric placement of the normally-stressed syllables --- p.162 / Appendix II THRENI: The metric placement of the normally-unstressed syllables --- p.168 / Appendix IIIA THRENI: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.175 / Appendix IIIB THRENI: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.178 / "Appendix IV THRENI: The treatment of the ultimate syllable of a phrase, clause or sentence" --- p.180 / "Appendix V A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Table of monosyllabic sung- words showing their stressed or non- stressed identity" --- p.182 / "Appendix VI A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-stressed syllables" --- p.185 / "Appendix VII A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-unstressed syllables" --- p.187 / "Appendix VIIIA A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.189 / "Appendix VIIIB A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.190 / "Appendix IX A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of all syllables stressed by all means" --- p.191 / Appendix X ABRAHAM AND ISAAC :The metric placement of the normally-stressed syllables --- p.195 / Appendix XI ABRAHAM AND ISAAC: The metric placement of the normally-unstressed syllables --- p.199 / Appendix XIIA ABRAHAM AND ISAAC : Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.204 / Appendix XIIB ABRAHAM AND ISAAC: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.206 / "Appendix XIIIA A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The distribution of normally-stressed monosyllabic words" --- p.208 / "Appendix XIIIB A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of normally-unstressed monosyllabic words" --- p.210

This is a study of the ways in which the past is inscribed in sound. It is also an examination of the role of concert music in the invention of cultural memory in the wake of the Second World War. And finally, it is a study of the creation and early American reception of A Survivor from Warsaw, a cantata written in 1947 that became the first major musical memorial to the Holocaust. It remains uniquely significant and controversial within the larger oeuvre of its composer, Arnold Schoenberg (1874-1951). Historians interested in the chronologies and modalities of Holocaust memory have tended to overlook music’s role as a carrier of meaning about the past, while other media of commemoration have received far greater scrutiny, be they literary, cinematic, or architectural. And yet, A Survivor from Warsaw predated almost all of its sibling memorials, crystallizing and anticipating the range of aesthetic and ethical concerns that would define the study of postwar memory and representation for decades to come. It also constituted a uniquely personal memorial that may be read not only as a work of Holocaust art but also as a profoundly autobiographical document, one that sheds light on constellations of particularist identities often hidden beneath the “universalist” veil of one of the twentieth-century’s most iconic musical figures. Ultimately, this study seeks to articulate an under-examined linkage between modernism and memory, while arguing methodologically for the importance of sound in the contemporary practice of cultural history.

Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.

Thesis (D.M.A.)--University of Maryland, College Park, 2007. / Compact discs.