Globalization, cultural flow, and crossfertilization are terms that now appear in many conversations, articles, and research studies. The contemporary world becomes more and more complex while the exchange of information, business development, media, and cultural events are promoted and welcomed. The models of response to globalization may vary between countries and their cultures. This study depicts the response of Moscow’s choral world to globalization. The choral art form is one of many layers of national identity that have been developing over centuries. Performance practices, choral vocal methodologies, and choral music education have undergone influences and changes and have continued their evolution into the 21st century. The purpose of this study was to explore, through in-depth interviews, Russian choral conductors’ perceptions and reflections on contemporary Russian choral sound and whether it has been affected by globalization in recent decades. Using grounded theory, I examined the impact of globalization on Russian choral culture, specifically focusing on the choral sound. Goodenough’s (1981) cultural theory served as the framework for this research, providing a strong understanding of what culture is and the methods of its transmission as well as the explanation of the role of individuals in a social process of constructing its evolution. The current relationship between traditional Russian choral pedagogy and performance practice and the innovations introduced by globalization demonstrates that the deeply-embedded traditions continue to be an important aspect of Russian choral culture. Nevertheless, lifelong informal learning in a global choral community was an impetus for the transformation of choral culture, choral performance, and choral music education.

Thesis (M. Mu.)--Georgia State University, 2007. / Title from file title page. John B. Haberlen, committee chair; N. Lee Orr, Duncan Couch, committee members. Electronic text (47 p. : music) : digital, PDF file. Description based on contents viewed Dec. 14, 2007. Includes bibliographical references (p. 47).

Michael McGlynn is predominantly known around the world for his choral music that reflects the traditional sounds of Ireland. The greater body of his compositions, however, fit into the contemporary choral genre and represent a sizable contribution to the choral music repertoire of Ireland. This essay begins with a discussion of McGlynn's life and work. Extensive interviews and rehearsal comments with the composer regarding compositional process and performance practice were conducted and are included. The musical history of Ireland and details regarding the harmonic and rhythmic language specific to the vocal music of the country are included to provide background information for the reader. Song comparisons from various sources detail the living nature of Ireland's traditional music. The Appendices contain a complete list of McGlynn's works, a discography, IPA pronunciation guides for McGlynn's Irish language compositions, reference scores for all compositions discussed, and programming details about Michael McGlynn's most frequently performed choral compositions.

The Seven Last Words from the Cross is structured as a kind of loose double theme and variations. Movements II, IV, VI, VIII, IX, XI and XII present Jesus’ words as recorded in the four Gospels, and the remaining movements (which set related biblical and non-biblical texts) treat related themes and serve as choral and orchestral responses to Jesus’ words. The Gospel movements use a gradually expanding collection of pitches that frame a central pitch. This pitch (with a few deliberate exceptions) is generally reserved for Jesus’ actual utterances, which are sung by the four vocal soloists together, and which mostly use contrasting pitch material: a quasi-diatonic collection presented as pairs of intervals that move in contrary motion around the central pitch. The movements that respond to the Gospel texts take these interval pairs as their primary musical material, adapting them in symbolically and musically significant ways. The unison that is used to set Christ’s words fractures into a minor second when sung by the chorus, and his minor seventh expands to the more dissonant major seventh. The major third and perfect fifth, however, are common to both versions of the primary intervallic material, and both are used in shaping the large-scale form of these movements. Symmetry, both of pitch and rhythm, is also important to these movements’ structures. The opening and closing movements frame the main body of the work and are deliberately linked in their texts and musical material. The text of the first movement deals with the problem of corporate and individual human sin, of God’s wrath at humankind’s misdeeds and our own frustration and grief at our inability to consistently do what is right. The answer to this problem of sin, Christians believe, is the cross, and so in the last movement God’s anger, which was “poured out like fire” in the first movement, is quenched in a fountain of mercy. God’s rejection of sinning humanity and our rejection of God are ended. The Lord hears his people and answers them, and they in turn call out to him, acknowledging him as their God. In the seventh movement, a setting of a portion of the Stabat mater, the verse “Tui Nati vulnerati/ tam dignati pro me pati/ poenas mecum divide” (in part, “Let me share the pains of your wounded Son”) is given particular emphasis. The reason for this emphasis is explained in the eighth movement, “My God, my God, why have you forsaken me?” in which the piece’s previously established pattern breaks down. The words of Jesus are sung by the full chorus with the soloists, instead of by the soloists alone, and use the more dissonant version of the paired intervals, which was previously reserved for the response movements. The setting of the Gospel text and its response (excerpts from Psalm 22) are also combined into one movement for the first and only time in the piece. The purpose of these alterations was to draw a connection between Jesus’ sense of abandonment by God, the psalmist he was quoting, and the universal experience of human suffering.

This thesis examines the dialogue between Carl Friedrich Zelter (1758-1832) and Johann Wolfgang von Goethe (1749-1832) on choral music and the role they envisioned for it within a national German repertory. The primary source for this examination is the voluminous correspondence between the two men, which spans almost 900 letters and over thirty years. In the correspondence, they discuss choral music both as an abstract and practical art. In addition, Zelter’s descriptions of concerts that he performed in and attended form a valuable record of musical life in Berlin in the early nineteenth-century. To show the importance of choral music within the correspondence, this thesis is divided into three parts: an examination of Zelter and Goethe’s engagement with (choral) music; their respective choral organizations; and two musical case studies that show the application of their discussions. The first segment allows for a fuller understanding of how choral music fit in Zelter and Goethe’s larger artistic endeavours. This context is especially important given their marginal musical legacies, which have contributed to the scholarly neglect of their discourse on choral music. The second segment examines Zelter’s work with the Berlin Sing-Akademie in detail, focussing on its performance practice, membership, and audience. This examination shows that contrary to the oft-repeated claim that the Sing-Akademie did not regularly perform in public until 1829, the chorus in fact sang for a wide audience on a regular basis from the early 1800s on. The third segment provides case studies on the music of J.S. Bach and G.F. Handel. Goethe and Zelter’s dialogue about the two composers is considered, along with their practical engagement with the repertoire. Further, the Sing-Akademie’s performance history of both composers is examined. In sum, this thesis demonstrates the central role of historical choral music in the correspondence of Goethe and Zelter; their interest in older German choral music is shown to have had a profound impact on the music performed by similar organizations across Germany.

The Seven Last Words from the Cross is structured as a kind of loose double theme and variations. Movements II, IV, VI, VIII, IX, XI and XII present Jesus’ words as recorded in the four Gospels, and the remaining movements (which set related biblical and non-biblical texts) treat related themes and serve as choral and orchestral responses to Jesus’ words. The Gospel movements use a gradually expanding collection of pitches that frame a central pitch. This pitch (with a few deliberate exceptions) is generally reserved for Jesus’ actual utterances, which are sung by the four vocal soloists together, and which mostly use contrasting pitch material: a quasi-diatonic collection presented as pairs of intervals that move in contrary motion around the central pitch. The movements that respond to the Gospel texts take these interval pairs as their primary musical material, adapting them in symbolically and musically significant ways. The unison that is used to set Christ’s words fractures into a minor second when sung by the chorus, and his minor seventh expands to the more dissonant major seventh. The major third and perfect fifth, however, are common to both versions of the primary intervallic material, and both are used in shaping the large-scale form of these movements. Symmetry, both of pitch and rhythm, is also important to these movements’ structures. The opening and closing movements frame the main body of the work and are deliberately linked in their texts and musical material. The text of the first movement deals with the problem of corporate and individual human sin, of God’s wrath at humankind’s misdeeds and our own frustration and grief at our inability to consistently do what is right. The answer to this problem of sin, Christians believe, is the cross, and so in the last movement God’s anger, which was “poured out like fire” in the first movement, is quenched in a fountain of mercy. God’s rejection of sinning humanity and our rejection of God are ended. The Lord hears his people and answers them, and they in turn call out to him, acknowledging him as their God. In the seventh movement, a setting of a portion of the Stabat mater, the verse “Tui Nati vulnerati/ tam dignati pro me pati/ poenas mecum divide” (in part, “Let me share the pains of your wounded Son”) is given particular emphasis. The reason for this emphasis is explained in the eighth movement, “My God, my God, why have you forsaken me?” in which the piece’s previously established pattern breaks down. The words of Jesus are sung by the full chorus with the soloists, instead of by the soloists alone, and use the more dissonant version of the paired intervals, which was previously reserved for the response movements. The setting of the Gospel text and its response (excerpts from Psalm 22) are also combined into one movement for the first and only time in the piece. The purpose of these alterations was to draw a connection between Jesus’ sense of abandonment by God, the psalmist he was quoting, and the universal experience of human suffering.

This thesis examines the dialogue between Carl Friedrich Zelter (1758-1832) and Johann Wolfgang von Goethe (1749-1832) on choral music and the role they envisioned for it within a national German repertory. The primary source for this examination is the voluminous correspondence between the two men, which spans almost 900 letters and over thirty years. In the correspondence, they discuss choral music both as an abstract and practical art. In addition, Zelter’s descriptions of concerts that he performed in and attended form a valuable record of musical life in Berlin in the early nineteenth-century. To show the importance of choral music within the correspondence, this thesis is divided into three parts: an examination of Zelter and Goethe’s engagement with (choral) music; their respective choral organizations; and two musical case studies that show the application of their discussions. The first segment allows for a fuller understanding of how choral music fit in Zelter and Goethe’s larger artistic endeavours. This context is especially important given their marginal musical legacies, which have contributed to the scholarly neglect of their discourse on choral music. The second segment examines Zelter’s work with the Berlin Sing-Akademie in detail, focussing on its performance practice, membership, and audience. This examination shows that contrary to the oft-repeated claim that the Sing-Akademie did not regularly perform in public until 1829, the chorus in fact sang for a wide audience on a regular basis from the early 1800s on. The third segment provides case studies on the music of J.S. Bach and G.F. Handel. Goethe and Zelter’s dialogue about the two composers is considered, along with their practical engagement with the repertoire. Further, the Sing-Akademie’s performance history of both composers is examined. In sum, this thesis demonstrates the central role of historical choral music in the correspondence of Goethe and Zelter; their interest in older German choral music is shown to have had a profound impact on the music performed by similar organizations across Germany.

Thesis (M. Mus. (Mus. Ed.)) -- University of Sydney, 1998. / Title from title screen (viewed November 11, 2009) Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Music Education Unit of Sydney Conservatorium of Music. Includes bibliographical references. Also available in print form.

The material for this piece is all based around immutable musical objects and how they interact with one another. The opening movement takes various ostinato patterns and has them combine with different bass notes. The second movement attempts to merge three melodic fragments with three different chords and the final movement is a sequence of unchanging passacaglias which overflow into an ecstatic conclusion. The whole thing reminded me of someone rearranging furniture in a room; the actual pieces don't change but, rather, combine in different ways to make something pleasing. Hence, the title: "How About Here." / text

Christe, du Lamm Gottes, Wer nur den liben Gott lasst walten / Felix Mendelssohn-Bartholdy. / text