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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
181

A Time for Everything, for chorus: Analysis of a Musical Meditation

Bryan, Courtney January 2014 (has links)
This dissertation consists of two parts, an essay and a four-part cycle of choral works, including four full scores of A Time for Everything (meditation on Ecclesiastes 3), Come Away, My Beloved (meditation on Song of Songs), Intercession (meditation on Romans 8), and Faith, Hope, and Love (meditation on 1 Corinthians 13). The essay includes an introduction presenting an overview of A Time for Everything for chorus, a description of my creative process, and my ideas of music and spirituality that inform the composition. It also includes an in-depth analysis of each of the four choral works. A Time for Everything for chorus was conceived as a series of musical meditations, and composed for the vocal ensemble Ekmeles. The four pieces were premiered at Roulette Intermedium, and Issue Project Room in New York, and at Nassau Presbyterian Church in Princeton, New Jersey between 2012-2013. Scores and recordings of these works make up the second part of the dissertation.
182

A recital

Kellim, Kevin D, Wade, Jess., Kansas State University. Chamber Choir. January 2010 (has links)
Choruses, sung by the Kansas State University Chamber Choir; Jess Wade, piano; the author, conductor; with historical and critical analysis of the works. / Digitized by Kansas Correctional Industries
183

The use of contrafacta in the large choral works of J.S. Bach

Holmes, Robert William January 1960 (has links)
Thesis (Ph.D.)--Boston University / The objectives of this study were as follows: (1) to determine which movements in the large choral works of J. S. Bach are contrafacta; (2) to compare those movements with their prototypes; (3) to document changes which were made in the adaptation; and (4) to speculate on what reasons may have prompted these alterations. In assessing the relative value of the contrafactum and its prototype several aspects were considered: what type of parody was involved; whether the prototype was a great work of art; whether its textual content was similar to that of the later version; and whether the music fitted its new setting. The method of the composer was also considered: were there many changes or was it a mechanical transformation; even if it was'merely a "mechanical transformation," was it successful? An attempt was also made to determine whether or not there was a symbolic connection between the parody and its prototype. The conditions under which the contrafacta were written were also considered. To such questions, unequivocal answers were not always possible since clear and precise documentation was often unavailable. In many instances one could only suggest possible solutions. However, the investigation confirmed Schering's thesis that, even though Bach's borrowings were usually due to pressures of public performance, the contrafacta contain several aesthetic improvements and reveal a high degree of artistry. Indeed, they may be considered the climax in the Baroque Era of this particular compositional technique. Some of the transformations provided excellent examples of typically Bachian traits, the most common of which was textual and formalistic symbolism. Another noticeable feature was a general tendency to make the later setting more extensive and massive than the original composition. Consequently, wherever it was possible, Bach added new instrumental and vocal parts, increased the length of the later versions, augmented certain melodic intervals, and usually made the contrafacta more melismatic than their models. In the smaller Masses, however, Bach tended to simplify harmonies making the later composition more austere than its model. Although the tendency throughout the parodies was to improve the setting, the functional aspect still influenced the transformation to such a degree that a few of the parodies seem inferior to their prototypes. This was especially evident in the contrafacta sections of the Christmas Oratorio. Nevertheless, perhaps the most distinct trait in all of the contrafacta was the care with which Bach chose his models; inevitably the texts of both versions were formally similar and often a subtle symbolism in the relationship between text and music was preserved. In addition to these specific aspects, another conclusion can be drawn which is equally important--the need for further study in this area of musical research. For instance, in Bach's own works there is still much to learn from his instrumental contrafacta and those in the Cantatas. Moreover, a perusal of the literature revealed that there is a dearth of material available on the contrafactum as a recurring phenomenon in music history and as a technique employed by other composers. By filling in this gap, scholars might gain further insight into the work methods of other great masters.
184

Introduction to the choral music traditions of the Kachin people of northern Myanmar

Steddom, Charles Wesley 01 December 2009 (has links)
No description available.
185

Post-Apartheid South African choral music: an analysis of integrated musical styles with specific examples by contemporary South African composers

Haecker, Allyss Angela 01 December 2012 (has links)
No description available.
186

Ernst Pepping's Missa Dona Nobis Pacem: A Conductor's Analysis For Performance

Tresler, Matthew Troy 27 June 2008 (has links)
The purpose of this study is to provide a conductor's resource for preparation of the Missa Dona Nobis Pacem of Ernst Pepping (1901-1981). While research on the organ works has been done, there is no English language resource on the sacred choral works of Pepping. This paper provides a collection of information on Pepping's life, musical characteristics, and the composition of the Missa Dona Nobis Pacem. Following an introductory first chapter, Chapter Two is a biographical sketch of the composer with emphasis on compositional periods and important historical figures, and it places Pepping's works into this context. The third chapter is a brief description of Pepping's musical language and places the Mass in historical compositional context through a discussion of the Vier letzte Lieder of Richard Strauss (1869-1949) and the Cinq rechants of Olivier Messiaen (1908-1992), two vocal works also written in 1948. Chapter Four is an overview of the Mass. The fifth chapter gives an analysis of the Missa Dona Nobis Pacem and provides musical examples. The sixth and final chapter provides further insight into the works for a cappella choir by Ernst Pepping with a discussion of two major examples from the same compositional period, Heut und ewig (1948) and the Passionsbericht des Matthaus (1949-1950). The Appendices are a chronological list of the choral compositions of Ernst Pepping, and a chronology.
187

The choral music of Francis Grier

Hutchens, Robert Benjamin. January 1900 (has links) (PDF)
Thesis (D.M.A.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor: William Carroll; submitted to the School of Music. Includes bibliographical references (p. 91-94).
188

Brahms Female Choral Works Op.17

Chung, Chia-yu 11 September 2002 (has links)
Brahms is an important German romantic composer.In additional to his outstanding output in orchestral composition, he also finished thirty-four female choral pieces. Most of them were written during 1857-62, when he was still in Hamburg and dirdcting the Hamburg Women's Chorus. Opus17 belongs to this category. It is for three-part female choir, with harp and horns as the accompaniment. It includes four short pieces, text in German, with the feeling of lament. The form is simple and clear. The texture is mostly choral. The melodies in each vocal part are not difficult; however, it is the harmonic color that gives this work its special taste. This thesis consists of five chapters. The first chapter is the introduction. The second chapter inclides three parts. Part one introduces the life of Brahms. Part two is the chronological discussion of Brahms choral composing. Part three focuses on the female choral works. The third chapter analyzes the four pieces of Brahms Opus 17. The fourth chapter presents suggestions for teaching Opus 17, including vocalization, interpretation, diction, and conducting technique. The fifth chapter draws conclusion from the study.
189

Criteria identified by selected Missouri high school choral directors for placement of concert repertoire in concert order

Westfall, Claude R., Sims, Wendy L. January 2008 (has links)
Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy L. Sims. Vita. Includes bibliographical references.
190

Hugo Alfvén and his a cappella choral music

Leaf, Nathan Joel 28 August 2008 (has links)
Not available / text

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