There exists a need to explore the music of living composers--to acknowledge and advocate the merit of his or her own culture as evidenced in musical composition. Richard Bruce Faith is a living American composer who served a tenured position at The University of Arizona from 1961-1988, in the School of Music. The merit of Faith's music has been established through discussion of his compositions in professional music journals, bibliographical reviews, newspaper reviews, and graduate research documents. Many of his songs, piano works and orchestral compositions have been published. His operas have been and are continuing to be performed. Publication of Faith's compositions has historically been achieved after continuing discussion in professional journals and after regular performances have created a demand for his product. The choral works of Richard Faith are not published at this time. The choral compositions are an interesting and varied group. Their quality is consistent within the composer's compositional whole. Seventeen of the eighteen choral works were commissioned by or composed with a specific performing choir in mind. The suitability of these compositions for distinct types of choral forces is an obvious result of Faith's pre-defined compositional strictures. For instance, the four anthems for church choir are less demanding than the Three Songs for Male Chorus, which were written for a semi-professional community chorus. The compositional tools which define Faith's unique style also characterize the musical requirements necessary for a successful performance of the individual works. This measure of requisite musicianship is clear in the choral works. In fact, their origin as commissioned works and the intention of specific musicians to perform the works, determined how Faith would use his compositional tools. The search for new music suited to the abilities of singers and accompanists is an ongoing challenge for many choral conductors. Publication of Richard Faith's choral works would answer the need for new music among the great diversity of choirs. Publication of this interesting compositional body would also acknowledge a fine American composer.

This thesis, A Portfolio of Original Compositions, contains six musical compositions and an accompanying commentary presented for the degree of Doctor of Philosophy in Music Composition at the University of Aberdeen in 2018. The focus of my research at the University is sacred choral music composition, though not exclusively; many instrumental works and secular choral and vocal works have contributed to the development of my compositional technique. The portfolio contains two large-form sacred works: the St Andrew's Mass, a setting of the mass ordinary for chorus and quartet, and Babylon, a 30-minute work for large choir and percussion on themes of journeying and solitude, excerpting texts from both sacred and American folk sources. This commentary will focus on these works, as they have been the focal point of my research at the University, with supplementary examples of techniques and ideas from the other shorter works in the portfolio. The individual chapters of the accompanying commentary will discuss various aspects of research-based composition found throughout the portfolio, with particular focus on my use of text, texture, and harmony. I will examine how these elements are used in the St Andrew's Mass and Babylon, whereas these two works comprise the bulk of my research. Additionally, I will discuss the contributions of influences from works by other composers of the past and present, as well as folk and traditional sources, to my compositional outlook and research.

Program notes and recording of the recital, performed by the Kansas State University Chamber Choir; Jess Wade, piano; the author, conductor. / Digitized by Kansas Correctional Industries

Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2006. / "A dissertation in music education and curriculum and instruction." Advisor: Charles R. Robinson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 20, 2007. Includes bibliographical references (leaves 167-179). Online version of the print edition.

Thesis (Ph. D.)--Georgia State University, 2006. / Title from title screen. David Myers, Mary Deming, committee co-chairs; Dana Fox, Patrick Freer, committee members. Electronic text (242 p.); digital, PDF file. Description based on contents viewed Apr. 17, 2007. Includes bibliographical references (p. 224-233).

No description available.

Felix Mendelssohn (1809-47) was one of the most important composers in the early Romantic period. He composed in many different genres of music. His art songs, compared with other types of his musical works, are numerous but not well known. This large production of art songs was due to his personal interest and his taste in literature and the arts, which were cultivated in the family environment as he grew up. Mendelssohn¡¦s art songs have all the characteristics of a typical art song of that time, such as simple strophic form, sweet melody, beautiful harmony, and close relationship between piano and voice. Mendelssohn has composed approximately 130-140 art songs, among which twelve pieces are duets. These duets were composed during the years of 1836-47, which is considered the mature period of Mendelssohn. These duet songs are collected in Op.63, Op.77, and WoO.11; however, they are all independent from each other. They share the many desirable qualities with the solo art songs. They have elegant lyrics, lovely fresh melodies and tasteful harmony, and clear and compact form. For the purpose of a choral educator, they can be treated as two-part choral songs to good advantage. This thesis is organized as follows. The first chapter is an introduction. The second chapter provides background information on Mendelssohn¡¦s life along with his art song style. The third chapter is the musical analysis of these twelve duet songs. Chapter Four, the main focus of this thesis, discusses the applicability of these duets to the choral performance. It includes four sections¡XGerman diction, voice training, music interpretation, and conducting suggestions. The fifth chapter draws a conclusion for the thesis. An appendix is prepared for the lyric translation and pronunciation guide of these twelve duets, which is expected to assist Taiwanese choral educators to easily realize the meaning of the lyrics and their standard German pronunciation.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008. / Title from title screen (site viewed Sept. 16, 2008). PDF text: 115 p. : port., music ; 4 MB. UMI publication number: AAT 3297463. Includes bibliographical references. Also available in microfilm and microfiche formats.

Reproduction de : Mémoire d'orthophonie : Médecine : Nantes : 2009. / Bibliogr.

Thesis (D. Mus. Arts)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves [121]-126).