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Camille Saint-Saëns's (1835–1921) Messe de Requiem op. 54 (1878) is among the many works by that composer that are all but forgotten by contemporary musicians. As is the case with most of Saint-Saëns's forgotten works, it is of remarkably high quality, possessing numerous features that make it desirable and accessible to a variety of ensembles. This study seeks to bring greater awareness of the piece to a wider audience, to provide a framework for understanding the most prominent style features of the work, and to ascertain its relationship to other well-known French Requiems of the nineteenth century. To this end, this study identifies and summarizes two trends in French Requiem composition in the nineteenth century: the dramatic trend, exemplified by the Grande Messe des morts op. 5 (1837) of Hector Berlioz, and the conservative trend, exemplified by the second and third of Charles Gounod's four Requiem settings: the Messe breve pour les morts (1873), and the Messe funèbre (1883). Salient style features of these three works are discussed in order to determine how their respective composers bring about the dramatic and conservative affects of their respective works. An analysis of the form, text setting, expressive elements (including dynamics, articulation, and orchestration), harmonic practice, and choral voice leading of Saint-Saëns's Requiem is also given, including a discussion of the relationship of the style features of this work to those of the Berlioz and Gounod Requiems.

In this study the choral-orchestral compositions produced by Hector Berlioz are examined in detail for characteristics of musical form, textual setting, and methods of scoring for chorus and orchestra. Reasons for the preponderance of the choral-orchestral medium in Berlioz' output are examined in two introductory chapters. The initial chapter concerns Berlioz' personal experiences as an observer, conductor, and critic of choral music, while the second is devoted to Parisian customs in regard to the choral-orchestral medium during the eighteenth and early nineteenth centuries. Included in the historical chapter is a discussion of the haute-contre (high tenor or countertenor) voice preferred in French choruses of that period plus a short review of French orchestral practices, operatic choruses, the French Chapel, Parisian concert societies, and the Paris Conservatory. Especially important is the segment on revolutionary musical fetes which fostered grandiose compositions for chorus and instruments of extremely simple structure. Berlioz' sense of form was governed by his Gallic heritage and for this reason many critics have accused him of formlessness, when in fact his compositions invaribly revolve around a succinct formal plan, admirably executed. Berlioz added to the conservative French tradition which favored the strophe and the Rondeau (an unvarying refrain following disparate couplets) a decidedly learned and classical approach to music structuring; unfortunately, this unique combination of academic compositional techniques and Gallic forms has been a source of perplexity for analysts in search of traditional Germanic forms. Surprisingly, Berlioz makes frequent use of such complex compositional devices as augmentation, fugato, canon, pedal point, and even cantus firmus.

World War I (1914-1918) brought with it unimaginable disaster and destruction, reshaping the world and its culture forever. Out of the ashes of this unparalleled conflict came numerous triumphs of art, fueled by the surrounding conditions and personal expressions of their artists. English composer, Dr. Cyril Bradley Rootham (1875-1938) set a powerful and haunting poem from the poet Laurence Binyon (1869-1943) titled "For the Fallen” from a larger collection of his poetry called The Winnowing Fan. The poem was published in The Times on September 21, 1914, just seven weeks after the war began. This monograph seeks to bring to light this glorious and overlooked choral/orchestral work at a time of a centennial anniversary for World War I, bringing even more relevance to the subject matter. Another focus of this document is to highlight the musical accessibility of this work and provide resources that function as a platform for performance. A brief background of the composition, the poem, and the poet will assist in giving context to the setting. This document will also cover specific details regarding musical analysis, textual interpretations, and performance practice concepts.

According to the American League of Orchestras' most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty's music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can "hang their hat on." Despite widespread success, relatively little scholarly work has been done on Daugherty's music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor's guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of diverse musical backgrounds. The work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who wish to engage further. Daugherty's Mount Rushmore offers immediate appeal and an excellent return on investment. Using interviews with the composer as well as detailed formal, harmonic, and historical-textual analysis, this paper provides in-depth information and guidance to future conductors who wish to present an appealing choral-orchestral work by a prominent, living American composer. Conductors who program Daugherty's Mount Rushmore will find it valuable for their ensemble and community for years to come.

Since most historical composers of Western art music were European Christians (or resided in areas that were primarily populated by Christians), a vast majority of the sacred choral-orchestral repertoire is based on major figures and themes from the most prominent denominations, including Catholicism, Lutheranism, and Anglicanism. As a corollary this is also the case for analytical, pedagogical, and exegetical literature related to the topic. However, in the late nineteenth century some composers began to look to other faith traditions for inspiration, which resulted in compositions based on texts that are less-familiar to Western audience members and performers. Despite the fact that many of these pieces are innovative and well-written, few, if any, have entered the standard repertoire. Because of this they are under-represented in both performance and extant music literature. The purpose of this study is to examine three compositions from this marginalized category in order to produce a guide that provides salient information on the religious/cultural background and musical aspects of each work. This guide will serve as a resource for conductors to facilitate an understanding of and connection with the text, allow informed programming decisions, and promote approaches that are appropriate and respectful to the religious source material. The pieces selected for investigation are Gustav Holst's Choral Hymns from the Rig Veda, Op. 26: First Group, Lili Boulanger's Vielle Prière Bouddhique (Old Buddhist Prayer), and Robert Cundick's The Redeemer.