Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009. / Title from title screen (site viewed July 8, 2010). PDF text: iv, 92 p. : music ; 754 K. UMI publication number: AAT 3365843. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis--University of Michigan.

Thesis (Ph. D.)--Ohio State University, 1973. / Includes bibliographical references (leaves [255]-257). Available online via OhioLINK's ETD Center.

Dissertation (Ph.D.) Florida State University, 2007. / Advisor: André Thomas, Florida State University, College of Music. Title and description from dissertation home page (viewed 10-5-2007). Document formatted into pages; contains 245 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.A.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Nov. 11, 2009). Includes bibliographical references (p. 122-128).

Thesis (M.A.)--Eastern Illinois University, 2008. / Includes bibliographical references (leaves 112-120).

Thesis (M.M.)--Boston University

The Restoration of Charles 11 to the throne of England in 1660 gave rise to a new form of composition. The “Ode,” loosely patterned on the poetry of Pindar and cast in the form of an address, was written for royal occasions such as birthdays and public events and to welcome returning monarchs from their progresses. The primary feature and intent of this poetry was flattery and adulation. Henry Purcell (1659–1695) set sixteen of these texts to music for the Stuart monarchs, and his contributions are considered to be among the best of the genre. Musically, the English Ode is similar to the Italian cantata but is particularly associated with parallel developments in the English verse anthem. The Ode featured the use of solo and concerted voices, chorus, and orchestra with continuo in alternating vocal movements and choruses. Although similar to the operatic prologues of Lully in France in the 1670s, the Ode was wholly an English invention, having no direct counterpart in France. Purcell is credited with expanding the scope of the court Ode with a wider range and sensitivity to dramatic effect, the inclusion of more colourful orchestral instruments to the basic string group, virtuosic writing for fine performers, and the inclusion of ritornelli, recurring ground basses, and other organizational features which gave coherence and unity to the form. However, until very recently there has been little critical evaluation of these pieces, and they are just now beginning to be recognized as masterpieces. Through analysis, this dissertation focuses on the chronological changes of style seen in Purcell's writing of court Odes, of which there is at least one contribution every year from 1680–1695 (with the exception of 1688, the year of James II's departure). The unity of purpose, as well as performers and instrumentalists available at the court (so that Purcell was not compromised in his writing by a lack of talented forces), offers a unique opportunity to examine how his style changed and matured over time. The disposition of movements, harmony, phrasing, structural organization, and counterpoint—perhaps the most important element of his work as a composer—are discussed in the context of his stylistic and technical development. / Graduate

This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.

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