Thesis (Ph. D.)--University of Colorado, 1974. / Typescript. Appendix (leaves [125]-336) "includes all fifty keyboard chorales discussed in the body of the study." Includes bibliographical references (leaves [118]-124).

Diss.--Graz, 2001. / Bibliogr. p. 137-144.

Thesis (Ph.D.)--Boston University / (1) Strict chorale motet-- after the Flemish tradition-- was cultivated predominately in the 16th century. The majority of the 123 settings in Rhaw's famous publication of 1544 (Newe Gesenge) were this type. On the other hand, vestiges of chorale motet remained throughout the 17th and 18th centuries, especially in connection with technics originating therefrom; namely, chorale fantasia and chorale fugue. (2) Chorale harmonization, the fond technic of the Protestant Reformation, was already predominant in Johann Walther's Gesangbuch of 1524, the earliest source of Choralbearbeitungen. The compositions in this collection contained the chorale melody in the tenor. However, ca. 1570, harmonizations with the chorale melody in the soprano (as a stimulus to congregational singing) began to appear in considerable number also. The climax in Kantionalstil was reached in Lucas Osiander's 50 geistliche Lieder (1586), which were homophobic in the complete sense. [TRUNCATED]

Diss.--Paderborn, 1998. / Bibliogr. p. 389-418.

Diss.--Wien--Philologisch-Kulturwissenschaftlichen Fak., 2006. / Bibliogr. p. 279-292.

Diss.--München, 1988. / Bibliogr. p. 207-216.

Thesis (M.M.)--University of Wisconsin--Madison, 1952. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references ([3] leaves at end).

Thesis (Ph. D.)--University of Queensland, 2006. / Includes bibliographical references.

Diss.--Berlin--Université libre, 1996. / Bibliogr. p. 415-437.

In Celebration is a through-composed work of approximately eight minutes in length for high baritone voice and orchestra. The text is taken from the Magnificat and Psalm 150 and was chosen for its celebrative nature. In Celebration is in four continuous sections. The first section, which is an orchestral introduction, is followed by three other distinct, vocal and orchestral sections. The introduction and following two sections are rhythmic and driving in nature, each section increasing in perceived tempo until the climactic final measures of the third section. The concluding section is slow, legato and reverent in mood. The function of this section is to release the tension built from the preceding sections and to bring the piece to a joyful, yet prayerful. close.