Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains 1 score (74 p.) Duration: ca. 20 min. Includes bibliographical references.

Thesis (Ph. D.)--University of Iowa, 1974. / Includes bibliographical references (v. 1, leaves 275-287).

Thesis--University of Michigan. / Vol. 2 consists of Weelkes anthems, edited from original MSS. and transcribed into modern notation in score, by Walter Stowe Collins. The anthems are for chorus and organ. Includes bibliographical references.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1980. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 52-53).

Thesis (M.M.) Florida State University, 2006. / Advisor: Clifton Callender, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-20-2007). Document formatted into pages; contains 46 pages. For SATB choir with soprano soloist, string choir, and piano. Includes biographical sketch.

Thesis (M.M.)--Bowling Green State University, 2007. / For SATB chorus (up to SSSAAATTTBBB), with flute, clarinet in B♭, horn, bassoon and piano. Document formatted into pages; contains 1 score (vi, 39 p.) Includes bibliographical references.

Thesis (M.A.)--Boston University / From the thirteenth century on, the antiphons to the propers of the Mass and to certain canticles of the Offices in the Roman Rite were sung to polyphonic motet settings. After the English Reformation in 1534, antiphons eventually disappeared from the services of the Book of Common Prayer and with them the motets. Because they had been a popular feature of the services, it was not long before a need was felt for an equivalent and the English anthem came into being. (The word "anthem" is but a corruption of the earlier terms for "antiphon".) The reformers desired that the complex additions of medieval pietism to the Roman Rite be either omitted or simplified and the attitude applied also to church music as did the ruling that all of the services be in a "tongue understanded of the people". The first Full Anthems of Tye, Tallis, Shepherd, Farrant, and others were in the simple, familiar style but with brief imitative "points" at the beginning of each phrase of the English text. The wish that the Archbishop of Canterbury, Thomas Cranmer, had expressed to Henry VIII that "the song...should not be full of notes but, as near as may be, for every syllable a note" was at first meticulously followed." [TRUNCATED]

This work is a setting of the hymn of Thanksgiving written by St. Nicetius in the sixth century, the TE DEUM. In the Roman Catholic liturgy it replaces the last responsory of Matins on Feast Days and Sundays and in the Anglican liturgy it is one of the canticles of Morning Prayer. The text is one of the few surviving examples of Latin "Psalmus Idioticus" which were, along with the GLORIA of the Ordinary of the Mass and the EXULTET, early Latin texts written in imitation of the Psalms. This TE DEUM was written to continue a tradition of choral settings of this text, in Latin, English, and German, beginning with Palestrina and Handel, and continuing with Haydn, Mozart, Berlioz, Bruckner, Dvorak, Verdi, Britten, Walton, Kodaly, Persichetti, and Vaughan Williams to the present. The quotes from the Metamorphoses for 23 strings of Richard Strauss are used in honor of Strauss' quote of Beethoven's EROICA Funeral March at the end of the Metamorphoses. Strauss was acknowledging the "Master" and his compositional tradition and in the same way I humbly respect the artistic legacy I have inherited. The text and the music have symbiotically wended their way through the centuries out of the pens of the masters. The work is set using the English translation of the Anglican Church, is in one movement and is scored for the following forces: double woodwind with alto saxophone, four horns, 2 trumpets, 2 trombones, tuba, timpani, suspended cymbal, tam tam, tubular chimes, vibraphone, triangle, crash cymbals, SATB soli, SSAATTBB chorus, and strings.

Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals. The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's own words. The Gloria acts as a culmination of the previous two movements because it gives glory to both the Father and the Son.

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