Heitor Villa-Lobos (1887-1959) is regarded as the composer of highest distinction in twentieth-century Brazilian music. His musical compositions, representing virtually every musical genre, reflect his concerted effort toward developing a nationalistic Brazilian style. While the importance of this composer's ouvre and his contribution to a national Brazilian style is well established, particularly with regard to his instrumental works, his sacred choral compositions are generally considered to be peripheral in his overall compositional productivity. Although his major sacred choral works such as Bendita Sabedoria, Missa Sad Sebastian, and Magni scat Alleluia are programmed occasionally, the smaller sacred choral pieces found in his Musica Sacra collection remain less well-known.Musica Sacra, initially published by Vincente Vitale in 1951-52, is an out-of-print collection of twenty-three unaccompanied motet-style pieces, composed throughout Villa-Lobos's lifetime. Limited availability to many of these pieces has resulted in a paucity of programming of this music by choral conductors, as well as a lack of understanding of its place in his collected works.This study provides an updated and corrected performance edition of selected choral pieces from Musica Sacra, providing choral conductors with appropriately edited material for concert programming. It includes historical background, editorial notes, and performance notes to provide context and clarity.In this study, I have compared seventeen pieces from the original Vitale edition with manuscripts provided by the Museu Villa-Lobo, in an effort to represent the composer's musical intent in a manner accessible to the contemporary choral conductor. I have alsoidentified and discussed salient musical traits in this music, exemplifying not only the Spanish Renaissance influence as it existed in the Brazilian society during Villa-Lobos's lifetime, but more broadly reflecting, through its diverse assortment of musical features, an expression of the overall religious syncretism in Brazil at the time.Within the sacred choral framework of Musica Sacra, one discovers the composer's stylized representation of Brazilian musical eclecticism. This is exhibited through elements of musical spontaneity, Brazilian multi-cultural ethnicity, nationalism, European impressionism, Renaissance imitation, and twentieth-century harmonic dissonance. These features represent Villa-Lobos's synthesis of style that, according to Latin American music scholar, Gerard Behague, illuminates "Brazil's Musical Soul." / School of Music

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references(leaves [121]-123).

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references(leaves [121]-123).

ELATIO: Praises and Prophecies is an allegorical composition based upon a collection of carols, poetry and prose in selected verses, phrases and fragments from medieval Christian liturgy, the canonical Hebrew Bible (Old Testament) and New Testament, and portions of various non-canonical Dead Sea Scroll texts. The languages used in the selections presented here are English, Medieval Latin, and transliterated Biblical Hebrew.

Te Deum is a single movement work for chorus and orchestra. It employs an ensemble comprising the complement of string, woodwind, and brass instruments typically available in a small symphony orchestra with an expanded percussion section. The choral forces are in proportional relation to the instrumental forces are in proportional relation to the instrumental forces and it is sung in the original Latin. The intended performance time is approximately 18 minutes. Temporal aspects of the work are characterized by three contrasting sections. The slow and solemn opening section is given to long stretches of silence sparsely punctuated by low drums. The remainder of the work is texturally more dense and employs a much quicker tempo. A steady core pulse is also a key feature, with attention given to avoiding any regular metrical implications by use offset accents, non-consecutive identical phrase lengths, and a slow harmonic rhythm.

The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.

Title from accompanying document. / Collegiate Chorale ; conducted by Kathleen Wilson ; J. Sloop, soprano ; D. Huyett, piano ; J. Hall, organ ; Student String quartet ; Student Recorder Ensemble. / Digitized by Kansas Correctional Industries

Thesis (M. Phil.)--University of Queensland, 2006. / Compact disc comprises recorded performances of the compositions. Includes bibliographical references.

The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.

Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.