Oratorio, for baritone (Jesus), male or female narrator (Evangelist), tenor (Pilate), 2 basses (Peter, Caiaphas), soprano woman accusing Peter), chorus (SATB), organ, string orchestra, and tape. Texts from Matthew, John, and Psalms. Duration: 33:00. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 47).

Thesis (M.A.)--Western Conservative Baptist Seminary, 1989. / Includes bibliographical references (leaves 24-28).

Thesis (M.M.) -- Florida State University, 2004. / For flute, trumpet, piano and percussion (2 performers). Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-28-04). Document formatted into pages; contains 36 pages. Includes biographical sketch.

Thesis (M. Mus.)--University of Adelaide, 1982. / Includes bibliographical references (leaf 162).

The Seven Last Words of Christ is a sacred cantata for SATB chorus with soloists accompanied by a woodwind quintet, brass quintet and three percussionists. The text employed in this work is based on the Gospel accounts of the crucifixion of Jesus Christ in the King James Version of the of the Holy Bible. The cantata consists of seven movements with an instrumental introduction and postlude, and has a duration of approximately twenty-seven minutes. The majority of the movements are slow in tempo, reflecting the somber mood of the text. The major goal of this work is to musically represent the drama and prevailing mood present at an event of extreme magnitude and importance in the lives of Christians around the world, and to provide additional literature for special church services through the use of individual movements.

Thesis (M.M.)--Duquesne University, 2004. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 93-96).

My thesis covers the materials and methods of my composition, The Passion According to the Gospels of Matthew and John. It features an extensive analysis of Penderecki's Passio et mors Domini nostri Iesu Christi secundum Lucam. The research also covers some history of the Passion genre and its development. The second half of the paper presents a background and analysis of my work. It details many of the creative processes and methods I employed.

Craig Hella Johnson (b. 1963) has emerged as a leader in choral music over the last 20 years. As the conductor of the Austin, TX based chorus Conspirare Johnson implemented the European model of bringing singers together from all over the country to assemble for concerts and recordings over a short period of time. He is known for his collage programs which bring together many styles of music bound by a central theme. Through these programs he has written and arranged many pieces which are now published and being performed by choirs across the globe. Johnson's most significant work to date is a 90 minute passion oratorio which details the story of Matthew Shepard, a college student murdered in a hate crime in 1998. Considering Matthew Shepard (2016) is a wonderful example of Johnson's composition and programming style. Though not a traditional passion story, it is part of the evolution of the genre in the 20th and 21st centuries. The passion oratorio has seen a resurgence in the past 50 years and has undergone a transformation in that time. These new works pay homage to the history of the genre but have begun to stretch it in terms of form and content. This study will highlight the evolution of the passion oratorio focusing on Johnson's Considering Matthew Shepard and offer some insight into the composers style and how this work represents a modern treatment of the passion oratorio.

This document examines the compositional style of Johann Mattheson's passion, Das Lied des Lammes. Specifically, this document will examine the stile recitativo of Italian opera seria in Hamburg during Mattheson's years at the Domkirche. Mattheson's ideas regarding the role of the recitative in his passions are verified in Mattheson's article entitled "Des fragenden Componist" (1724), which appeared in the fifth volume of his journal Critica Musica, thus giving clear evidence supporting a non-emotional approach with the evangelist recitatives. These new approaches found in Critica Musica, derived from Italian opera in connection with Mattheson's writings, are in comparison to the musical devices in recitatives used by Mattheson's predecessors Schutz, Bernhard, Theile, and Keiser. The results of these comparisons show a natural progression of stylistic changes in recitatives in passion settings up to Mattheson's years at the Domkirche in Hamburg.

Bibliography: leaf 162.