Thesis (MMUS (Music))--Stellenbosch University, 2010. / ENGLISH ABSTRACT: The South African-born British composer Priaulx Rainier (1903-1986) wrote her Requiem (1955-1956) for solo tenor and choir to a text by surrealist poet David Gascoyne. The poem (completed in 1940) contradicts the commemorative genre of the requiem and instead anticipates the prospective victims of the war that was to come. Due to the disturbances caused by the war, Rainier only started working on the music fifteen years later in 1955. Existing discourse on Rainier has been shaped by the thoughtless regurgitation of opinions, reviews and clichéd biographical models. Since very few detailed analyses of Rainier’s works exist, this thesis attempts to address this gap in research on this composer. It therefore aims to contribute to a more balanced, evidence-based discourse. The significance of the Requiem is that it was said by commentators to indicate a period of increasing abstraction in Rainier’s oeuvre. The findings regarding tonality in this work may therefore serve as a point of reference in future analyses of works preceding and following the Requiem. In the literature review, recurring issues in the discourse on Rainier (such as the numerous references to her childhood in Natal as an influence on her works and the descriptions of her works as possessing a masculine gender identity) is highlighted. The contextualisation that follows includes a reception-based periodisation of Rainier’s works and a “biography” of the Requiem, with a special focus on the intersection between the symbolic world of David Gascoyne and the Requiem and the sculptor Barbara Hepworth’s influence on Rainier’s work. Underpinning these contextual considerations is a set theory analysis of the work that attempts to illustrate the composer’s aspiration towards musical abstraction as a creative force. The findings of the analysis are also contextualised with regard to existing notions of Rainier’s style and tonality in her music. / AFRIKAANSE OPSOMMING: Die Suid-Afrikaans gebore Britse komponis Priaulx Rainier (1903-1986) se Requiem (1955-1956) vir solo-tenoor en koor is ’n toonsetting van ’n gedig deur die surrealistiese digter David Gascoyne. Die gedig weerspreek die gedenkende karakter van die requiem genre deurdat dit vooruitwys na die slagoffers van die oorlog wat op hande was. As gevolg van die onderbrekings wat deur die oorlog veroorsaak was, het Rainier eers vyftien jaar later, in 1955, aan die musiek begin werk. Die ondeurdagte herhaling van opinies, resensies en biografiese clichés kenmerk huidige diskoers oor Rainier. Aangesien daar min gedetailleerde analises van Rainier se werke in die literatuur bestaan, poog hierdie tesis om bestaande leemtes in die navorsing oor Rainier te vul. Dit streef ook na die ontwikkeling van ’n meer gebalanseerde, bewysgebaseerde diskoers. Die belang van hierdie werk setel hoofsaaklik daarin dat dit volgens sommige bronne dui op ’n kenteringsmoment in Rainier se oeuvre, waarna haar werke meer abstrak geword het. Die bevindinge rakende tonaliteit in hierdie werk kan dus dien as ’n verwysingspunt vir toekomstige analises van Rainier se werke wat die Requiem voorafgaan en volg. Herhalende elemente in die diskoers oor Rainier (soos die invloed van haar kinderjare in Natal op haar werke en die beskrywings van ’n manlike gender-identeit in haar werke) word in die literatuurstudie uitgelig. Die konstekstualisering wat volg bestaan uit ’n literatuur-gebaseerde periodisering van haar werke en ’n “biografie” van die Requiem wat fokus op die verhouding tussen simboliek in die werke van David Gascoyne en die Requiem en die invloed van die beeldhouer Barbara Hepworth op Rainier se werke. Die kontekstualisering word gevolg deur ’n ‘set’-teorie-analise van die werk waarin gepoog word om die komponis se strewe na musikale abstraksie as kreatiewe inspirasie aan te toon. Die bevindinge van die analise word dan vergelyk met die bestaande opvattinge oor styl en tonaliteit in Rainier se werke. / COMPOSITIONS: In Paradisum for SATB choir 2 Droom for mezzo-soprano and piano: 11 • Kuspad 14 • Sy 17 • Glasblaser 20 • Glasprater 23 String trio arrangements from Droom: • Glasblaser 26 • Glasprater 30 Het Hom! for tenor saxophone 34 The beauty in sorrow for string quartet: 37 • First Movement 40 • Second Movement 49 • Third Movement 54 Symphonata for orchestra: 61 • First Movement 62 • Second Movement 66 • Third Movement 71 • Fourth Movement 77

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English composer Gerald Finzi's (1901-1956) early life was plagued by the deaths of close friends and family, and the beginning of the first world war. Before his eighteenth birthday, Finzi lost his three brothers, his father and his beloved composition teacher. To mourn these deaths and perhaps as a reaction to the first world war, Finzi began to compose his Requiem da Camera (op. 3b, 1924). Finzi completed three movements of this four-movement work during his lifetime, and left sketches for the completion of the unfinished third movement. Beginning in 1984, Philip Thomas, with the blessing of the Finzi family and the Finzi Trust, began examining the extant sketches in an attempt to complete the unfinished third movement. Thomas completed and published his edition of the Requiem da Camera in 1992. After a careful examination of this completion, a number of editorial questions were raised. This document was created to address these questions. It sets out historical parameters to provide context for Finzi's original composition, goes on to describe the development of liturgical and non-liturgical requiem composition, and discusses the development of British non-liturgical requiem (and requiem-like) compositions in the twentieth century. Thomas's completed third movement is compared to Finzi's source material. Four major areas of discrepancy are presented and examined to bring the movement closer to Finzi's original compositional intent. The document concludes with a new completion of the third movement. It combines the work of Finzi and Thomas, along with information gleaned in the process of creating this document, the remainder of the original Finzi composition, and other of Finzi's compositions with similar qualities from this era.

No description available.

English composer Gerald Finzi's (1901-1956) early life was plagued by the deaths of close friends and family, and the beginning of the first world war. Before his eighteenth birthday, Finzi lost his three brothers, his father and his beloved composition teacher. To mourn these deaths and perhaps as a reaction to the first world war, Finzi began to compose his Requiem da Camera (op. 3b, 1924). Finzi completed three movements of this four-movement work during his lifetime, and left sketches for the completion of the unfinished third movement. Beginning in 1984, Philip Thomas, with the blessing of the Finzi family and the Finzi Trust, began examining the extant sketches in an attempt to complete the unfinished third movement. Thomas completed and published his edition of the Requiem da Camera in 1992. After a careful examination of this completion, a number of editorial questions were raised. This document was created to address these questions. It sets out historical parameters to provide context for Finzi's original composition, goes on to describe the development of liturgical and non-liturgical requiem composition, and discusses the development of British non-liturgical requiem (and requiem-like) compositions in the twentieth century. Thomas's completed third movement is compared to Finzi's source material. Four major areas of discrepancy are presented and examined to bring the movement closer to Finzi's original compositional intent. The document concludes with a new completion of the third movement. It combines the work of Finzi and Thomas, along with information gleaned in the process of creating this document, the remainder of the original Finzi composition, and other of Finzi's compositions with similar qualities from this era.

The purpose of this study is to provide a guide for conductors when evaluating issues of balance in works for chorus and symphonic band, and to assist them in realizing such works in performance. The principal focus of the document will be an analysis of vocal and instrumental textures in Requiem by Frigyes Hidas as they affect balance and textual clarity, using accompaniment types described by Hawley Ades as guides. The analysis shows that the scoring helps mitigate balance problems commonly found in other works scored for similar forces, making a variety of performance options and interpretations available to conductors. Ensemble issues are discussed as they relate to balance, as are practical solutions regarding stage setup.

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.

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Existe na musicologia luso-brasileira uma tese de que a música litúrgica composta para celebrações religiosas nas igrejas brasileiras e portuguesas apresenta uma grande interpenetração dos estilos teatral e eclesiástico. Tal fato é interpretado não só como uma necessidade de exibição simbólica do poder monárquico, mas também como um atraso musical por parte dos compositores luso-brasileiros, por não serem mais decorosos na escrita da música sacra. Desta forma, a questão do decoro vem sido revisitada por pesquisas recentes, que já enxergam não uma falta de decoro musical no ambiente litúrgico luso-brasileiro, mas sim uma interpretação errônea do contexto cultural na qual esta música está inserida. O objetivo geral deste trabalho é o de discutir o decoro musical lusófono a partir do estudo da tratadística setecentista dedicada à averiguação do três estilos musicais (teatral, de câmara e eclesiástico), e de um estudo de caso das partes de solo das missas de Requiem de José Maurício Nunes Garcia e Marcos Portugal. Neste estudo, utilizaremos a teoria dos esquemas musicais como forma de averiguação do discurso musical, da capacidade comunicacional dos compositores e, consequentemente, seu decoro. / It exists in Luso-Brazilian musicology a thesis that the liturgical music composed for religious celebrations in Brazilian and Portuguese churches presents a great interpenetration of theatrical and ecclesiastical styles. This fact is interpreted not only as a need for symbolic display of monarchical power, but also as a \"musical backwardness\" of the Luso-Brazilian composers, for not being more decorous in writing sacred music. Thus, the question of decorum has been revisited by recent research, which denies the existence of a \"lack\" of musical decorum in the Luso-Brazilian liturgical settings, and sees the problem as a misinterpretation of the cultural context in which this music is inserted. The aim of this study is to discuss the Lusophone musical decorum from the study of eighteenth-century treatises dedicated to the investigation of the three musical styles (theater, chamber and church), and a case study of the solo parts in the Requiem Masses of José Maurício Nunes Garcia and Marcos Portugal. In this study, we use the theory of musical schema as a way of investigating the musical discourse, the communicative capacity of composers and consequently their decorum.