Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2007. / Scored for male chorus, boy choir, three soloists, and orchestra. "A dissertation in Music Composition." Advisor: Chen Yi. Duration: ca. 55:00. Typescript. Vita. Title from "catalog record" of the print version. Description based on contents viewed July 16, 2008. Includes text printed separately. Online version of the print edition.

Thesis--Eberhard-Karls-Universität Tübingen. / Includes bibliographical references (p. 347-363) and index.

Thesis (Ph.D.)--Kent State University, 2008. / "Part II." Title from PDF t.p. (viewed Nov. 2, 2009). Advisor: Ralph Lorenz. Keywords: Harbison; requiem. Accompanying PDF files primarily contain scores from Harbison's Requiem. Includes bibliographical references (p. 125-126).

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2010. / Title from PDF t.p. (viewed Jul. 13, 2010). Directed by Welborn Young; submitted to the School of Music. Includes bibliographical references (p. 168-176).

The aim of this thesis is to compare the Requiems of Brahms and Verdi, two composers who are both amongst the greatest in our Western musical history, but completely different in significant aspects, the one being by nature introspective, serious, and even inclined towards melancholy in his creative work, whether done in a religious context or not; and the other being first and foremost a composer of operas, thus specializing in music for the stage or theatre, presupposing extroversion and even a degree of flamboyancy. Brahms never wrote any operas but his oeuvre is enhanced by symphonies, sonatas and concertos of serious intent, and especially by a body of wonderful chamber music (which is perhaps the most intimate genre in Western instrumental music). Verdi, on the other hand, is known almost exclusively for his operas, and wrote little else. Then Brahms was one of the great composers of the German Lieder, again a markedly intimate genre, which suggests that he paid constant attention to fine detail. In contrast, Verdi's mentality was that of the Italian opera composer who is more concerned with flowing melodic beauty, which is a "translation into music" of the meanings and tendencies of the text.

Alto Requiem is a requiem mass for contralto, chorus, and organ. Several unifying elements have been used throughout the composition. Most of the homophonic texture is limited to quartal and secundal structures. The melodic material is also predominantly quartal and secundal. Key relationships between and within movements are limited to related major and minor modes, modes a major or minor second apart, and modes a fourth apart. Further unity is achieved by emplying motives from the chants of the Roman Missa pro defunctis. These chants are used in the vocal lines as well as in the organ accompaniment.

The Requiem, for mixed chorus (4 and 8 parts), two brass quartets (2 trumpets, horn and trombone each), timpani (4) and organ, is divided into four sections or movements: I. Introit and Kyrie II. Sanctus III. Pie Jesu IV. "Take Thou Comfort". The principal feature of the Requiem is the cyclic treatment of the two main themes. These will be referred to as the "Introit" theme and the "Kyrie" theme, in that these are the sections in which they first appear, respectively.

No description available.

Thesis (M. Mu.)--Georgia State University, 2007. / Title from file title page. John B. Haberlen, committee chair; N. Lee Orr, Duncan Couch, committee members. Electronic text (47 p. : music) : digital, PDF file. Description based on contents viewed Dec. 14, 2007. Includes bibliographical references (p. 47).

Treatise (D.M.A.) -- Florida State University, 2003. / Advisor: Ladislav Kubík, Florida State University, School of Music. Title and description from treatise home page (viewed 11-20-03) Latin and German words, printed as text following score. Document formatted into pages; contains 99 pages. Includes biographical sketch.