Thesis (M.M.)--Wisconsin. / Includes bibliographical references (leaf 157).

This thesis examines the three Requiem Masses for five, eight and nine voices of Juan de Herrera (c. 1670-1738), chapelmaster of the Santa Fe de Bogota Cathedral from 1703 until his death. I present biographical data on Herrera, who seems to have been the most prolific and talented colonial musician born in Bogota and also review his musical output, consisting mostly of sacred villancicos, Vespers settings, Lamentations and Masses. I offer a modern edition of Herrera's Requiem Masses and provide a musical analysis of these, as well as a study of the relevant manuscripts, which date from the 1740s to 1770s. I also look into the history of mus1c-mak1ng at the cathedral, wh1ch was an 1mportant center for the performance and composition of European sacred music during colonial times, and include a list of the cathedral's music collection, considered one of the richest in sacred Spanish music in the New World. The manuscripts of Herrera's Requiem Masses show some musical and textual errors, as well as numerous copying inconsistencies. I believe these peculiarities are the result of the carelessness and lack of education of the copyists employed at the cathedral during the 1740s to 1770s, a period during which the level of music had begun to decline. The Requiem Masses display versatility and sophistication in the use of multiple choruses, but too often lack formal and tonal coherence. I believe Herrera's limitations are the result of a lack of formal musical training. He was a self-taught composer who spent his life in Bogota, a small and isolated city in colonial Spanish America.

by Lo Hau Man. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1995. / Chapter 1 --- Programme notes of Requiem --- p.1-1 / Text of Requiem --- p.1-3 / Programme notes of Dream --- p.1-7 / Chapter 2 --- Requiem --- p.2-i / Instrumentation --- p.2-ii / Note and Directions --- p.2-iii / Chapter (I) --- Requiem Aeternam --- p.2-1 / Chapter (II) --- Dies Irae 2- --- p.24 / Chapter (III) --- Offertorio --- p.2-108 / Chapter (IV) --- Sanctus --- p.2-122 / Chapter (V) --- Agnus Dei --- p.2-137 / Chapter (VI) --- Libera Me --- p.2-147 / Chapter 3 --- Dream - Ballet Suite --- p.3-i / "Instrumentation, Note & Direction" --- p.3-ii / Chapter (I) --- Allemande --- p.3-1 / Chapter (II) --- Air --- p.3-6 / Chapter (III) --- Gigue --- p.3-11

Thesis (Ph. D.)--University of Rochester, Eastman School of Music, 1996. / Includes vita and abstract. Accompanies: First symphony / by Jonathan J. Turner (1 score (107 p.) ; 28 cm.). Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5752

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.

No description available.

Camille Saint-Saëns's (1835–1921) Messe de Requiem op. 54 (1878) is among the many works by that composer that are all but forgotten by contemporary musicians. As is the case with most of Saint-Saëns's forgotten works, it is of remarkably high quality, possessing numerous features that make it desirable and accessible to a variety of ensembles. This study seeks to bring greater awareness of the piece to a wider audience, to provide a framework for understanding the most prominent style features of the work, and to ascertain its relationship to other well-known French Requiems of the nineteenth century. To this end, this study identifies and summarizes two trends in French Requiem composition in the nineteenth century: the dramatic trend, exemplified by the Grande Messe des morts op. 5 (1837) of Hector Berlioz, and the conservative trend, exemplified by the second and third of Charles Gounod's four Requiem settings: the Messe breve pour les morts (1873), and the Messe funèbre (1883). Salient style features of these three works are discussed in order to determine how their respective composers bring about the dramatic and conservative affects of their respective works. An analysis of the form, text setting, expressive elements (including dynamics, articulation, and orchestration), harmonic practice, and choral voice leading of Saint-Saëns's Requiem is also given, including a discussion of the relationship of the style features of this work to those of the Berlioz and Gounod Requiems.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008. / Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1593. Adviser: Heinrich Taube. Includes bibliographical references (leaves 251-258) Available on microfilm from Pro Quest Information and Learning.

The thesis speculates on the possible influence of Mozart's Requiem on Cherubini's Requiem in D Minor, concluding that Cherubini's setting of the Sequence ("Dies irae") was indeed influenced by Mozart's setting of this liturgical text both on the micro and macro levels.

My dissertation seeks to answer the following question: why did German Romantic composer Robert Schumann turn to the composition of sacred music in the early 1850s? From Schumann's earliest biographers to more recent commentators, critics have struggled to make sense of the composer's seemingly uncharacteristic production of a Mass and Requiem Mass, often explaining his work in these musical genres in terms of his struggles with mental illness and eventual institutionalization. I seek to revisit this question by taking a broader look at Schumann’s compositional output from his years in Düsseldorf, arguing that his interest in sacred genres reflected an active engagement with evolving questions of religious and national identity during these pivotal decades in the German states. To this end, I analyze three case studies. The first examines the tension between communal and individual understandings of Romantic religion through comparison of Schumann’s choral-orchestral Adventlied, Op. 71 and his song cycle Sieben Lieder, Op. 104. The second analyzes Schumann’s plans for a Martin Luther oratorio, which, although he never completed the project, reveal much about Schumann’s nationalist aspirations and understandings of German history and culture. The final case study looks at the Missa Sacra, Op. 147, highlighting Schumann’s investment in the history and future potential of church music. Examination of Schumann’s church music reviews from the 1830s and 40s, as well as his conducting and scholarly priorities during the late 1840s and early 1850s, suggests that Schumann esteemed and sought to contribute to the history of German church music. These case studies demonstrate how, using different means, Schumann was interested in and actively participated in larger currents of religious transformation in the mid-nineteenth century, transformations that were shaped by intersecting forces of nationalism, historicism, Romanticism, and the shifting roles and venues of religious identity and practice in German society and culture.