Dissertations / Theses: 'Works, choral'

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Kang, Hyojin. "Choral music of Kirke Mechem : an analytical approach to his choral cycles and representative choral works /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11432.

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Karna, Duane Richard, and Duane Richard Karna. "THE CHRISTMAS CHORAL WORKS OF ARNOLD BAX." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626515.

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Wordelman, Peter Dale. "Daniel Moe's choral works with brass accompaniment." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185475.

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Many twentieth-century American composers have written works for chorus with brass accompaniment. This study focuses on the compositional techniques Daniel Moe applies to his brass and choral works and the musical and religious influences that aided in the development of Moe's composition language. Eight of Daniel Moe's works for brass and chorus are analyzed to determine the influences and techniques employed in his style of composition. The analysis reveals: the choir and brass remain independent and never dominate each other, the brass consistently play at their loudest dynamic levels while the choir is not singing, the heights of the choral phrases are unaccompanied, and final cadences are voiced with the highest pitches in the choral writing which allows an equality of forces. As a conductor, Moe has encountered many Venetian and contemporary works for brass and chorus that had a direct result on the techniques he applied to his brass and choral works. The evidence suggests that Daniel Moe's choral works with brass accompaniment involve a combination of twentieth-century harmonies and rhythms, Biblical and liturgical texts influenced by his strong Lutheran heritage, and a style of transparent scoring which carefully integrates the brass instruments into the overall texture of his compositions.

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Mott, Maxine Elizabeth. "The choral works of Robert Schumann (1810-56)." Thesis, University of Birmingham, 1991. http://etheses.bham.ac.uk//id/eprint/261/.

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Schumann's choral music provides a focus for an account of his later compositional career. Various original contributions to research are made. The Handelian influence behind his early choral writing is identified in Das Paradies und die Peri. An account of Schumann's choral societies gives an insight into the smaller-scale works. The Manfred music and the Corsar fragment show his use of melodrama. The Faustscenen are illuminated by the occasions which inspired them, especially the 1849 Goethe Festival. The unachieved oratorio Luther is described; and in Der Rose Pilgerfahrt the Biedermeier influence on Schumann is demonstrated. The Mass and Requiem show his response to Dusseldorf liturgical practice, and the four choral ballads stand on the threshold of opera, if not music drama. Consideration of Schumann's libretti shows his obsession for a type of redemption drama, possibly influenced by his struggle in the late 1830s to marry Clara Wieck. Appendices contain a worklist and select list of MS. sources; relevant diary entries; synopses of the narrative works; transcriptions of unpublished or unavailable works from 1847 and 1848; a transcription of Schumann's Luther scenario; the repertoire of his choral societies; and information on the size of his orchestra.

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Işık, Arda Çıkış Şeniz. "Choral works in architecture in terms of hermeneutics/." [s.l.]: [s.n.], 2003. http://library.iyte.edu.tr/tezler/master/mimarlik/T000288.rar.

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Imrie, Sally. "Analysis of selected choral works by John Tavener with particular reference to the post-1977 works." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002307.

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This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.

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MORGAN, JENNIFER SUSAN. "A CONDUCTOR'S GUIDE TO SELECTED CHORAL-ORCHESTRAL WORKS OF EMMA LOU DIEMER." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115393701.

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Teal, Terri Denise. "Tempo Determination in the Choral Works of Francis Poulenc." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500725/.

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Though Poulenc marks choral compositions with metronomic indications, there are problems concerning tempo. The purpose of this paper is to determine guidelines for dealing with choral tempo. Chapter II relates biographical information pertinent to the study. Style Is examined In Chapter III, determining aspects that call tempo marks into question and influence tempo determination. In Chapter IV, the manner in which Poulenc uses tempo indications in the choral works is analysed and the relationship between form and tempo examined. Chapter V records Information bearing upon tempo from Poulenc's collaboration with conductors, as well as examining recordings of Poulenc's music in which he played or with which he expressed approval. Guidelines for determining tempo are stated in Chapter VI.

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Hintze, Richard Robert. "Kent A. Newbury: A Study of His Choral Works." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596086.

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Kent Alan Newbury is an American composer who was born in Chicago in 1925, and currently resides in Scottsdale, Arizona. He has composed over 550 works and has had 282 choral works published. His first published piece was Psalm 150 (1955) and his latest publication was Praise the Lord, All Ye People (2013). Thirty-nine of his published choral pieces are still in print. At this time, the unpublished manuscripts include 204 choral pieces, four solo works, four instrumental works for dance, thirty-seven brass or band works, six woodwind pieces, and nineteen string or orchestra works. Newbury's complete catalog is included as Appendix B. During his Initial Period (1955-1965), Newbury had eighteen pieces published. In his Developmental Period (1966-1985), 247 pieces were published. That is an average of twelve pieces published per year. During his Mature Period (1986-present), he has had seventeen pieces published. This is the first published work documenting Newbury's life and music. It is hoped this study will introduce more choral directors to Newbury's music and encourage the performance of his music by more college, church, and school choirs. Analysis of Newbury's published choral works reveals the consistent inclusion of four stylistic traits: syncopation, text painting, parallelism, and textural layering. This study demonstrates how the use of these stylistic traits develops through his compositional career, both in terms of the frequency of usage and the progression of the technique. Syncopation is plentiful throughout Newbury's three periods. Syncopation and rhythmic displacement are found in 37% of published pieces in his Developmental Period and in 100% of published pieces in his Mature Period. The syncopation ranges from simple to complex, and it is sewn into the inner fabric of his compositional style. Text painting is used a great deal in Newbury's Initial Period, but the frequency diminishes in his later periods. Instead, he approaches his composition as he is inspired by the text, and the music reflects the text, in its totality if not in detail. Parallelism is a favored stylistic trait. Newbury composes with parallel fifths and fourths, and parallel chords moving in similar motion (planing) as well as contrary motion (the omnibus progression). Despite his teachers' objections to the use of parallel fifths, this is a consistent element throughout his career. Textural layering is a technique in which notes are added or repeated to call attention to the text or to build harmonic structures. As with text painting, the frequency of usage is most prevalent in his earlier periods.

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Pahel, Timothy Allen. "The choral works for mixed voices by Jaakko Mäntyjärvi." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5035.

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This thesis is an examination of the choral works for mixed voices of Jaakko Mäntyäjrvi. It includes biographical information about him, an overview of his works, compositional style, and major influences, in addition to a detailed analysis of four of his pieces. The first chapter is devoted to biographical information and the influences that shaped him as an artist, including the composers and musical styles that were most significant in his development. The second chapter includes a detailed examination of salient characteristics of Mäntyjärvi's output, including his compositional techniques, text setting, and elements borrowed from Finnish folk music and musical styles of earlier periods. In Chapter Three, four compositions are examined in detail (Canticum Calamitatis Maritimae, Kosijat, Die Stimme des Kindes, and Ecce Magnus Presbiter), followed by suggestions for further research.

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Toliver, Nicki Lynn. "Selected Larger Choral Works of F. Melius Christiansen (1871-1955)." Diss., North Dakota State University, 2011. https://hdl.handle.net/10365/28894.

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F. Melius Christiansen (1871-1955) composed four larger choral works between 1917 and 1925. The Reformation Cantata, composed in 1917, commemorates the 400th anniversary of Martin Luther?s Protestant Reformation and the merger of three church synods into the Norwegian Lutheran Church of America. The cantata is scored for baritone, tenor, and soprano soli, chorus, and orchestra. Christiansen?s oratorio, The Prodigal Son, was composed in 1918. The performing forces include SATB soli and SATB chorus with orchestra or keyboard accompaniment. In 1922, Christiansen composed a multi-movement a cappella work for the St. Olaf Choir entitled Psalm 50. The Norwegian-American Centennial Cantata was written in 1925 in commemoration of the Norwegian immigrants who sailed to America and established their homes. The cantata is scored for soprano and baritone soli, mixed chorus, and orchestra. A general analysis of these four larger choral works was performed. This document, with structural analysis and historical background of selected works, is intended to provide conductors with insights into Christiansen?s repertoire. The literature selected displays the composer?s diversity of genres and compositional techniques. For each work, the document includes the identification of melodic and thematic material, musical examples, text sources, vocal ranges, and details regarding form.

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Parra, Cira Guadalupe. "A conductor's guide to selected choral works of Modesta Bor." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1151498320.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Nov.28, 2006). Includes abstract. Keywords: Venezuelan Choral Music; Modesta Bor; Women in Music Includes bibliographical references.

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Grases, Cristian. "Nine Venezuelan Composers and a Catalogue of their Choral Works." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/215.

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This document represents an initial endeavor in a long-lasting aspiration to pursue the study and collection of Latin American choral literature. This essay compiles the most complete and current catalogue possible of choral works written by nine Venezuelan composers born in the twentieth century and presents it in a simple and accessible format so it can be used by a variety of school teachers, choral conductors, church musicians, college directors, and professional musicians. Each composer entry presents a brief biographical note and a list of works organized in alphabetical order. The annotation for each composition includes information in eighteen categories. It also includes an extensive list of biographical resources. In addition, a list of terms and definitions of folkloric and traditional genres will help the reader understand the diversity of Venezuelan musical styles and dances; there is some additional information with regard to performance practice.

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PARRA, CIRA GUADALUPE. "A CONDUCTOR'S GUIDE TO SELECTED CHORAL WORKS OF MODESTA BOR." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1151498320.

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Monroe, J. Carlton IV. "A Conductor's Guide to the Choral Works of Chen Yi." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1250544823.

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Lourenço, Paulo V. "A Conductor's Guide to Select Choral Works of Eurico Carrapatoso." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1406901556.

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Elder, Rusty Dale Budds Michael J. "The late choral works of Igor Stravinsky a reception history /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/5625.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on September 22, 2009). Thesis advisor: Dr. Michael Budds. Includes bibliographical references.

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Monroe, J. Carlton. "A conductor's guide to the choral works of Chen Yi." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1250544823.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: Earl Rivers. Title from electronic thesis title page (viewed Jan. 14, 2010). Includes abstract. Keywords: Chen Yi. Includes bibliographical references.

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Kantor, James Graham 1967. "A conductor's study of the choral works of Daniel Asia." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288731.

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Daniel Asia (b.1953) is often referred to as a composer who writes in an "accessible" style. Asia's style of composition evolved from an aleatoric and dissonant style to more lyrical and "accessible." He received commissions from numerous musical organizations. Although Professor Asia's primary compositional focus has been on symphonic music, he has also written five works for chorus. This document will attempt to chronicle Asia's compositional development through a study of his five choral works: (1) Nineteen (published under the title, Sound Shapes) (1973); (2) Why (?) Jacob (1978); (3) She (1981); (4) Celebration (1988); and (5) purer than purest pure (1996). It suggests that these pieces can be performed by auditioned undergraduate choirs, despite their fairly chromatic harmonic idiom and intricate rhythms, if the rehearsals are approached in a pedagogically logical and sequenced manner. Problematic sections of works will be identified, and solutions or exercises provided. The appendix will include bar-line analysis of four of the works. This bar-line analysis will be in the style of "Herford graphs," a system created by Julius Herford and familiar to most choral conductors. A complete list of published works and discography are also included in the appendix.

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Samra, Todd. "An annotated bibliography of the choral works of Robert A. Hobby." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1466733.

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The purpose of this dissertation is to organize, summarize, and present the choral works of Robert A. Hobby in an annotated bibliography. These annotations, along with seven appendices, serve as a reference tool with church musicians and other choir directors in mind. Robert A. Hobby is a native Indiana composer who now resides in Fort Wayne, Indiana, and has over seventy choral works in publication. A biographical chapter about Robert A. Hobby, including his musical education and influences; and a chapter about his style characteristics, including analyses of selected choral works, precedes the annotations. Much of the information obtained for this study came directly through interviews and meetings with Mr. Hobby. The annotations themselves are detailed entries that address a variety of criteria including, but not limited to, year of composition, voicing, instrumentation, meter, key, difficulty, and a general description of the work. Much of this information is included concisely in six of the appendices, in a variety of quick reference formats.
School of Music

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Guy, Todd W. "Compositional process of Rene Clausen as demonstrated in selected choral works." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118236.

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The purpose of this study was to document the compositional process of the American composer, Rene Clausen (b. 1953). The writer conducted three days of interviews with Dr. Clausen to discuss his compositional process in selected choral works. The discussion included Clausen's "creative impetus," and "compositional approach" to the elements of text, harmony, rhythm, melody and texture.The writer examined Clausen's thirty-three published choral works. Three works representative of his choral output were selected: "All That Hath Life and Breath Praise Ye the Lord" (1981); "0 Vos Omnes" (1986); and "Whispers of Heavenly Death" (1993). These works were selected upon the composer's recommendation as pieces which are representative of his choral style.Clausen's "creative impetus," his musical influences and motivation, form what he terms "deep background." This material, some learned, but most absorbed through various musical experiences and influences, is placed into a "big bin" from which Clausen draws when making compositional decisions.The text is the genesis of Clausen's process. When selecting texts, Clausen looks for ones that will evoke certain colors, nuances, or images.Clausen's second step is to absorb the meaning of that text. During this important absorption process Clausen develops an idea of what the character of the piece will be.The third step is the emergent process: generating thoughts about thematic material, intermittent ideas, textures, and transitional material which will be presented. Clausen manipulates the elements of harmony, rhythm, melody and texture to express the forms and images present in the text.An examination of Clausen's compositional approach to the following elements was conducted: HarmonyClausen's approach is extended diatonicism with traditional harmonic movement leading toward goal oriented harmony.RhythmClausen uses a variety of rhythmic approaches to express the text: mixed and asymmetrical meter, free unmeasured rhythm, and dove-tailing sections rhythm and metered music. MelodyClausen's approach is based upon the parameters within which he is writing and on the imagery present in the text. TextureClausen's approach is based on two aspects: the level of difficulty or level for which the piece is written and the images expressed in the text.
School of Music

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Walters, Norene Ann. "The Unaccompanied Choral Works of Richard Rodney Bennett: A Conductor's Guide." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/195081.

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As one of Great Britain's leading composers, Sir Richard Rodney Bennett (b. 1936) is prolific in a wide range of media, idioms, and genres, including concert and stage music, jazz, and film scores and has to his credit an extensive discography. He excels in solo vocal, instrumental, and chamber music composition and has a significant but lesser known corpus of choral music. A classically trained pianist, Bennett enjoys a parallel performing career as a jazz musician and cabaret singer. He has lived in New York since 1979.Bennett is one of a group of twentieth-century British composers who have cultivated distinctly English styles of composition. Like his near contemporaries Kenneth Leighton (1929-88), William Mathias (1934-92), and Paul Patterson (b. 1947), Bennett borrows from ancient and modern English traditions and from twentieth-century techniques to create an individual style.This study provides an historical context for English choral tradition, traced from its medieval roots through a twentieth-century musical renaissance, then identifies and examines a wide array of eclectic traits in Bennett's unaccompanied choral compositions for mixed voices. A component of the study is a literature survey to aid the choral conductor's preparation of these works for performance.This investigation revealed Bennett's affinity for English poetry and his desire to communicate the emotional content of his chosen texts through musical expression. Salient features of his compositional method are fluent linear part-writing within a contrapuntal texture, skillful textural manipulation, refined rhythmic control, and structural symmetry and balance. Other style traits emerged, including modality, pitch cross-relations, canonic imitation, word-painting, cross-rhythms, metric shifts, harmonic shifts, tone clusters, driving repetitive rhythms, extended vocal techniques, and use of the octatonic scale. Collectively, these suggest the composer was influenced by Tudor polyphony (possibly subconsciously), Igor Stravinsky (1882-1971), Francis Poulenc (1899-1963), William Walton (1902-83), Olivier Messiaen (1908-92), and Benjamin Britten (1913-76).

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McGahie, Paul Douglas. "THE CHORAL FUGUE: A COMPARATIVE STUDY OF STYLE AND PROCEDURE IN WORKS BY J.S. BACH AND W.A. MOZART." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155660835.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Oct.10, 2006). Includes abstract. Keywords: music, choral music, choral fugues, fugues, Bach, J.S., Mozart, W.A., choral Includes bibliographical references.

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Morgan, Jennifer S. "A conductor's guide to selected choral-orchestral works of Emma Lou Diemer." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1115393701.

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Rigby-Barrett, Sandra. "The sacred choral works (1983-1995) of Judith Weir : an analytical approach." Thesis, University of Reading, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430914.

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Dungee, Jason A., and Jason A. Dungee. "A Socio-Pedagogical Analysis of Five Short Choral Works by Adolphus Hailstork." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621093.

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The focus of the present research is to examine the socio-pedagogical aspects of Adolphus Hailstork's Five Short Choral Works. The socio-pedagogical benefits of these and similar compositions stem from their potential to encourage more critical cultural engagement of the choral contributions of Black composers in both the classroom and rehearsal hall. While the music on its own merit is worthy of deeper study and analysis, the added benefit to students, teachers and conductors is that the inclusion of diverse groups in music education has proven sociological benefits. Therefore, these five works have potential benefits in terms of representation, cultural engagement, and holistic consideration of American music. Furthermore, if students are given more diverse expressions of diversity, then there is greater likelihood that they will grow socially to appreciate and understand heterogeneous expressions of culture and be more engaged in culture criticism.

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Tasher, Cara Suzanne. "A Conductor’s Guide to the Choral Works of Lili Boulanger (1893-1918)." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148303598.

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Tasher, Cara Suzanne. "A conductors guide to the choral works of Lili Boulanger (1893-1918)." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1148303598.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Advisor: Dr. Earl Rivers. Title from electronic thesis title page (viewed June 7, 2009). Includes abstract. Keywords: Lili Boulanger; French twentieth century choral music; French symbolism; female composers; 20th century; Psalm settings. Includes bibliographical references.

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Gravelle, Shannon Marie. "A preliminary study of the choral works and style of Sergei Taneyev." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5484.

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Klausmeyer, Sue T. "A CONDUCTOR'S STUDY OF MUSICAL MOTION AND SOURCES OF INVENTION IN SELECTED CHORAL WORKS BY JOHN TAVENER." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin976031083.

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Cha, Yeong Hoi. "An analytical study of Korean-based sacred choral music : Korean traditional music and its relation to fourteen selected Korean sacred choral works /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11379.

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Hammond, Philip Alexander. "'Psalms and songs from the Hebrew' & choral and orchestral works 1993-2001." Thesis, Queen's University Belfast, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273139.

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Hoskisson, Darin Todd. "The Grundgestalt and network transformations in the late choral works of Anton Webern /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1251843161&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 185-188). Also available for download via the World Wide Web; free to University of Oregon users.

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Pinsonneault, Albert. "A conductor's guide to selected choral works of F. Melius Christiansen (1871-1955)." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1250619506.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: Brett Scott. Title from electronic thesis title page (viewed Jan. 15, 2010). Includes abstract. Keywords: F. Melius Christiansen; St. Olaf; a cappella choir; beautiful savior; christiansen. Includes bibliographical references.

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Thompson, Douglas Earl. "Evolution Meets Revolution: The Contributions of Computers to Word- and Tone-Painting in Choral-Electroacoustic Works." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194956.

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The purpose of this study is to reveal the evolutionary and revolutionary aspects of using computers to word- and tone-paint in choral-electroacoustic (CEA) works. An extended account is made of word- and tone-painting's history in selected works from the Renaissance through the Twentieth Century to establish their use as a choral music tradition, followed by an examination of three recent CEA works: Scott Wyatt's A Time of Being, Scott Miller's Dies Sanctificatus, and Reginald Bain's When I Consider the Heavens. In all instances, word- and tone-painting are identified and assigned meaning utilizing Irving Godt's "Systematic Classification of Semantic Text Influences." A chapter outlining the challenges of programming CEA works is included, along with suggestions for how conductors can meet those challenges. In addition to Godt's "Classification," a brief history of the development of computers as a musical resource and information regarding Reginald Bain's work appear in the appendices.Among the results of this study are: a confirmation of word- and tone-painting as a vital, continuing tradition in choral music; a clarification of the distinctions and overlap between word-painting, tone-painting, and rhetoric; an affirmation of Irving Godt's classification system's usefulness; and an identification of the computer's capabilities that make the machine's use evolutionary and revolutionary. The computer's most revolutionary capability is its virtually limitless ability to create, shape, and manipulate sound. As the examination of the three CEA works in this study illustrates, the computer's revolutionary potential has only begun to be utilized, and the possibilities of creating compositionally mature CEA works only begun to be realized.

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Wittmer, Micah. "Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939)." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718725.

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This dissertation explores the portrayal of Negro folk culture in concert performances of the Hall Johnson Choir and in Hall Johnson’s popular music drama, Run, Little Chillun. I contribute to existing scholarship on Negro spirituals by tracing the performances of these songs by the original Fisk Jubilee singers in 1867 to the Hall Johnson Choir’s performances in the 1920s-1930s, with a specific focus on the portrayal of Negro folk culture. By doing so, I show how the meaning and importance of performing Negro folk culture changed over time during this period. My dissertation also draws on Hall Johnson’s lectures, radio broadcasts, and published essays on Negro folk culture. By tracing the performance of the Negro spirituals to those of the original Fisk Jubilee Singers during the Reconstruction period, it becomes clear that without the path-breaking work of the original Fisk Jubilee Singers, there would be no Hall Johnson Choir. Hall Johnson was devoted to composing works about African Americans that preserved and accurately portrayed Negro folk culture because he believed that Negro folk culture was an essential part of American cultural identity. I posit that Run, Little Chillun employs the ideals of the New Negro Renaissance, strategically capitalizing on what many white American cultural critics believed to be primitive—and therefore genuine—black culture while promoting a unique version of black empowerment through the speech of an Oxford Educated black male character who espoused an Afrofuturistic theology. With an interdisciplinary approach, I draw on musicology, African American studies, and sociology to place Hall Johnson’s writings on Negro spirituals within the context of the greater discussion of Negro spirituals during the 1920s-1940s. My primary methodology is historical and includes archival research, musical analysis, and reception history. The writings of black intellectuals and leaders of the New Negro Renaissance such as W.E.B Du Bois, Alain Locke, William Work, and John Rosamond Johnson provide the primary theoretical framework for this dissertation.
Music

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Conran, Michael Artemus. "A study of David Conte's secular SATB choral works with non-orchestral score complement." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280405.

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The choral works of David Conte are becoming an ever-increasing part of the American choral repertoire. These works have been performed on numerous choral convention programs and college choral concerts, and by professional choral organizations throughout the United States. Conte's choral compositions have been commercially recorded by several of the world's premier vocal ensembles such as Chanticleer, the American Repertory Singers, Elects Women's Ensemble, and the St. Olaf College Choir. In addition Conte's works are being commissioned by a wide array of groups from top-level high schools and universities to nationally-recognized choral ensembles. To date the only doctoral study that has focused on the music of David Conte is that of Sabrina Lynn Adrian at the University of Texas. Her dissertation focused on his compositions for organ as part of a study of twentieth-century American organ compositions. My study will focus upon one aspect of Conte's choral output: his secular SATB choral works with non-orchestral complement. Special focus will be on the manner in which Conte sets and portrays the text in his works, since it is the text that he cites as being the inspiration for each composition. The pieces will be examined for the harmonic language and various compositional techniques employed to convey the meaning of individual words and the overall emotional progression that the text creates. Based on the information attained through this examination and through surveys sent out to various choral directors, the works will be evaluated as to their level of difficulty and to any inherent problems that would need to be addressed in the rehearsal process.

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Lim, Aesook. "The Long Chorale Preludes of J. S. Bach (1685-1750): Study of Accompaniments together with Three Recitals of Selected Works by Dietrich Buxtehude (1637-1707), J. S. Bach, Louis Vierne (1870-1937), and Others." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5219/.

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Johann Sebastian Bach's chorale preludes are varied and artistic not only in the treatment of chorale melodies, but also in the accompaniments of those chorale melodies. This study examines the accompaniments of Bach's long chorale preludes, focusing on identifying the various types and the characteristics that make them unique. This study investigates the two broad categories of accompaniments depending on whether the motives are chorale-derived or independent of the chorale. While the chorale prelude accompaniments in the first large group are closely related, the accompaniments of the chorale preludes in the second group stand independently and illustrate the vast range of Bach's compositional skill. Both groups demonstrate Bach's interest in expanding his predecessors' models, a trait that can be traced throughout all of Bach's compositional history.

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Cousens, Mary Annette. "The influence of choral works by Canadian women on senior female secondary students in Ontario." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0007/MQ29153.pdf.

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Corbin, Dwayne. "The three wind/choral works of Heitor Villa-Lobos Quatuor, Nonetto, and Choros no. 3 /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155331674.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Sept. 6, 2007). Includes abstract. Keywords: Villa-Lobos, Quatuor, Nonetto, Choros no. 3. Includes bibliographical references.

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Yu, Julie. "Alberto Grau the composer, selected works, and influence upon the Venezuelan and international choral community /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3898.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Nov. 17, 2005, Apr. 2, 2006, and May 14, 2006. Includes bibliographical references (p. 51-53).

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Popp, Shaun R. "An examination of orchestration techniques used in wind band transcriptions of a cappella choral works." Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596564.

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The orchestration techniques used in wind band transcriptions of a cappella choral works have received limited attention from researchers. The primary purposes of this study were to (1) examine orchestration techniques used in wind band transcriptions of a cappella choral works, (2) note differences between original a cappella choral works and their wind band transcriptions, and (3) provide rehearsal suggestions for band conductors based on information gathered from comparisons of repertoire.

The researcher reviewed nine wind band transcriptions of a cappella choral works, as well as one a cappella choral transcription of a wind band work. The results of the investigations indicated that (1) transcribers use combinations of orchestration techniques - (a) basic part assignments, (b) complex part assignments, (c) dividing sections of the band to represent two or more vocal parts, (d) octave displacements and doublings, (e) incorporation of percussion, and (f) special effects - in wind band transcriptions of a cappella choral works, (2) transcribers adjust musical aspects of a cappella choral works - (a) bar lines and meters, (b) repeats, (c) tempo, (d) key, (e) rhythms, rests, and breath marks, (f) dynamics, (g) articulation and style markings, and (h) form and structure - during the wind band transcription process, and (3) many rehearsal implications - (a) tempo, (b) tone quality and intonation, (c) articulation and style, (d) phrasing, (e) dynamics, and (f) balance and blend - are gained from comparing wind band transcriptions to original a cappella choral works. Further research in this area might explore the orchestration techniques used in wind band transcriptions of accompanied choral works, choral transcriptions of wind band works, and original choral compositions with wind band accompaniment.

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Kotowich, Bruce Justyn Geron. "A Conductor's Guide to the Choral Music of Ruth Watson Henderson." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281451688.

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CRAMER, EDNA LUISE. "AMERICAN MUSIC FOR WOMEN'S CHORUS: AN ANNOTATED REPRESENTATIVE LIST OF LARGER WORKS PUBLISHED BETWEEN 1940 AND 1980." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188113.

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The contributions made by American composers to the repertoire for women's chorus have increased significantly since 1940. This study was undertaken because previous investigations are international in scope and do not give an adequate view of the broad range of American works now available. Criteria established for works to be included in the study were as follows: (1) original compositions by American composers; (2) at least six minutes in duration; (3) available to the public from a publisher, composer, or repository of American works; (4) publication or composition date after 1940 and before 1980. The study includes both secular and sacred works. Qualitative comments were avoided because they were not consistent with the object of the study. Since numerous works are out of print and are almost impossible to obtain, the 91 works annotated in the study represent but a portion of the total output of American composers. Each annotation includes composer name; composer dates (when available); title of composition; date of publication or composition; text source; voicing; ranges of individual parts; level of difficulty; duration; accompaniment medium; and publisher and catalog information. A descriptive paragraph on the work in toto and on each movement or set piece briefly discusses text content, harmonic background, melody, rhythm, tessitura, meter, texture, form, role of accompaniment, and/or other salient features.

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Wyers, Giselle Eleanor. "The third art: The embodiment of meaning through texture in the choral works of Robert Kyr." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/289945.

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The purpose of this document is to explore the relationship between text, texture, and meaning, in selected choral works of Robert Kyr (born 1952). It will show that texture is used consistently by Kyr as an expressive device to illuminate the inner meaning of the text. Kyr weaves text into musical texture, and in the fusion of text and music, creates a third art form that is more than the sum of its original parts. It is neither text set to music, nor music written to fit within a preexistent text. Instead, all dimensions of the composition are conceived simultaneously. Through this powerful synergy, the text is magnified and transformed through music, especially through its textural aspects. This study begins with a short biographical sketch of Robert Kyr, followed by a discussion of its scope, especially with respect to a working definition of texture. This is followed by a discussion of Kyr's unique process of fusing text with music. Finally, several in-depth analyses of representative works will show how Kyr's treatment of texture helps to bring out the deepest meaning of his chosen texts. The following works are examined in depth: Magnificat, Songs of the Shining Wind, movement 4 ("Early Light/A Hair of Sound"); "De Profundis" (from A Passion According to Four Evangelists); Italian Motets, movement 3 ("Canticle of the Brother Sun"); and Let There Be Music , all four movements.

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Tucker, Carlton S. "The Choral Works of Robert Ward: A View of His Compositional Approach to Text Settings and His Use of Symbols and Allusions." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3604.

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Windt, Nathan John. "A Conductor’s Guide to Selected Short, Pre-Viennese Liturgical and Sacred Choral Works of Wolfgang Amadeus Mozart." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211394102.

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Walters, Christopher Matchette. "A conductor's analysis of standard choral works applying the high challenge-skill balance dimension of flow theory." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11078.

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Thesis (D.M.A.)--Boston University
Mihaly Csikszentmihalyi's psychological construct "flow"-a subjective state describing an individual's optimal experience and engagement during intrinsically-motivated activity-has remained influential with respect to widely divergent fields of inquiry. Review of recent literature in music psychology and music education concerned specifically with flow, or "flow theory," reveals certain aspects of musical experience, and of choral experience. However, the application of flow theory specifically to the context ofchoral music-making remains largely underdeveloped, particularly as it concerns the subjectively-perceived nature of the construct. The present document presents a conductor's analysis ofthree standard choral works in light of this subjectively-perceived nature of the high challenge-skill balance dimension of flow theory. Chapter One considers the origins of flow theory, and elaborates upon the so-called nine "dimensions" of the flow experience. Additionally, this chapter offers a review of the relevant research concerned with: flow in music learning, flow experience in group settings, and flow in choral ensembles. Chapter Two outlines the document's analytical framework, which puts forward the possibility of accounting for the subjectively-perceived nature of challenges and skills-as espoused by the most contemporary conceptions of flow theory-through the lens of identifying "salient potential challenges" in choral works. Chapter Three analyzes three standard choral works: Jean-Baptist Weckerlin's Mon coeur se recommande avous, Johannes Brahms' O schone Nacht (op. 92, no. 1), and Joseph Haydn's Te Deum (Hob. XXIIIc: 2). Salient potential challenges to be found in each piece are explored in terms of the following common analytical categories: vocal/technical challenges, tonal/rhythmic challenges, and structural awareness challenges. Chapter Four offers a concluding summary as well as suggestions for further research. Structural diagrams, and texts and translations, made available in the appendices to the document, supplement the analytical work.

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Neal, Paul Andrew. "A survey of the choral works of Vincent D'Indy, including the chansons of opus 82, 90 and 100." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495960051&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Schnipke, Richard L. "Gwyneth Walker an annotated bio-bibliography of selected works for mixed chorus /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228139768.

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Dissertations / Theses on the topic 'Works, choral'

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