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1
Johnstone, Jennifer Lynn. "Reinterpreting Welshness: Songs and Choral Membership in Cultural Identity." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334520975.
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2
Zosel, Heather. "Four Part-Songs by Herbert Howells (1892-1983)." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242453.
Повний текст джерелаАнотація:
Herbert Howells (1892-1983), an English composer, was an influential teacher and composer. He wrote in many genres including orchestral works, string quartets, and sacred and secular choral works. As Howells matured into his final compositional period (1945-1983) his style coalesced. Modal inflections were more prevalent, dissonance was harsher with fewer releases of tension, and rhythmic language was increasingly more complex. The four part-songs, Walking in the Snow (1950), The Scribe (1952), Inheritance (1953), and The Summer is Coming (1964), represent Howells' compositional approach in his secular output from this time period, and, through study of the sacred motet Take Him, Earth, for Cherishing (1964), it is evident that the melodic, harmonic, and rhythmic complexities found in his sacred works pervade the secular works as well. This document provides in-depth analysis of the four part-songs mentioned above, while paying special attention to specific melodic, harmonic, and rhythmic characteristics found in his sacred music from the same time period.
3
Woods, Timothy Erickson 1958. "Leonard de Paur's arrangements of spirituals, work songs, and African songs as contributions to choral music: A black choral musician in the mid-twentieth century." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282726.
Повний текст джерелаАнотація:
This study discusses the artistic career of Leonard de Paur, particularly his work in choral music where he has been an important figure as an arranger, and founder and conductor of the de Paur Infantry Chorus and the de Paur Chorus. His arrangements of African-American and African folk music illustrate de Paur's artistic links and progression from two of the important leaders of the African-American folk tradition, Frederick Work of the Fisk Jubilee tradition, and Hall Johnson. With his musical training from these men and from Columbia University, the Juilliard School of Music, and private study with Pierre Monteux, de Paur and his arrangements exhibit what W. E. B. Du Bois described in The Souls of Black Folk as the duality of the black American. This study analyzes seven of de Paur's spiritual and work songs arrangements, and four African song arrangements, and reveals the duality of Western and African musical elements in de Paur and his arrangements.
4
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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5
Choh, Sun Ug. "A Study of Selected Choral Compositions Based on Korean Traditional Children's Songs by Jung Sun Park." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195491.
Повний текст джерелаАнотація:
The purpose of this study is to introduce Korean choral repertoire to the United States and to help American choral conductors understand and prepare Korean choral music. I chose the selected choral compositions of Jung Sun Park because they are based on Korean traditional children's songs. Jung Sun Park was one of the pioneers in the use of Korean children's songs in choral compositions, merging them with twentieth-century compositional techniques. Recognizing the artistic value of Korean traditional children's songs and their intimate place in the heart of Korean culture, Jung Sun Park integrated Korean traditional children's songs into highly sophisticated choral compositions for professional performance by musically trained choirs. In these compositions, He merges Korean traditional tunes and rhythms with twentieth century compositional techniques and is the first to create such new music.I selected four of his choral works as the subject of this study: Sum Bag Ggog Jil [hide and go seek], Rope Skipping Song, Wal Wa Ri Cheong Cheong [a welcoming song of the first full moon of the new year], and Mom and Sister. In this study, I analyze and examine his music both from Korean and twentieth-century western theoretical perspectives. In addition to my own analysis of these choral works based on children's songs, I conducted a phone interview with Jung Sun Park to obtain his motivations, insights, and personal thoughts for his works.The intent of the study is to analyze the four selected pieces to determine how Jung Sun Park combines his unique musical language with the melodies and rhythms of children's songs. As part of the analysis, I examine the general characteristics of Korean children's songs. In addition, I analyze Jung Sun Park's integration of representative Korean music and cultural expression into his choral works, and observe the characteristics of the original children's songs in his compositions. I also provide performance suggestions for the four choral compositions, focusing on intonation, melodic structure, rhythmic accentuation, and pronunciation.
6
Hathaway, Christopher M. "Themes of Social Justice in the Choral Music of Jake Runestad." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248404/.
Повний текст джерелаАнотація:
With his thought-provoking and socially relevant music, American composer Jake Runestad has quickly become one of the most performed choral composers of the 21st century. Although music and social justice have been tied together for centuries, there is a new movement bringing social justice to American choral music in a noticeably increased manor, and Jake Runestad is a leading composer in this movement. In this paper, I provide a detailed analysis into the social justice themes employed by Runestad, interviews with him and several well-respected American choral directors programming and commissioning his music, as well as compositional devices employed within his compositions. The purpose of this study is to show Jake Runestad's place as an American choral composer by offering a historical overview of the social justice themes in American music and Western choral music separately. I will then narrow the scope to Jake Runestad, who since 2013 has been using his choral music to bring awareness to human inequalities within the United States today.
7
Ward, Perry K. "A SELECT SURVEY OF CHORAL ARRANGEMENTS BASED ON THE SONGS OF STEPHEN FOSTER TRACING DEVELOPMENTS IN MUSIC AND TEXTUAL CHANGES THROUGH THE TWENTIETH AND TWENTY-FIRST CENTURIES." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/103.
Повний текст джерелаАнотація:
Stephen Foster is acknowledged as America’s first composer of popular music. His legacy can be seen in the number of songs that are embedded in our cultural heritage – “Oh! Susanna,” “Beautiful Dreamer,” and “My Old Kentucky Home,” are but a very few of his most popular works. Stephen Foster’s songs have been incorporated into every facet of American culture including both popular and classical musical culture, television, and film. However, his legacy is complicated as it is tainted by connections to blackface minstrelsy in some works. This document seeks to trace the threads of racial sensitivity and cultural appropriation in works arranged for choral ensembles based on Foster’s songs. The arrangements chosen for this document provide a glimpse into three distinct periods of American history – pre-Civil Rights, the Civil Rights Era, and post-Civil Rights. Using a process of comparative analysis of the music and text of the originals to that of the arrangements, this document traces expected and unexpected changes in music and text associated with each period. Perhaps through the continued study of one of America’s first purveyors of popular culture, we can begin to understand our national legacy of racism more clearly and find a path towards reconciliation.
8
Kleinig, John Wilfred. "The Lord's song : the basis, function and significance of choral music in Chronicles." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359843.
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9
Barlow, Rachelle Louise. "The 'land of song' : gender and identity in Welsh choral music, 1872-1918." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/91290/.
Повний текст джерелаАнотація:
This thesis concerns Wales as the ‘land of song’. In particular, it looks at choral singing in Wales which has long been considered a male tradition. From definitions of Welsh musical traditions featured in encyclopaedias to the continued use of male voice choirs at cultural events (such as rugby matches), men are continually promoted as the only bearers of the Welsh choral tradition. By contrast, this thesis questions such an assertion by arguing that women were also key players in its development in the late nineteenth and early twentieth centuries. In this matter, I interrogate two gendered stereotypes: Wales as ‘the land of my mothers’ (with reference to the suffrage movement) and Wales as ‘the land of my fathers’ (with reference to music, sport and nationhood). Conceived as a historical ethnography, this thesis draws upon extensive primary and secondary sources to provide the first in-depth study of gender and identity in Welsh choirs. The core of the thesis is comprised of historical narratives of four case study choirs from the period under study, namely the South Wales Choral Union (led by ‘Caradog’), the Rhondda Glee Society (led by Tom Stephens) and the two Royal Welsh Ladies’ Choirs (led by Clara Novello Davies and Hannah Hughes-Thomas respectively). In each case, I provide a discussion of the choir’s origin and the social context in which it developed, details about performance practice, membership, social class, repertoire and each choir’s relationship to notions of gender and identity in Wales. Moreover, I present a new understanding of the choirs’ conductors through biographical accounts; information regarding Clara Novello Davies and Hannah Hughes-Thomas especially has not been featured in previous scholarly studies. Informed by my perspective as a Welsh woman, I present a nuanced reading of Wales as ‘the land of song’ by considering both historical narratives and personal ethnographic experiences today. In this manner, this thesis contributes to ethnomusicological literature on gendered discourse and concepts of nationhood.
10
Jilek, Dean. "The Re-Unification of Dr. Edwin Fissinger's Prairie Scenes: A Choral Cycle." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862777/.
Повний текст джерелаАнотація:
Edwin Fissinger (1920-1990) was a conductor and prolific choral composer. His compositional techniques, settings of text, jazz-influenced harmonies, and melodic propulsion fulfill an important role in each of his compositions. In the eight choral cycles he composed, Fissinger unified each cycle through thematic and textual elements. Although this resulted in a logical progression of poetry and music, Fissinger's final choral cycle, Prairie Scenes, was not published as he intended. Rather, individual selections from the cycle were published by two different publishing houses, out of sequence, and sixteen years apart. Consequently, the eight pieces are not currently performed together. Today's choral conductors, singers, and audience do not fully appreciate the value of this choral cycle and cannot understand its intended context. It is necessary to provide an in-depth investigation of the original eight-piece work Prairie Scenes: A Choral Cycle to place the appropriate organizational set together. This study illustrates the importance of the unification of Fissinger's Prairie Scenes: A Choral Cycle through a study of the poetry, the thematic material as it relates to the natural elements of the prairies, the manuscripts, and interviews with Fissinger's publishers and colleagues. An examination of Fissinger's compositional technique to convey the meaning of the text reveals a clear link between Prairie Scenes and the North Dakota prairies and its seasons. A description of the development of the choral cycle throughout music history and a biography of Edwin Fissinger and his compositional style are also included.
11
Zoeller, Anthony. "“Song of Myself”: Themes of Identity and Context in Selected Early Twentieth-century Settings of Walt Whitman." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276951594.
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12
Camargo, Cristina Moura Emboaba da Costa Julião de. "Criação e arranjo: modelos para o repertório de canto coral no Brasil." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-04112010-144243/.
Повний текст джерелаАнотація:
Esta dissertação procurou investigar a criação de obra original e de arranjo de canção como modelos de repertório utilizados pelos corais amadores brasileiros, com ênfase especial no meio universitário paulista, a partir de 1960. Um panorama histórico do século XX na música coral produzida no Brasil tornou-se necessário para localizar alguns dos fatores que determinaram a inserção de arranjos da canção popular urbana, ocorrida entre as décadas de 60 e 90, em especial como decorrência da atuação de alguns compositores do grupo Música Nova. Os dados recolhidos apontam os prováveis fatores que determinaram a inserção do arranjo da canção popular urbana (num momento já posterior aos arranjos de folclore) e revelam seus desdobramentos, como por exemplo, o surgimento de uma nova poética de escrita coral, o novo fazer coral, a inclusão da performance cênica, o predomínio do arranjo sobre as obras originais criadas para coro no repertório coral deste mesmo período e as alterações na interpretação e na vocalidade, que se transformaram para se adequar à nova escrita coral proposta pelos arranjadores deste período. Em alguns casos, tornou-se a grande busca artística de importantes grupos vocais brasileiros. Os resultados obtidos destacam a atuação de três arranjadores que iniciaram este processo: Levy Damiano Cozzella, Samuel Kerr e Marcos Leite. Nesta pesquisa serão também apontadas algumas das principais diferenças entre as linhas desenvolvidas por esses arranjadores e as influências que elas tiveram na atividade coral paulista e carioca no período, com desdobramentos que alcançam os dias de hoje. Procuraremos também verificar os fatores que levaram os corais a se afastarem das obras originais criadas para o coro no Brasil neste mesmo período, uma vez que o arranjo da canção popular urbana aos poucos foi se tornando uma busca artística, pedagógica e em alguns casos política, tanto dos regentes como dos coralistas.This thesis sought to investigate the creation of original works and arrangements as models for the repertoire used by Brazilian amateur choirs, with special emphasis on the Choir of the University of São Paulo, since 1960. A historical overview of twentieth-century choral music produced in Brazil was necessary to identify some of the factors that determined the inclusion of arrangements of popular urban song, in the repertoire occurred throughout the 60s and 90s, particularly as a result of the actions of some composers of the Grupo Música Nova (New Music Group). The collected data show the likely factors that led to the prevalence of arrangements of urban folk songs (at a period that follows the trend of arrangements of folklore materials). They also, show its consequences, such as the emergence of a new poetic of choral writing, the inclusion of theatrical performances, the little interest arose by the original works for choir composed at that same period and finally, the changes in the interpretation and vocal techniques which turned to fit the new choral writing of the period. In some cases, it became the great artistic search of important Brazilian vocal groups. The results of the research show also the fundamental contribution of three arrangers who started this process: Damiano Cozzella Levy, Samuel Kerr and Marcos Leite. This research also points out some key differences between the styles developed by these arrangers and the influence they had on the choral activity in Sao Paulo and Rio de Janeiro at that period. The effects of the models that they propose reach this day. We also examined factors that led most of the choral groups, to ignore the original works created for choir in Brazil at the same period, since the arrangement of popular urban songs gradually became the prevailing artistic research, teaching method and sometimes political, tool by both conductors and singers.
13
Jilek, Dwight. "Sven-David Sandström's Matthäuspassion: Examining J.S. Bach's Influence and Sandström's Compositional Language, Use of Symbolism, and Religious and Spiritual Motivations." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862768/.
Повний текст джерелаАнотація:
Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) examines the influence of J.S. Bach's MP on Sandström's setting in the use of characters and chorales, 2) illustrates Sandström's compositional language in MP based on recent studies on his choral music, 3) describes his use of musical symbolism, and 4) discusses his religious and spiritual motivations behind the work, as well as his preferred uses in performance.
14
Favero, Ebel Armelle. "Bernard Lallement, diplomate et musicien : les chorales franco-allemandes et le traité de l'Élysée." Thesis, Littoral, 2022. https://documents.univ-littoral.fr/access/content/group/50b76a52-4e4b-4ade-a198-f84bc4e1bc3c/BULCO/Th%C3%A8ses/HLLI/119725_FAVERO_2022_archivage.pdf.
Повний текст джерелаАнотація:
Bernard Lallement, chef de choeur et diplomate français, passe toute sa carrière professionnelle au service du ministère des Affaires étrangères. Nommé en 1965 à Berlin dans le climat de la guerre froide et la dynamique du traité de l'Élysée signée deux années plus tôt, par Charles de Gaulle et Konrad Adenauer, il use de sa qualité de diplomate pour développer la coopération entre Allemands et Français autour du chant choral. En l'espace de quinze ans, il crée les quatre premières chorales franco-allemandes (CFAs) dans les villes où il exerce ses fonctions : Berlin, Munich, Paris et Bonn. En 1982, il fonde la Fédération des CFAs qui compte aujourd'hui dix chorales en Allemagne et sept en France. Sa ténacité fait de lui un des maillons incontournables de la société civile engagée dans les relations amicales et humaines. Convaincu, tout comme les signataires du traité, que la réconciliation et la coopération passent par la jeunesse, il occupe de 1979 à 1983 le poste de secrétaire général adjoint de l'Office Franco-Allemand pour la Jeunesse (OFAJ). La musique jalonne le parcours professionnel de Bernard Lallement, que compositions et direction accompagnent. Musique et Politique se croisent lors des concerts franco-allemands commémoratifs. Et depuis la signature du traité en 1963 jusqu'à sa plus récente actualisation à Aix-la Chapelle en 2019, le diplomate musicien oeuvre à la coopération, à l'approfondissement des relations et à l'intégration des peuples français, allemands et européens. Si l'OFAJ est une référence pour la jeunesse d'autres pays, le chant choral est devenu quant à lui, et grâce à Bernard Lallement, le vecteur d'une amitié franco-allemande durable dont les CFAs sont les ambassadricesBernard Lallement, French choir director and diplomat, spent his entire professional career in the service of the Ministry of Foreign Affairs. He was the first posted to Berlin in 1965 at the time of the Cold War. In the framework of the Élysée Treaty signed two years earlier by Charles de Gaulle and Konrad Adenauer, he used his diplomatic skills to develop cooperation between the Germans and the French around choral singing. In fifteen years, he created the first four Franco-German choirs (CFAs) in the cities where he was in office : Berlin, Munich, Paris and Bonn. In 1982, he founded the Federation of CFAs, which includes today ten choirs in Germany and seven choirs in France. His tenacity has made him a key player in civil society engaged in cultural and human relations. Bernard Lallement has always been convinced, together with the signatories of the treaty that young people have a major to play in reconciliation and cooperation. He worked as Deputy Secretary General of the Franco-German Youth Office (OFAJ) from 1979 to 1983. Alongside his professional career, music has been an integral part of his life, both with his composing and direction of choirs. Music and Politics come together on the occasion of the Franco-German commemorative concerts. From the singing of the Treaty in 1963 until its most recent update in Aachen in 2019, the musician diplomat has promoted the cooperation and the deepening of integration between French, German and wider European citizens. OFAJ has become the reference for the youth of other countries. Thanks to Bernard Lallement, the choirshave become the best ambassadors from promoting lasting franco-german relationships
15
Wing, Jennifer Mary. "Resisting the Vortex: Abjection in the Early Works of Herman Melville." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04192008-191516/.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--Georgia State University, 2008.Title from file title page. Robert Sattelmeyer, committee chair; Janet Gabler-Hover, Calvin Thomas, committee members. Electronic text (215 p.) : digital, PDF file. Description based on contents viewed June 10, 2008. Includes bibliographical references (p. 207-215).
16
Schröder, Gesine. "Hermann Kretzschmars Kompositionen." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-60530.
Повний текст джерелаАнотація:
Die Beschäftigung mit Hermann Kretzschmars Kompositionen bereichert das Gesamtbild dieser musikschriftstellerisch und musikpolitisch wirkungsmächtigen Persönlichkeit. In dem Beitrag werden Kretzschmars Bearbeitungen für Männerchor und deren Bezug zu seinen Schriften untersucht; seine Originalkompositionen für dieselbe Besetzung werden mit Rücksicht auf die Leipziger Harmonielehre der Mitte des 19. Jahrhunderts betrachtet, seine Chorsätze für gemischten Chor dienen als Dokument für Kretzschmars formale Ambitionen und für seine Arbeitsweise.
Für die Geschichte der musiktheoretischen Unterweisung am Leipziger Konservatorium in der zweiten Hälfte des 19. Jahrhunderts kann Kretzschmars einseitig nur bestimmte Genres bedienendes Werk eine Quelle darstellen.
17
Hung, Ming-Fen, and 洪明芬. "The Analysis and Interpretation of Matsushita Ko’s Female Choral Work《Songs of Our Favorites》The Analysis and Interpretation of Matsushita Ko’s Female Choral Work《Songs of Our Favorites》." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/27281284048636002714.
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18
Chou, Ching-Yi, and 周靜儀. "A Study and Conducting Interpretation of Shih, Ching-Ju's Choral Works-Eighr Creative Songs." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/7ngatt.
Повний текст джерелаАнотація:
碩士國立東華大學
音樂學系
102
Shih, Ching-Ju is one of the important composers of new-generation. Her creative choral works combined the Romantic of West music and contemporary literature in Taiwan. Also, her creative choral works is in accordance with the Min-nan dialect intonation. By which, she brought new material into the Taiwanese musical scene. Shih, Ching-Ju’s creative works include strings, piano, orchestral and choral works. This thesis mainly focuses on her Eight creative songs published in “The Most Beautiful Land, Beautiful song.” There are five chapters in this thesis. The first chapter is about motivation and objective research methods. The second one is a literature review, an overview of chorus development and the lyrics source of chorus ever since Taiwanese Restoration. The third chapter is a brief biography and musical works of Shih, Ching-Ju and the “Song of land” lyricist. Chapter fourth is analysis of music and the discussion of conducting interpretations about the Eight creative songs. So that we can use the results as a basis for the interpretation of conductor through analysis, music forms, and pronunciations. The fifth chapter is the conclusion and suggestions; each chapter focuses on an integrated summary suggestions and sharing experiences to help the development of Taiwanese choral music.
19
Chong, Pek Lin. "Kenyah recreational songs and ther significance to music education." Thesis, 2014. http://hdl.handle.net/2263/40240.
Повний текст джерелаАнотація:
The Kenyah, an indigenous group dwelling in the mountainous plateau region and the upper reaches of four major rivers of Borneo, constitute one of many minority communities in Sarawak, the largest state of Malaysia. This small, isolated community has nurtured refined forms of visual and performing arts, such as the music of the sape, a boat-shaped lute which has become a national cultural emblem. Kenyah historical and socio-cultural background is shown to have played a major role in shaping the development of a sophisticated choral singing tradition featuring homophonic harmony. Their substantial repertoire of attractive recreational songs and community-wide participation in musicking form the focus of this thesis, viewed from the perspective of music education.
The growing stature of world musics within the sphere of music education has led to increasing collaboration between ethnomusicologists and music educators to investigate and disseminate traditional genres. Kenyah songs, being distinctly Asian in flavour, yet largely conforming to classical Western musical syntax, would be especially valuable for world music programmes. However, in Malaysia, the shortage of available, relevant teaching materials, especially folksongs in a variety of tonalities, ill-equips the teachers to teach music genuinely reflecting local cultures, or to implement international approaches such as those of Kodály and Orff.
Analysis of over eighty songs documented during fieldwork in two different river-systems since 1996 demonstrated that they display a range of tonalities (predominantly pentatonic, hence especially amenable to Kodály programmes), emotional variety, rhythmic consistency and associated dance movements. The song-texts feature poetic references to a variety of interesting subjects. Responses from schoolchildren, workshop-participants and teacher-trainees demonstrated that the songs held wide appeal for both inherent and delineated meanings. Many succeeded in mastering the melody, lyrics, harmony and movements despite lack of familiarity with the language.
Choral performances of the songs, although attracting some points of criticism regarding modifications, drew approval from culture-bearers who expressed gratification that non-Kenyah could perform songs fast disappearing from their own community. Kenyah recreational songs would thus be a timely addition to music classes and to choral repertoire around the world.Thesis (DMus)--University of Pretoria, 2014.
gm2014
Music
Unrestricted
20
Mugovhani, Ndwamato George. "Venda choral music: compositional styles." Diss., 2007. http://hdl.handle.net/10500/1202.
Повний текст джерелаАнотація:
Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works.
My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana.
Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity.
The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda).Art history, Visual Ars and Musicology
D. Mus
21
Peng, Hai-Hui, and 彭海慧. "A Study and Conducting Interpretation of Tang, Hua-Ying's Choral Works — Twelve Hakka Creation Songs for Children." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/09002035583889594441.
Повний текст джерелаАнотація:
碩士國立東華大學
音樂學系
101
Tang Hua-Ying (born in 1951), who was named “The principal of music” was involved in music education for almost 40 years in Taoyuan County. He has composed over 200 songs including Chinese, Taiwanese, Hakka, aboriginal, and Buddhist. Tang Hua-Ying is one of the important composers of the Modern Hakka songs as well. His composition combined with creative fusion of Western classical music and acoustic techniques. Also, his Hakka fold ballads used fresh melodies and interesting accompaniments, in accordance with the Hakka intonation. Therefore, the Hakka choral music has become an important creative source. The Hakka creative music of Tang Hua-Ying include folk songs, children’s songs and traditional adapted songs. This study mainly focused on his twelve Hakka creation songs for children choir. I hope that by studying these Hakka choral music, will learn the use of currently teaches in elementary school. The study is divided into five chapters: the first chapter is for motivation and objective research methods. The second one is a literature review, an overview of Hakka nursery rhymes and the Hakka pronunciation from four different countries. Chapter three is about Tang Hua-Ying’s brief biography and writing style which formed via interviews. Chapter four is about analyzing choral works of Tang Hua-Ying’s Hakka creative songs so that we can understand the creative backgrounds, musical forms, styles and pronunciations as a means to interpret their construction. The fifth chapter is the conclusion and suggestions; each chapter focuses on an integrated summary suggestions and sharing experiences.
22
"Insights into an Original SSAA Choral Work of Donald Patriquin: Songs of Innocence: On Poems of William Blake." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44234.
Повний текст джерелаАнотація:
abstract: Canadian composer, conductor, pianist, and organist Donald Patriquin (b. 1938) is
best known for his choral folksong arrangements but is also a composer of many original
works. Songs of Innocence, which Patriquin calls “one of my very best choral works,”
exemplifies his approach to setting text to music and provides a rich opportunity for
understanding Patriquin’s method of selecting text, creating a kind of libretto out of the
available text, setting the text to music, and conceiving of and composing instrumental
parts equal in importance to the choral parts. Also evident in this work is his attention to
such elements as precise word painting, varied theoretical approaches, and a general
musical aesthetic that focuses on beauty. This quintessential composition provides
important insights into Patriquin’s personal artistry and his approach to composition.
Patriquin does not fit text to music; instead, all of the musical elements are generated out
of the textual nuances. Patriquin’s comments on the work and his process, gleaned from
extensive email correspondence and his attendance at the U.S. premiere of the work,
provide important insights that can inform conductors and singers of his music. The study
of this suite highlights Patriquin’s expert crafting of musical elements and the methodical
layering of elements he combines to tell the musical story. Pairing Patriquin’s email
correspondence with an in-depth look at Songs of Innocence reveals his overarching
compositional ideas and underlying musical motivations.Dissertation/Thesis
Doctoral Dissertation Music 2017
23
Thorngate, Russell. "The choral cycle : a conductor’s guide to four representative works." 2011. http://liblink.bsu.edu/uhtbin/catkey/1639728.
Повний текст джерелаАнотація:
This study explores the choral cycle as a genre and analyzes in depth four representative choral cycles, all of them American, and all composed in the twentieth century. Choral cycles are multi-movement choral works intended by their composers to be performed as sets. The term “choral cycle” has been used for only about a hundred years; similar genres include song cycles, for solo voice, and cantatas, usually for soloists and choir. Choral cycles, however, typically use several poetic texts unified by common theme or common author, and do not typically contain solo movements. The evolution of the use of the term by some composers and publishers has been inconsistent, but it seems to have been an effort to describe compositions that were inadequately described by other genre names. This study shows that composers and musicologists have used the term with increasing frequency. The four choral cycles analyzed in this study are The Hour-Glass by Irving Fine, American Madrigals by Kirke Mechem, Voices by Stephen Paulus, and Five Hebrew Love Songs by Eric Whitacre. These four cycles demonstrate widely
divergent compositional techniques, performing force requirements, and uses of text. As such, they illustrate the wide range of possibilities within this genre.
In addition to the detailed analysis of the aforementioned choral cycles, this study also provides background into the historical predecessors of choral cycles. An appendix offers a list of numerous other choral cycles for consideration.Choral cycles in historical context -- The hour glass by Irving Fine -- American madrigals by Kirke Mechem -- Voices by Stephen Paulus -- Five Hebrew love songs by Eric Whitacre -- Summary and conclusions.
School of Music
24
Raditladi, Lobone Arthur. "The perceived psychosocial contributions of choral singing in a Setswana-speaking community." Diss., 2017. http://hdl.handle.net/10500/23756.
Повний текст джерелаАнотація:
Choral music has played an important role in the liberation of South African people, and it is still very popular today, including among Setswana-speaking choral groups. This study looks at the role of music, particularly choral music, in the expression of Setswana-speakers’ identity as well as the psychological effects on the psychosocial well-being of the choristers. A qualitative research approach, supported by in-depth interviews, was adopted in this study to better understand the singing experiences of two male choir conductors and two female choristers. For this purpose, thematic analysis technique was employed. The results indicate that singing in the choir contributes to the choristers’ physical, emotional, mental, social, and spiritual well-being as well as to their identity formation. Participants also highlighted challenges such as time constraints, poor leadership, socio-economic conditions, unforeseen circumstances,
discrimination against younger members, love affairs, and gossip within the choral groups. The results indicate a positive and socially engaging contribution of choral music in the expression of identity as well as in the sense of belonging and connection of choristers. The findings are in line with the literature and indicate that participation in a choir enhances and strengthens
psychosocial well-being, that is self-discipline, healthy lifestyle, self-confidence, self-esteem, motivation, physical fitness, emotional expressivity, emotional processing and stress relief, social responsibility, moral growth and development, mental alertness and focus, upliftment and inspiration, connection with God, and nurtures the community social fabric.Psychology
M.A. (Clinical Psychology)
25
Witney, Paul. "Songs of nature and spirit: the development of an individual approach to choral music composition, with reference to the works of four important Australian composers." Thesis, 2007. http://hdl.handle.net/1959.13/1418352.
Повний текст джерелаАнотація:
Masters Research - Master of Creative ArtsThe purpose of this thesis is to develop a greater awareness of the various techniques available to composers in the field of choral and orchestral composition. This is achieved through the examination of a selection of contemporary Australian works in this genre and by reflecting upon and implementing the concepts they contain in a portfolio of original works. Some of the techniques discussed include general structural principles, the relationship between instrumental and vocal sections, and the connection between text and music. The first part of the study deals with the selected scores. These have been chosen for their stylistic variety and represent the work of four established and emerging composers: Nigel Butterley, Carl Vine, Paul Stanhope, and Matthew Orlovich. The second part contains an analysis of the portfolio of original pieces and aims to identify the various technical devices and general approaches to vocal and choral writing common to the chosen composers and the author, as well as discussing points of divergence that also exist. All composers have a natural desire to deepen their understanding of the tools with which they work, and so, ultimately, this study seeks to document one person's journey along the path to the realisation of this goal.
26
Whittingham, Kevin Robert. "A Shropshire Lad in British music since 1940: decline and renewal." Thesis, 2008. http://hdl.handle.net/10500/2285.
Повний текст джерелаАнотація:
This thesis surveys all the found British settings of A. E. Housman's A
Shropshire Lad (1896) but concentrates on the period after 1940, which, the author
believes, has not previously received critical attention. A new study is timely
especially because of a renewed interest among composers in the poet's highly
influential lyric collection. The author found about 110 British composers with about
340 settings of individual poems not listed in previous Shropshire Lad catalogues.
This number adds more than fifty per cent to the known repertoire.
The search was not restricted to art song; it found, in addition, multi-voice
settings, settings in popular styles and non-vocal music. Largely because of the work
of broadly trained musicians, there is now a much wider range of medium, style and
compositional technique applied to A Shropshire Lad. There are also new ways in
which words and music relate. Different catalogues in the thesis list settings according
to period, genre, poem and composer.
The author hopes to broaden the British canon of Shropshire Lad music,
which, despite recent commissions and competitions, is still mostly limited to the
major composers of the English musical renaissance (the early decades of the
twentieth century). Accordingly, the catalogues let performers know how to obtain the
settings.
In preliminary chapters, the thesis attempts a literary examination of A
Shropshire Lad and reviews the already-researched pre-Second World War settings. It
then divides the post-1940 period into two parts–a Decline (to c.1980) and a
Renewal (since c.1980)–and surveys them. The compositions of this period are
placed in three tonal-stylistic streams of development: a mainstream tonal with ultraconservative
and atonal tributaries. Then follow detailed literary-musical analyses of post-1940 songs, song cycles, collaborative sets, and multi-voice settings. A final
summary draws together the conclusions of the individual chapters, summarizes and
evaluates the achievement of the post-1940 composers, and suggests how further
research might be carried out.Art History, Visucal Arts & Music
D. Litt. et Phil. (Musicology)
27
Maganuco, Anna Maria Grazia Rita. "Generi e metro in Sofocle. Analisi di alcuni casi esemplari." Doctoral thesis, 2020. http://hdl.handle.net/11562/1016036.
Повний текст джерелаАнотація:
Il lavoro risulta strutturato in tre macro-sezioni, organizzate sulla base dei due generi lirico-corali che costituiscono il focus della tesi e a ognuno dei quali è dedicata una sezione; queste, a loro volta, sono precedute da una lunga introduzione di carattere storico-metodologico, nella quale si stabiliscono le linee-guida della ricerca. La sezione introduttiva si propone di riprendere sinteticamente la storia degli studi relativamente a tre percorsi che costituiscono il presupposto metodologico del lavoro di tesi: la storia del concetto di genere letterario nella Grecia antica; i limiti e le finalità di una ricerca intertestuale, che metta a dialogo la tragedia attica del V sec. a.C. e la produzione lirica arcaico-classica; la validità e l’utilità di un’analisi metrico-ritmica dei canti tragici in un’ottica che, attraverso un approccio semantico all’interpretazione metrica, guarda all’intersezione di generi lirici sul piano performativo. A proposito di quest’ultimo punto, vengono prese in considerazione delle problematiche molto discusse nel dibattito critico degli ultimi decenni: come decidere quale partitura metrica è la più affidabile (opposizione fra i difensori della colometria tràdita e i sostenitori del contrario)? Quale rapporto esisteva fra il testo, il metro, il ritmo e la musica e cosa si può trarre dai primi due in assenza degli altri elementi? Delle altre due macro-sezioni, la prima si concentra sui ‘canti iporchematici’ nella produzione drammatica di Sofocle e si suddivide nei seguenti capitoli: un’introduzione al genere iporchematico, che ripercorre le fonti e i frammenti superstiti per definire le caratteristiche del genere e i possibili metri in esso impiegati; l’analisi di Soph. Ai. 693-718; l’analisi di Soph. Trach. 205-224, seguita da alcuni confronti con altri tre corali drammatici (Eur. El. 585-595; Ar. Thesm. 953-1000; Eur. Ba. 1153-1167); l’analisi di tre canti sofoclei che, per diversi aspetti, possono essere ritenuti fortemente ‘mimetici’ e forse eseguibili secondo ‘modalità iporchematiche’ (Soph. El. 1384-1397; OC 1044-1095; OC 1447-1499); l’analisi di tre scene corali di ricerca nelle tragedie di Sofocle, di per sé estremamente mimetiche (Soph. Ai. 866-878; Phil. 201-218; OC 118-168). La terza e ultima sezione si occupa di due stasimi tragici che presentano alcuni stilemi formali propri dell’epinicio: essa è composta rispettivamente da un’introduzione al canto di vittoria, relativa al suo impianto formale e al suo uso in tragedia; dall’analisi di Eur. El. 859-879 (con un raffronto finale con il frammento di epinicio composto da Euripide per Alcibiade); dall’analisi di Soph. Trach. 633-662 (corredata da confronti testuali con i precedenti corali della medesima tragedia e altri brani di poeti lirici e di Euripide).This dissertation is structured into three macro-sections, two of which linked to a specific choral lyric genre (the main focus of these analyses) and preceded by a historical and methodological introduction, where the guidelines of this research are fully outlined. The first section aims at briefly synthetize the history of studies about three paths that constitute the methodological premise of this research: the concept of ‘literary genre’ in ancient Greece; the limits and goals of intertextuality, especially concerning the relationship between fifth-century Attic tragedy and archaic and classical choral lyric production; the validity and benefit of a textual analysis of tragic songs that focusses on metre and rhythm, using these elements as heralds of meaning, thus looking at the intersections of literary genres from a performative perspective. About this last point, many problems are taken into consideration, problems that were discussed in the critical debate so far: how to choose the ‘more reliable’ metrical pattern (the current debate around ancient colometry)? In what kind of relationship where the text, the metrical pattern, the rhythm and the music and what can we say starting from the two former in lack of the latter elements? The second section revolves around the so-called ‘hyporchematic songs’ in Sophocles’ drama and it consists of these chapters: an introduction to the hyporchematic genre, where the sources and fragments are used in order to retrieve the main features of the lyric genre and the most recurrent metres; the analysis of Soph. Ai. 693-718; the analysis of Soph. Trach. 205-224, followed by three comparisons with other dramatic songs (Eur. El. 585-595; Ar. Thesm. 953-1000; Eur. Ba. 1153-1167); the analysis of three Sophoclean choral songs which can be considered strongly ‘mimetical’ for different reasons, and thus could have been performed in a ‘hyporchematical way’ (Soph. El. 1384-1397; OC 1044-1095; OC 1447-1499); the analysis of three choral research-scenes in the tragedies of Sophocles, that are strongly mimetic "per se" (Soph. Ai. 866-878; Phil. 201-218; OC 118-168). The third and last section aims to analyse two tragic stasima where some writing styles typical of the victory ode are implied and it does so in three chapters: an introduction to the epinician genre, its formal features and its employment in tragedy; the analysis of Eur. El. 859-879 (with a final comparison with a fragment of the epinician ode composed by Euripides for Alcibiades); the analysis of Soph. Trach. 633-662 (followed by textual comparisons with the previous choral parts of the same tragedy and other lyric and Euripidean fragments).
28
Li, Yun, and 李雲. "Matching Chords for MIDI Songs." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/69859675883929565079.
Повний текст джерелаАнотація:
碩士國立東華大學
應用數學系
99
A chord matching algorithm for midi songs is proposed. It is based on the heuristics that a chord and measure are likely to match if they share similar notes. Utilizing the information of duration matrix and chord matrix, this algorithm calculates the likelihood of a chord for a given measure and consequently renders the sequence of chords for the piece of music. The algorithm is essentially a music-theory based unsupervised learning method. The numerical results are based on analysis of midis of some children songs and ballads. Comparing with some popular supervised learning methods such as LDA, TREE, SVM, our method has competitive and, in most cases, better performance for the same data coding.
29
"South African choral music (Amakwaya) : song, contest and the formation of identity." Thesis, 2002. http://hdl.handle.net/10413/3083.
Повний текст джерелаАнотація:
Amakwaya refers to the tradition and performance practice of choirs in South Africa that
emerged from the mission-schools in the nineteenth century and is manifest today in the annual
competitions held by various Teachers' Associations or company-sponsored events like the
National Choir Festival. This choral practice, combining Western music styles with African
tradition, bears the marks - both social and aesthetic - of colonial and missionary influences,
and is closely linked to the emerging black middle class, their process of negotiating
identity, and their later quest for a national culture. Many aspects of contemporary amakwaya
performance practice, it is argued, including the recent interest of many members of the
amakwaya community in opera, can be understood through an analysis of the social dimensions of
these choirs. Particular attention is given to the role played by competitions and the
sectionalised repertoire. The criticisms made in this regard flow from an understanding of the
social meaning and aesthetic thrust of the tradition, from the author's practical involvement
with the choirs, and from extensive discussions with choristers and conductors. The first part
of the thesis is concerned with identifying the role played by European values such as those of
education and progress, in the self-understanding of the emerging missioneducated black South
African elite in the second half of the nineteenth century. An initial tendency towards
uncritical imitation and attempts at assimilation ended in the experience of rejection by the
settler community and isolation. It was followed, in the last quarter of the nineteenth
century, by a complex negotiation between traditional and modern values. With political, social
and economic mobility restricted in white South Africa, the black middle class turned towards
artistic expression such as choral singing in order to define and express a distinctively
African concept of civilisation. In this process, amakwaya performance developed into a
powerful means whereby class identity and consciousness could be constructed and communicated.
The second part looks into the framework of amakwaya, and at the mission schools and colleges
they attended and the competitions they organise. As a result of the practice of hymn singing,
participation in a choir soon became an important part of the leisure time activities of the
early mission converts. This formative phase of amakwaya is illustrated in a case study of one
of the most influential schools in Natal, Adams College, near Amanzimtoti, where the first
black South African School of Music was established. In order to promote the values important
to the missionaries as well as their converts - discipline, progress, and success -
competitions were encouraged at the mission stations. These became models for the competitions
which today are the main feature of amakwaya practice. The voices of various members of the
community are used to present a critical evaluation of the positive and negative aspects of
present-day competitions. The last part of the thesis concentrates on amakwaya repertoire,
particularly as it is represented at important choral competitions such as the National Choir
Festival. This part also attempts to facilitate an understanding of the genesis, structure and
aesthetic of the sectionalised repertoire, which consists of neo-traditional songs, Western
compositions, and choral works composed by mission-educated musicians. Strict adherence to the
sectionalised repertoire is a unique feature of amakwaya performance practice to the present
day.Thesis (Ph.D.-Music)-University of Natal, 2002.
30
Bradley, Deborah. "Global song, global citizens? : multicultural choral music education and the community youth choir : constituting the multicultural human subject /." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=442532&T=F.
Повний текст джерела
31
Beckman, Gary D. 1961. "The sacred lute: intabulated chorales from Luther's age to the beginnings of pietism." Thesis, 2007. http://hdl.handle.net/2152/3773.
Повний текст джерелаАнотація:
Chorale and psalm intabulations were an integral part of the German repertory for lute, both in print and in manuscript, from the beginnings of the Reformation through the seventeenth century. While these works are regularly present, if in modest proportion, in extant sources through the period, the study of these intabulations remains a lacuna in the scholarly literature. The repertory, however, is an important topic for study as it reflects key aspects of Early Modern life for devout Lutheran households: debates over orthodox and Pietist theology, private devotion and the use of domestic space, conservatism versus progressive musical approaches, and the intersection between instrumental practices and traditions of Protestant sacred song. In an effort to address this lacuna, this study catalogs chorale and psalm intabulations for lute in both print and manuscript from the early sixteenth century to the emergence of Pietism. Most importantly, it attempts to provide a context for the performance of this repertory, arguing for an assessment of lute chorales and psalms as a crucial part of domestic devotional practice.
32
Watkins, Jennifer. "'Hidden stitches, silent chords : a play in monologues' and 'Exegesis : a stitching from the inside out (including an audio CD featuring my original song, None Can Name)." Thesis, 2012. https://vuir.vu.edu.au/21722/.
Повний текст джерелаАнотація:
This MA consists of a performance script entitled, Hidden Stitches,Silent Chords (including an audio CD featuring my original song, None Can Name) and an accompanying exegesis, Stitching from the Inside Out.
The playscript was written in acknowledgement of my grandmothers and is inspired by my only tangible connection with them, their needlework. Hidden Stitches, Silent Chords is aimed at addressing, in some measure, the silences around their lives and their omissions from familial, historical documentation.
Although the playscript could be adapted to suit performance by an ensemble cast, its design as presented for this assessment, is for one actor playing seven characters across of fifteen monologues. The play explores the small moments in women’s lives from points of view represented by characters of different ages and eras. The piece is devised to accommodate minimal production costs, so that it can be performed anywhere from a kitchen or a church/community hall to a theatre. The song, None Can Name, in this presentation of the work, is played after the final monologue.
The exegesis, Stitching from the Inside Out, includes an introduction, which gives an overview of, and background to, the beginnings of the project, and indicates the scope of the subsequent chapters. The two central chapters focus on the development of play’s structure and symbolism. The play’s structure is discussed in the context of its evolution, from a linear concept to one based on the design of a lace doily/web, and how this serviced my aim of creating a cohesive meshing of fifteen monologues across the work.
The layering of the play’s imagery, around the cloth, the colour blue and spider mythology is examined in the chapter focusing on symbolism. These are discussed in terms of creating visual and textual dimensions that link the characters of the monologues, and their impact in developing a subtext throughout the piece. The concluding section, considers the combined, crucial elements of craft, the practice of writing, and determination in developing the work towards its completed form in performance.
33
Ciglbauer, Jan. "Cantiones Bohemicae - Kompozice a tradice." Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-371319.
Повний текст джерела