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1.
CHENG, WEI.
A CONDUCTOR'S GUIDE TO SOFIA GUBAIDULINA'S ST. JOHN PASSION.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2006, University of Cincinnati
► Sofia Gubaidulina first gained world recognition on 30 May 1981 with the…
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▼ Sofia Gubaidulina first gained world recognition on 30 May 1981 with the premiere of her violin concerto, Offertorium. Since then her reputation has grown rapidly. She has received numerous honors and awards, and she has also been the recipient of commissions from many of the foremost orchestras and festivals. However, the scholarly resources on Gubaidulina’s choral compositions are limited. This document provides a detailed guide to Gubaidulina’s St. John Passion based on the manuscript score revised in February 2004. There are three chapters included in this document. Chapter One introduces Gubaidulina’s general compositional approach. In the second chapter, a brief history of Passion musical settings is introduced, including the “Passion 2000” project commissioned by International Bachakademie Stuttgart and its artistic director Helmuth Rilling. Gubaidulina’s St. John Passion is one of four Passions commissioned for this project. In the core chapter, Chapter Three, each movement is discussed and includes the source of text, rehearsal preparations with formal analysis, rehearsal suggestions and performance suggestions.
Advisors/Committee Members: Rivers, Dr. Earl G.
Subjects: Music
Keywords: conductor's guide; Sofia Gubaidulina; St. John Passion; Passion 2000 project; Choral
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2.
CHOI, YOUNG JU.
SURVEY OF CHORAL MUSIC BY SELECTED TWENTIETH-CENTURY KOREAN COMPOSERS.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2005, University of Cincinnati
► My thesis, “Survey of Choral Music by Selected Twentieth-Century Korean Composers,” will…
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▼ My thesis, “Survey of Choral Music by Selected Twentieth-Century Korean Composers,” will deal with the choral works by seven twentieth-century Korean composers: Byung-Chul Choi(B.1935), Byung-Dong Peik(Boo-Ki Chung's work “Jub Dong Bird" Boo-Ki Chung's work “Jub Dong Bird" In- Young La(B.1936), Young- Jo Lee(B.1943), Dong-Hoon Lee(B.1945), Jung-Sun Park(B.1945), Boo-Ki Chung(B.1954) and Sun-Kyo Lee(B.1960). These composers, well educated or trained in the styles and idioms of their native Korean musical tradition, all studied Western styles and procedures of composition in the United States or Europe, and combine in their works element Jung-Sun Park(B.1945), s of Korean and Western musical forms, styles, and procedures. Although Western music was introduced in Korea only about 120 years ago, it has developed rapidly. A survey of choral compositions by the seven composers selected will show the use of Korean traditional styles in their Western-inspired music. Following are the compositions included: Byung-Chul Choi(B.1935) Boo-Ki Chung's work “Jub-Dong Bird," In-Young La's “Ka Si Ri," Young-Jo Lee's work “Kyung," Jung-Sun Park(B.1945). The Conclusions Chapter summarizes the main characteristics of the choral music of each composer and provides some suggestions for further research, evaluation, and to make it better known. The format of the thesis is in two volumes: the first volume includes the content of the research and a catalogue of choral pieces by the selected composers; the second volume includes some music scores.
Advisors/Committee Members: Leman, Dr. John.
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3.
COYLE, PATRICK O.
SIGNIFICANT MALE VOICE REPERTORY COMMISSIONED BY AMERICAN GAY MEN'S CHORUSES.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2006, University of Cincinnati
► Gay and lesbian choruses in the United States have actively commissioned new…
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▼ Gay and lesbian choruses in the United States have actively commissioned new works since they first came into existence. From miniatures to major works, the resultant compositions have come from emerging composers, as well those who are world-renowned. This document was written for the purpose of illuminating three significant works commissioned by American Gay Men’s Choruses: Of Rage and Remembrance by John Corigliano, Night Passage by Robert Moran, and Eos by David Conte. Chapter One contains a brief history of the gay choral movement, including the choruses in the United States that banded together to form the Gay and Lesbian Association of Choruses, and a preface to the following chapters. Chapters Two through Four examine the three works. Each of these chapters serves as a guide to the specific composition from the conductor’s perspective, with the intent of providing a resource to conductors considering performing the works. The intent of this document is to assist conductors in their discovery of the salient points of the music: information about the commissioning, performance forces, textual sources, overall structure, compositional techniques and performance issues. Also included is an appendix that includes libretti and transcript of the author’s interview with Robert Moran.
Advisors/Committee Members: Leman, Dr. John.
Subjects: Music
Keywords: gay; lesbian; gay and lesbian; lesbian and gay; choral; gay and lesbian choral movement; lesbian and gay choral movement; Male chorus; Men's chorus; GALA; Gay and Lesbian Association of Choruses
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4.
Hanson, Lisa B.
DOMINICK ARGENTO'S JONAH AND THE WHALE : A STUDY OF THE ORATORIO AND COMPARISON TO REPRESENTATIVE TWENTIETH-CENTURY ORATORIOS.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2001, University of Cincinnati
► Dominick Argento's musical style has been characterized as "eclectic" because of the…
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▼ Dominick Argento's musical style has been characterized as "eclectic" because of the diverse compositional techniques he employs, juxtaposing the old with the new. In his vocal works, this eclecticism is dictated by his desire to deliver the text. Argento's preference for vocal composition and communicating text is the impetus for his composition. Jonah and the Whale is exemplary of his style, and the variety of compositional techniques in this oratorio includes chorale, fugue, free serialism, and free tonality. In choosing texts, Argento is again drawn to juxtaposing the old and the new. Jonah and the Whale includes seven different texts spanning seventeen centuries. The majority of the libretto is taken from a fourteenth-century poem, Patience . Other texts include the King James Bible, Kyrie Eleison, the De Profundis, the hymn, "Praise to the Lord," a sea shanty, "Greenland Fishery," and original verse by Argento. Diverse in its anachronistic juxtaposition of texts and musical settings, the oratorio is bound together by structural elements and a tone row, which is pervasive, but not employed exclusively. Another unifying device in Jonah is the symbolism of "threes," inspired by a trefoil pattern in a Swedish painting depicting Jonah. The tone row is based on ascending and descending diminished triads. The orchestra is a trio of trios: three trombones, three percussionists, and three keyboards. "Praise to the Lord" is written in 3/4, with three flats, and six-bar phrases. Other forces include SATB chorus, soprano, tenor, and bass soloists, and a narrator. With its diversity of text and musical styles, Jonah and the Whale is not only unique in Argento's choral works, but in the genre of twentieth-century oratorio. Three representative oratorios, The Way of Jesus , by Alan Hovhaness, Golgotha , by Frank Martin, and A Child of Our Time , by Michael Tippett, have been chosen for comparison to Jonah , based on their diversity of compositional techniques, texts, or propensity to Argento's style. Jonah and the Whale is exceptional in its genre, not only in its variety of composition and texts, but in its powerful communication of Jonah's story through both music and verse.
Advisors/Committee Members: Rivers, Earl.
Subjects: Literature, Medieval; Music
Keywords: JONAH AND THE WHALE; ARGENTO, DOMINICK; TWENTIETH-CENTURY ORATORIOS; ORATORIOS
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5.
Johnson, Dirk.
A Conductor’s Guide to the Masses of Charles Gounod.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2009, University of Cincinnati
► Sacred music holds a prominent place in the overall output of the…
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▼ Sacred music holds a prominent place in the overall output of the French Romantic composer, Charles François Gounod. Despite this emphasis on sacred genres, Gounod is much better known as a master of French opera than as a composer of religious works. Likewise, Gounod’s choral music, the majority of which is sacred, remains largely unfamiliar. His sacred choral music includes sixty-five motets, six Anglican anthems, three oratorios, four sacred cantatas, nineteen French devotional partsongs, and twenty-one masses. This document examines Gounod’s twenty-one mass settings to clarify the importance of religious choral music in his creative activities while identifying qualities of his sacred compositional style.The first four chapters provide necessary background for a discussion of the masses. A brief introductory chapter details the prominence of sacred choral music in Gounod’s oeuvre. Chapter Two addresses mass composition in nineteenth-century France, providing an overview of political and cultural influences on sacred music during Gounod’s life and a review of the mass output of the centuries’ most important French composers of sacred music. Chapter Three describes the biographical events and conditions that pertain to Gounod’s mass compositions, highlighting the central role his personal religious convictions played in his ongoing commitment to sacred music. Chapter Four presents a brief overview of Gounod’s mass output, describing general characteristics of his religious style, providing a catalogue of his masses, and outlining a methodology for the discussion to follow. Chapters Five, Six, and Seven contain descriptions of Gounod’s masses. Chapter Five describes his masses with organ accompaniment, Chapter Six explores his masses with orchestral accompaniment, and Chapter Seven considers his requiem masses. His unpublished masses, by necessity, are only discussed in reference to their biographical context. Because of the large number of published masses, and the nature of this document as an overview of the genre, the musical discussion of the published masses focuses on the most salient musical features of each mass movement. Due to its place within the modern performance repertoire, the Messe Solennelle de Sainte Cécile receives an extended discussion in Chapter Six. Similarly, the Requiem (1893) in Chapter Seven is discussed at greater length due to its historical significance as Gounod’s final composition.
Advisors/Committee Members: Rivers, Earl.
Subjects: Music
Keywords: Charles; Gounod; mass; masses; messe; music; choral; choir; sacred; church; France; French; Romantic
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6.
Klausmeyer, Sue T.
A CONDUCTOR'S STUDY OF MUSICAL MOTION AND SOURCES OF INVENTION IN SELECTED CHORAL WORKS BY JOHN TAVENER.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2000, University of Cincinnati
► Few composers of serious music ever achieve the status of rock stars.…
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▼ Few composers of serious music ever achieve the status of rock stars. A notable exception is British composer John Kenneth Tavener (b. 1944). When his Song for Athene was performed at Westminster Abbey during the memorial service for Diana, Princess of Wales, and broadcast live by the BBC, his name and the sound of his choral writing became part of a global experience. Choral music figures prominently in Tavener's list of works and offers examples of a variety of formal structures. From small carol settings to monumental works for multiple choirs and orchestras, Tavener's music documents his own spirituality with the tools of a twentieth-century composer. Indeed, religion, mysticism, and transcendental thought are major influences in Tavener's writing. This thesis investigates musical motion and the sources of invention in selected choral works by John Tavener. Tavener's music is sometimes described as possessing aural complexity and stillness. How a sense of motion is incorporated into this fabric of stillness is a technique that may be subtle or overt on many levels. The works chosen for stylistic analysis here represent a sampling of Tavener's writing for chorus, giving opportunity to observe what sources of invention were employed by the composer in creating the work, determining how a sense of musical motion was created and sustained in the work, and analyzing what formal structures resulted from the composer's musical choices. Chapters Two through Six examine eight works by Tavener written during the period 1970-92. The works chosen for this study are: Celtic Requiem (1969), Nomine Jesu (1970), Ultimos Ritos (1972), Ikon on the Trinity (1990), Ikon of the Crucifixion (1990), The Lamb (1982), The Tiger (1988) and We Shall See Him As He Is (1992).
Advisors/Committee Members: Rivers, Earl.
Subjects: Music
Keywords: John Tavener; Choral Music; British Twentieth Century Choral Music
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7.
LAMB, ROBERT E.
Michel-Richard de Lalande's In convertendo Dominus: A Performing Commentary.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2006, University of Cincinnati
► This document presents a modern edition of Michel-Richard de Lalande’s motet In…
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▼ This document presents a modern edition of Michel-Richard de Lalande’s motet In convertendo Dominus(1684; revised before 1726) along with information that choral conductors attempting to perform grands motetsshould find immediately useful. This particular grand motetis one of several by Lalande that have not previously been published in modern edition. The document presents a brief historical background of the Bourbon monarchy and the artistic climate that gave birth to the Versailles-style grand motetin the grand siècle. The origins of this genre are explored and the grand motet’s development is traced up through the works of Lalande to its popularity throughout the remainder of the eighteenth century at the Concert Spirituel. An overview of the primary sources of Lalande’s motets is presented, including facsimiles of title and dedication pages of several important manuscripts, along with translations and descriptions of their contents. An overview of current research and thought on the difficulties and ambiguities of French Baroque performance practice is included in hopes of encouraging performers who might otherwise be hesitant to essay such a study and performance. As we approach the three-hundred-fiftieth anniversary of Lalande’s birth, it is this author’s hope that this document will find its place in the growing body of research about his affective and exciting oeuvre.
Advisors/Committee Members: Rivers, Dr. Earl G.
Subjects: Music
Keywords: La Lande; Delalande; grand motet; French Baroque choral music; Versailles; Baroque performance practice; Concert Spirituel
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8.
Langager, Graeme Michael Allyn.
Of Text and Tune: The Relationship Between Words and Music in the Choral Music of Gerald Finzi.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2006, University of Cincinnati
► The life and music of English composer, Gerald Finzi (1901-56) has received…
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▼ The life and music of English composer, Gerald Finzi (1901-56) has received relatively little critical study; that which has been done, however, especially regarding the choral and vocal music, often focuses on Finzi’s gift for setting words to music. On account of this unique gift, Finzi has been referred to as the English Hugo Wolf. This document focuses on his special ability to interrelate the words and music, and on the set of key factors that helped him develop this talent. A brief biographical study will reveal three major influences on Finzi’s life and music: an association with the finest English composers of the late nineteenth and early twentieth century; a fondness for all things English, including Great Britain’s musical heritage, its manner, its unique geography, and its great authors and poets; and a worldview affected by tragic events and losses in his life. Selected anthems will be considered in order to examine generalities of Finzi’s compositional traits. Finally, a detailed analysis of his Opus 39, In Terra Pax – Christmas Scene, will be presented. This work for chorus and orchestra was his last choral/orchestral composition and, by some accounts, represents the best of his entire oeuvre. The study, therefore, considers the work as being characteristic of the best of his compositional techniques and discusses those techniques accordingly. This document concludes that Finzi is worthy of consideration among the elite of the English composers of the first half of the twentieth century based on the craft of his compositional technique. The aim of this research document, therefore, is threefold: first, to review Finzi’s biography and the most significant influences on his life and compositional style; second, to analyze his compositional style—especially those aspects that pertain to his ability to relate text and musical elements; and finally, to present a conductor’s study of a representative work, Opus 39, In Terra Pax.
Advisors/Committee Members: Coker, Dr. Stephen.
Subjects: Music
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9.
Lee, Pyng-Na.
Psalms of Felix Mendelssohn-Bartholdy.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2000, University of Cincinnati
► The opinion frequently has been expressed that Felix Mendelssohn-Bartholdy’s (1809-47) greatest accomplishment…
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▼ The opinion frequently has been expressed that Felix Mendelssohn-Bartholdy’s (1809-47) greatest accomplishment lies in the realm of church music. Eduard Devrient, a singer and a friend of Mendelssohn, teased him: “twenty-two years old, and nothing done for eternity.” Certainly, Devrient meant that one could not become famous by composing psalms and chorales, and he advised him to write operas. Mendelssohn’s choral works are frequently overshadowed by his own orchestral works, and most of his choral works have been neglected. He wrote numerous choral works in a variety of genres. Moreover, in his sacred choral works Mendelssohn employed four languages – Latin, German, English, and French. Three languages, Latin, German, and English are used in his psalm settings. The purpose of this thesis is to provide a complete survey of Mendelssohn’s psalm settings. Over a twenty-five year period from 1822 to 1847 Mendelssohn composed twenty psalms which also show a great variety of styles. Psalm 2 (1843), Psalm 43 (1844), and Psalm 22 (1844) are for a cappella double chorus. Psalm 100 (1843) is originally scored for choir and small orchestra; however, the original manuscript is lost, and only the simplified a cappella version exists. Psalm 100 (1847) is set in SATB chorus in a Renaissance style. Psalm 66 (1822) is for double female chorus with basso continuo. Psalm 115 (1830), Psalm 42 (1838), Psalm 95 (1841), Psalm 114 (1841) and Psalm 98 (1843) are for chorus and orchestra. The introduction of this thesis describes Mendelssohn’s concept and expectation toward church music. The following chapters provide the analysis of each psalm setting with focus on the text-music relationship, the achievement of dramatic and contrasting elements and the unifying devices. The background materials relevant to each psalm setting are also included. The final chapter contains a summary and concluding remarks with a discussion of the unique features employed in the fugues.
Advisors/Committee Members: Leman, John.
Subjects: Education, Music
Keywords: Mendelssohn-Bartholdy; psalms; sacred choral music
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10.
LENSSEN, DEBRA.
MAX REGER'S FINAL CHORAL/ORCHESTRAL WORK: A STUDY OF OPUS 144 AS CULMINATION WITHIN CONTINUITY.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2002, University of Cincinnati
► As their composer's final completed works for chorus and orchestra, Der Einsiedler…
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▼ As their composer's final completed works for chorus and orchestra, Der Einsiedler and Requiem, op. 144a and b, demonstrate Max Reger's mature ability when setting poems of recognized literary merit. These powerful single-movement works from 1915 defy many stereotypes associated with their composer. They manifest a lyrical beauty, a dramatic compactness, and an economy of musical means. The central theme of both is mortality and death. Chapter 1 of this study provides biographical material on Reger gleaned from current and historical materials published largely in German. Chapters 2 and 3 contain analyses of the poems by Joseph von Eichendorf and Christian Friedrich Hebbel set in op. 144a and b and an identification and analysis of the harmonic, melodic, textual, structural and timbral properties of Reger's response to them in the Zwei Gesänge für gemischten Chor mit Orchester, op. 144. The finding is that his careful control of compositional parameters in these works results in a powerful distillation of lifelong compositional habits. In these challenging works, his mastery of impulse, technique, and material is apparent. Op. 144 constitutes both a continuation of Reger's choral/orchestral style in earlier works and, by dint of the composer's death as a mid-aged man, the culmination of it. A consideration of those earlier works in Chapter 4 finds that, though no stylistic linear development is clearly discernable from one choral/orchestral work to the next, there exist clear similarities in approach and style between all Reger's works in this genre, indicating at the very least a consistency of creative impulse and stylistic inclination.
Advisors/Committee Members: Leman, Dr. John.
Subjects: Music
Keywords: Max Reger; Der Einsiedler; Hebbel Requiem; Requiems
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11.
McGahie, Paul Douglas.
THE CHORAL FUGUE: A COMPARATIVE STUDY OF STYLE AND PROCEDURE IN WORKS BY J.S. BACH AND W.A. MOZART.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2006, University of Cincinnati
► It is proposed that the fugal writing found in W. A. Mozart’s…
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▼ It is proposed that the fugal writing found in W. A. Mozart’s choral movements of his major choral-orchestral works can be favorably compared to those of the earlier master composer J. S. Bach in terms of mastery of contrapuntal technique, fugal procedure, creative invention, and artistic inspiration. The primary differences in the style and procedures found in the choral fugues of Bach and Mozart result from the differing musical styles of their separate lifetimes and their unique and unusually gifted creative personalities. Seen through the medium of combined chorus and orchestra Bach’s fugal writing will be seen to exist as a procedure, not a form, which allowed him to an amazing variety of music within this single genre. The reader will also be shown how Bach’s fugal polyphony was disseminated to succeeding generations and how Mozart’s exposure to the music of Bach coincided with changes in his choral fugal writing.
Advisors/Committee Members: Rivers, Dr. Earl.
Subjects: Music
Keywords: music, choral music, choral fugues, fugues, Bach, J.S., Mozart, W.A., choral
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12.
Medley, Susan Annette.
THE CHORAL MUSIC OF NORMAN DELLO JOIO.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2000, University of Cincinnati
► Norman Dello Joio is a significant voice in twentieth century American music.…
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▼ Norman Dello Joio is a significant voice in twentieth century American music. His compositions have won him a Pulitzer Prize for music, an Emmy Award, two Guggenheim Fellowships, two New York Music Critic's Circle Awards, the Town Hall Composition Award, and the Elizabeth Sprague Coolidge Award. Such notable conductors as Walter, Szell, Ormandy, and Reiner have performed his works. He is one of only a few contemporary American composers who has been able to make his entire living composing. Despite Dello Joio's prominence as a composer, little attention has been devoted to his choral output. His contribution to American choral music warrants such a study. The choral music of Dello Joio spans five decades and includes over fifty titles. He seeks in his music to appeal to a broad public. By drawing from an eclectic mix of influences familiar to the listener, he is able to write music that communicates immediately with an audience. The purpose of this thesis is to provide choral conductors with a document that closely examines the compositional devices that make Dello Joio's choral music stylistically distinctive, speculates on the ways in which these devices make his music accessible to a variety of audiences, and includes a descriptive survey of all of the composer's published choral works. This document is also intended as a reference for the conductor considering performing a Dello Joio work, as it contains insights into the composer's organization of musical material and specific information on each choral work including circumstances surrounding its composition, characteristics unique to the work, origination of text, text setting, voicing, forces required, publisher, and timing. The first chapter includes biographical information on the composer. Chapter 2 focuses on Dello Joio's compositional devices as well as his choice and setting of texts. Chapters 3 and 4 consist of a chronological survey of all of his published secular and sacred choral works respectively, providing specific information on each work. The Appendix contains an alphabetical listing of this music, including voicing, publisher, forces required, and timing.
Advisors/Committee Members: Leman, John W.
Subjects: Music; Education, Music
Keywords: CONDUCTING; AMERICAN COMPOSER; PULITZER PRIZE; CONTEMPORARY MUSIC PROJECT; 20TH CENTURY MUSIC COMPOSITION
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13.
Mitchell, Aaron Paul.
A Conductor's Guide to Ariel Ramírez's Misa Criolla.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2009, University of Cincinnati
► Although Misa Criolla has been a popular work since the first recording…
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▼ Although Misa Criolla has been a popular work since the first recording was issued in 1964, until recently there has been little written about the work itself, or its composer, in part because of the unique and localized folk elements that constitute its compositional framework. Composer and pianist Ariel Ramírez spent much of his life studying and promoting the folk traditions of his homeland in Argentina. Once he composed and recorded Misa Criolla, following right on the heels of the second Vatican Council with a newly authorized translation of the mass into Spanish, the work quickly gave him an international presence. While widely admired, Misa Criolla is sometimes viewed with a degree of skepticism by conductors in North America because of a lack of available information related to the traditional elements in the music, the creole instruments used in its scoring, challenges with language and rhythm, and questions about the viability of the available printed score. This conductor’s guide will seek to demystify the work, focusing on practical issues that conductors face in preparing and presenting Misa Criolla. After establishing a background on the composer and his most popular composition, this guide will examine the traditional dance rhythms and song forms that create a structural backbone for each movement, providing examples from regional folk traditions. Primary areas addressed will also include a discussion and comparison of existing editions, problems associated with existing scores, instrumental parts, and the role of improvisation, as well as a detailed examination of conducting and rehearsal concerns and a comprehensive IPA transcription of the text. The aim of this document is to aid conductors in their efforts to present informed and successful performances of Misa Criolla.
Advisors/Committee Members: Rivers, Earl.
Subjects: Music; Music education
Keywords: Ariel Ramírez; Ramirez; Misa Criolla; conductor's guide; performance guide; Argentina; folk music; vidala; baguala; carnavalito; yaraví; chacarera; carnaval; estilo
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14.
Monroe, J. Carlton IV.
A Conductor's Guide to the Choral Works of Chen Yi.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2009, University of Cincinnati
► Title: A Conductor’s Guide to the Choral Works of Chen YiAuthor: J.…
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▼ Title: A Conductor’s Guide to the Choral Works of Chen YiAuthor: J. Carlton Monroe IV Degree: D.M.A., University of Cincinnati, 2009 Chen Yi is an important contemporary composer of instrumental and choral works. She has been recognized with numerous awards and honors, and has received commissions from major arts organizations and ensembles. Her compositional style reflects a unique combination of traditional Chinese elements, folk songs, and style with Western techniques, formal structures and harmonic language. This document examines her choral music with an emphasis on assisting the conductor or performer in creating an informed and artistic performance. It includes biographical information, an analysis of representative original works for chorus, and a chronological list of choral works.
Advisors/Committee Members: Rivers, Earl.
Subjects: Music
Keywords: Chen Yi
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15.
MORGAN, JENNIFER SUSAN.
A CONDUCTOR'S GUIDE TO SELECTED CHORAL-ORCHESTRAL WORKS OF EMMA LOU DIEMER.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2005, University of Cincinnati
► Emma Lou Diemer (b. 1927), an accomplished American composer, educator, and performer,…
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▼ Emma Lou Diemer (b. 1927), an accomplished American composer, educator, and performer, has written 180 choral works. Best known in the world of choral music for her Three Madrigals, Diemer’s favorite compositional medium is chorus with orchestral accompaniment. Chapter One contains a biography placing Diemer’s choral-orchestral compositions in context, a categorical summary of Diemer’s choral output, and a preface to the following chapters. Chapters Two through Eight examine seven of Diemer’s choral-orchestral works. Each of those chapters serves as a conductor’s guide to the specific piece, with the objective of providing a resource to conductors who might prepare and present these works. This document was written for the purpose of assisting choral conductors by providing the following information about each composition: dedication or commissioning data, composer’s notes, quotes from interviews, correspondence, sources (texts, Diemer notebooks/sketches, composition drafts/manuscripts, full score), vocal and instrumental requirements, past performances (arrangements for the first performance, subsequent performance history, critical reception/reviews), encapsulated analysis in tables (form, subsections/text, compositional elements, harmonic context, textures), special suggestions for conductors, performance issues (a discussion of the choral and orchestral parts, an assessment of the works’ respective difficulties), proposed program notes, bibliography specific to the composition, and discography specific to the composition. The works addressed in these guides for Chapters Two through Seven are: To Him All Glory Give, Anniversary Choruses, Invocation, There Is a Morn Unseen, To Come So, and Songs for the Earth. Chapter Eight is a conductor’s guide to a set of anthems written for Duke Chapel: God of Love and God of Power, The Church’s One Foundation, and How Firm a Foundation. Also included are a selected bibliography, an appendix of Diemer choral works not included in Ellen Grolman Schlegel’s Emma Lou Diemer: A Bio-Bibliography, and an appendix of selected photographs.
Advisors/Committee Members: Coker, Dr. Stephen R.
Subjects: Music
Keywords: Diemer; Choral Conducting; Choral-Orchestral
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16.
PARRA, CIRA GUADALUPE.
A CONDUCTOR'S GUIDE TO SELECTED CHORAL WORKS OF MODESTA BOR.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2006, University of Cincinnati
► Modesta Bor (1926-1998) was one of the outstanding Venezuelan composers, conductors, music…
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▼ Modesta Bor (1926-1998) was one of the outstanding Venezuelan composers, conductors, music educators and musicologists of the twentieth century. She wrote music for orchestra, chamber music, piano solo, piano and voice, and incidental music. She also wrote more than 95 choral works for mixed voices and 130 for equal-voice choir. Her style is a mixture of Venezuelan nationalism and folklore with European traits she learned in her studies in Russia. Chapter One contains a historical background of the evolution of Venezuelan art music since the colonial period, beginning in 1770. Knowing the state of art music in Venezuela helps one to understand the unusual nature of the Venezuelan choral movement that developed in the first half of the twentieth century. The second chapter contains a biography of the composer and takes into consideration the three main areas of influence in her musical style. In the third chapter, I discuss Bor’s compositional traits as they pertain to melody, harmony, rhythm, texture, form, and performance practice of her works, paying particular attention to providing useful information to conductors. I provided a guide to conductors in matters such as: realizing the rhythmic content of her music and interpreting rests in her music; approaching the polyphonic textures that often accompany a melody; recognizing implied tempo changes and rubato within a work that are not specified in the score; interpreting the presence or absence of dynamics in her scores; understanding the relationship between text and music; providing information to the pronunciation of the nonsense syllables. Bor’s works discussed in Chapter Three are: Balada de la luna, luna, Canto a la vida, La cabrita, Regreso al mar, Canto de paz, Manchas sonoras and Aquí te amo. Bor’s folk-influenced music and choral arrangements are addressed in Chapter Four. In some of her aguinaldos and other folk music, rhythmic and textural elements are discussed. Chapter Five consists of a complete list of Bor’s choral compositions and sources where these works may be obtained. A summary and conclusions are presented in Chapter Six.
Advisors/Committee Members: Coker, Dr. Stephen.
Subjects: Women's Studies; Music
Keywords: Venezuelan Choral Music; Modesta Bor; Women in Music
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17.
Pinsonneault, Albert.
A Conductor's Guide to Selected Choral Works of F. Melius Christiansen (1871-1955).
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2009, University of Cincinnati
► F. Melius Christiansen (1871-1955) created a pioneering American a cappella choral ensemble,…
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▼ F. Melius Christiansen (1871-1955) created a pioneering American a cappella choral ensemble, the St. Olaf Choir, which influenced an entire philosophical school of choral performance within the United States. His body of choral literature has been utilized as a significant part of secondary and post-secondary choral education, and his music is amongst the most performed American composers of his generation. This document is a conductors' guide to selected Christiansen repertoire. The literature selected displays his diversity of genres and compositional styles, and represents his most integrous work. This document will explore eleven compositions in detail, Beautiful Savior, Built on a Rock, Celestial Spring, How Fair the Church, Lamb of God, Lost in the Night, Lullaby on Christmas Eve, O Day Full of Grace, Praise to the Lord, Psalm 50, and Wake, Awake. For each piece the document will include origins of source materials, structural graphs with phrase analyses, guides to obsolete words and pronunciations, employment of choral forces within divisi, issues of tempi and rubato, and other preparatory suggestions for the prospective conductor.
Advisors/Committee Members: Scott, Brett.
Subjects: Music
Keywords: F. Melius Christiansen; St. Olaf; a cappella choir; beautiful savior; christiansen
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18.
SCOTT, L. BRETT.
WHEN WORDS SING: THE CHORAL MUSIC OF R. MURRAY SCHAFER.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2002, University of Cincinnati
► This thesis focuses on the choral output of the Canadian musician, composer,…
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▼ This thesis focuses on the choral output of the Canadian musician, composer, educator and activist Raymond Murray Schafer. The purpose of this study is to show how the composer's artistic concerns are reflected in this significant body of work, which at the present time includes thirty compositions. The Introduction establishes Schafer's importance as a choral composer and lists the artistic concerns that influence his music. Chapter One gives a biography of the composer and a listing of his compositions in other genres, ranging from massive musical/theatrical works to solo piano pieces. Chapter Two provides a complete survey of Schafer's choral compositions, organized according to performance requirements. Chapter Three discusses the impact of Schafer's educational theories on his choral music, reflected most clearly in his innovative notational practices and his compositions for children and amateur musicians. Chapter Four reveals how the composer's extensive work with acoustical-environmental issues has influenced his choral compositions. Chapter Five explores the importance of other cultures - eastern, indigenous, or medieval - in Schafer's choral writing, A chronological listing of the composer's choral compositions is included as an appendix. The central purpose of this thesis is to provide, for the first time, a comprehensive study of the choral output of this internationally known composer and musician. Detailed analysis of numerous works is placed within the context of the major influences on Schafer's artistic career, which are as varied as the composer's output.
Advisors/Committee Members: Coker, Dr. Stephen R.
Subjects: Music
Keywords: Raymond Murray Schafer; choral composition; children composition
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19.
Speer, Randall C.
THE AMERICAN COMPOSERS FORUM AND ITS IMPACT ON CHORAL MUSIC IN THE UNITED STATES.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2001, University of Cincinnati
► The American Composers Forum (ACF, previously the Minnesota Composers Forum) is currently…
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▼ The American Composers Forum (ACF, previously the Minnesota Composers Forum) is currently the largest composer service organization in the United States, based on membership and budget. By its own account, the organization has been extremely successful meeting its goals of connecting composers with listening public, and of assisting in career development of its member composers, especially "emerging" composers (those without national reputation). This study sought to provide a cultural and historical context for the ACF's establishment and growth. Key to the organization's corporate success are its three basic tenets: an inclusive approach to membership; a commitment to establish (or re-establish) connection between composers, performers and audiences; and a broad obligation to assist composers at whatever their respective levels of career development. These underlying principles were present at the founding of the Minnesota Composers Forum in 1973 by composers Libby Larsen and Stephen Paulus. Through grassroots, the organization's tripartite platform launched the organization into the national arena (and a subsequent name change), and it continues to underlie the ACF's wide array of offerings to American composers. It is recognized that corporate success does not necessarily equate with artistic success. Consequently, the ACF's various programs are examined from the perspective of composer-perceived national issues, especially issues that pertain to choral music. Choral selections by six ACF composers (Libby Larsen, Stephen Paulus, Carol Barnett, Randall Davidson, Anne Kilstofte, and Kurt Erickson) are described in order to represent a level of artistry and craftsmanship offered by a few composers recognized to be among the best ACF has to offer. The organization's inclusive approach to styles and membership, coupled with its Minnesota roots, places an unprecedented emphasis on choral music. Although at this point it may be too early to tell the full impact of the ACF on new music in the United States, by many appearances the organization has positioned itself well to at least have some impact, especially within choral music.
Advisors/Committee Members: Zierolf, Robert L.
Subjects: Music
Keywords: AMERICAN; COMPOSER; FORUM; CHORAL
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20.
TALBERG, JONATHAN A.
A CONDUCTOR'S GUIDE TO LEONARD BERNSTEIN'S CHICHESTER PSALMS AND AN INTRODUCTION TO AND ANALYSIS OF LEONARD BERSTEIN'S MISSA BREVIS.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2004, University of Cincinnati
► This thesis examines two larger choral pieces by Leonard Bernstein, the Chichester…
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▼ This thesis examines two larger choral pieces by Leonard Bernstein, the Chichester Psalms and the Missa brevis, with the intention of helping conductors prepare and perform the works. The paper is written to aid choral professionals, whether they be university, college, or high school conductors, church musicians, symphonic chorus masters, or the music director of a professional ensemble. Included in the paper are: a discussion of the genesis and historical circumstances surrounding the composition of each work; an analysis of formal structures and key relationships for each movement; and suggestions for teaching and conducting the Chichester Psalms. In regard to the Chichester Psalms, the appropriate tempi, instrumentation, stage placement, and rehearsal techniques are discussed, as is the use of recordings by the composer as a study guide. The paper includes figures that illuminate the form of the individual movements of both works and give graphic representation to the written analysis. A selected bibliography and discography are included.
Advisors/Committee Members: Leman, Dr. John.
Subjects: Music
Keywords: Leonard Bernstein; Chichester Psalms; Missa Brevis; Choral Works
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21.
Tasher, Cara Suzanne.
A Conductor’s Guide to the Choral Works of Lili Boulanger (1893-1918).
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2006, University of Cincinnati
► Lili Boulanger (1893–1918) composed several significant choral works that deserve recognition in…
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▼ Lili Boulanger (1893–1918) composed several significant choral works that deserve recognition in the choral canon. Best known for her Vieille prière bouddhique and psalm settings, Boulanger composed some of her greatest works between bouts of chronic suffering from a variety of intestinal complications now known as Crohn's disease, yet still became the first female composer to win the illustrious Grand Prix de Rome (1913). By addressing these works in a comprehensive manner including formal musical techniques and language solutions, I hope to provide an essential guide for conductors interested in the works of Lili Boulanger. The Conductor’s Guide discusses the following items related to each work: text sources, manuscript information, and dedication data; formal stylistic analysis of treatment of harmony, melody, texture, and motivic usage; performance history including discography, and a detailed description of rehearsal and performance issues. I also offer language assistance in a thorough IPA pronunciation guide and an accompanying pronunciation CD or embedded wave files for those reading the electronic version. The works addressed in this guide are: Hymne au soleil, Pendant la tempête, Pour les funérailles d’un soldat, Psaume 24, Psaume 129, Renouveau/, Les sirènes, Soir sur la plaine, Soleils de septembre, Sous-bois, and Vieille prière bouddhique. Deriving conclusions from my analysis of these choral works by Lili Boulanger, I provide a comprehensive Conductor’s Guide to assist future interpreters of her works and enable the conductor to make informed decisions regarding interpretation, style and rehearsal procedure.
Advisors/Committee Members: Rivers, Dr. Earl.
Subjects: Music
Keywords: Lili Boulanger; French twentieth century choral music; French symbolism; female composers; 20th century; Psalm settings
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22.
Windt, Nathan John.
A Conductor’s Guide to Selected Short, Pre-Viennese Liturgical and Sacred Choral Works of Wolfgang Amadeus Mozart.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2008, University of Cincinnati
► Wolfgang Amadeus Mozart (1756-91) composed a significant number of liturgical choral works,…
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▼ Wolfgang Amadeus Mozart (1756-91) composed a significant number of liturgical choral works, including several shorter pieces that deserve recognition in the American choral canon. Before moving permanently to Vienna in 1781, Mozart’s liturgical output included mass settings and movements, four litanies, two vesper settings, and numerous shorter sacred works composed for various occasions. It is my hope that this conductor’s guide will offer assistance to the conductor wishing to learn more about selected short, pre-Viennese liturgical works of Mozart. The works addressed in this guide are Quaerite primum regnum Dei, KV 86, three settings of Regina coeli (KV 108, 127, and 276), Scande coeli limina, KV 34, Benedictus sit Deus, KV 117, Inter natos mulierum, KV 72, Misericordias Domini, KV 222, Venite populi, KV 260, Alma Dei creatoris, KV 277, Veni Sancte Spiritus, KV 47, Te Deum, KV 141, Miserere, KV 85, two settings of Tantum ergo (KV 142 and 197), and Sancta Maria, mater Dei, KV 273. The conductor’s guide addresses the historical and liturgical contexts of eighteenth-century liturgical practice, both in greater Austria as well as Salzburg, in addition to addressing the relationship between the Mozart family and the Archbishops of Salzburg. Issues of authenticity offer assistance for the conductor wishing to learn more about the validity of these works within Mozart’s oeuvre, followed by a thorough analysis of each piece, including text source, liturgical function, formal design, melodic and harmonic treatment, motivic connection and integration, as well as detailed suggestions regarding the rehearsal and performance strategies. The inclusion of an IPA appendix in Church and German Latin, as well as current discography and score availability provides the conductor with all the resources necessary to successfully perform these works.
Advisors/Committee Members: Rivers, Dr. Earl.
Subjects: Fine Arts; Music
Keywords: Mozart; Liturgical; Sacred; Choral; Salzburg
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23.
Yoo, Esther S.
Old Wine in New Bottles: Felix Mendelssoohn-Bartholdy’s Chorale Cantatas – J.S. Bach’s Models Become “Romanticized”.
Degree: DMA, College-Conservatory of Music : Conducting, Choral Emphasis, 2006, University of Cincinnati
► Felix Mendelssohn Bartholdy (1809–47) composed eight chorale cantatas between the years 1827–32.…
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▼ Felix Mendelssohn Bartholdy (1809–47) composed eight chorale cantatas between the years 1827–32. These compositions stem from the time of Mendelssohn’s study and interest in the works of J. S. Bach, including the period that he was heavily devoted to reviving the long dormant St. Matthew Passion at the Berliner Singakademie in 1829. As a result, the chorale cantatas are evidence of Mendelssohn’s fluent understanding of Baroque forms and styles, and his assimilation of Bach’s musical language into his own compositional style. Chapter One of this document explores Mendelssohn’s compositional studies during the 1820s in Berlin and addresses the few articles and books concerning these relatively unexplored cantatas. As well, this chapter briefly introduces the eight chorale cantatas. The second chapter is a comparative study of Mendelssohn’s eight cantatas in relation to the Baroque style of compositions. Bach’s influence on Mendelssohn’s compositions is explored as well as those distinguishing characteristics that point to Mendelssohn the Romanticist. The final chapter is an analysis of Mendelssohn’s last chorale cantata, Ach Gott, vom Himmel sieh darein, with the understanding that although the composer’s compositional style is rooted in Baroque traditions, this is music of his own time.
Advisors/Committee Members: Leman, Dr. John.
Subjects: Music
Keywords: Felix Mendelssohn; chorale cantatas; J. S. Bach and Mendelssohn; Ach Gott, vom Himmel sieh darein
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