Dissertations / Theses: 'Composition (Music) Choral music'

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Rimkus, Sarah. "A portfolio of original compositions." Thesis, University of Aberdeen, 2018. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=240028.

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This thesis, A Portfolio of Original Compositions, contains six musical compositions and an accompanying commentary presented for the degree of Doctor of Philosophy in Music Composition at the University of Aberdeen in 2018. The focus of my research at the University is sacred choral music composition, though not exclusively; many instrumental works and secular choral and vocal works have contributed to the development of my compositional technique. The portfolio contains two large-form sacred works: the St Andrew's Mass, a setting of the mass ordinary for chorus and quartet, and Babylon, a 30-minute work for large choir and percussion on themes of journeying and solitude, excerpting texts from both sacred and American folk sources. This commentary will focus on these works, as they have been the focal point of my research at the University, with supplementary examples of techniques and ideas from the other shorter works in the portfolio. The individual chapters of the accompanying commentary will discuss various aspects of research-based composition found throughout the portfolio, with particular focus on my use of text, texture, and harmony. I will examine how these elements are used in the St Andrew's Mass and Babylon, whereas these two works comprise the bulk of my research. Additionally, I will discuss the contributions of influences from works by other composers of the past and present, as well as folk and traditional sources, to my compositional outlook and research.

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SCOTT, L. BRETT. "WHEN WORDS SING: THE CHORAL MUSIC OF R. MURRAY SCHAFER." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021408652.

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Medley, Susan Annette. "THE CHORAL MUSIC OF NORMAN DELLO JOIO." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin962990468.

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

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

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Collins, Andrew S. "Poetic Structural Devices as a Consideration When Analyzing and Interpreting Choral Scores." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1299005782.

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McKern, Brett M. "The compositions of Brett M. McKern to the greater glory of God /." Access electronically, 2005. http://ro.uow.edu.au/theses/289.

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Rogers, Brent. "The Messe de Requiem op. 54 of Camille Saint-Saëns: An Amalgamation of Contrasting Stylistic Trends in Requiem Composition in Nineteenth-Century Paris." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/581253.

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

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Reese, Janette E. "In Memoriam H.W. Reese." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc1038832/.

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In Memoriam H. W. Reese is written for chamber orchestra and small mixed chorus, in honor of the composer's father, Hardy W. Reese (March 22, 1926-Nov. 23, 1982). The piece is written in one continuous movement with a total duration of approximately fifteen minutes. Within the work there are three distinct sections, each on texts dealing with a different stage in the process of reconciliation with death.

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Lopez, Christine Sotomayor. "The choral compositions of Richard Faith: An exploration of general compositional characteristics as an annotated resource of repertoire suitable for various choral forces." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185868.

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There exists a need to explore the music of living composers--to acknowledge and advocate the merit of his or her own culture as evidenced in musical composition. Richard Bruce Faith is a living American composer who served a tenured position at The University of Arizona from 1961-1988, in the School of Music. The merit of Faith's music has been established through discussion of his compositions in professional music journals, bibliographical reviews, newspaper reviews, and graduate research documents. Many of his songs, piano works and orchestral compositions have been published. His operas have been and are continuing to be performed. Publication of Faith's compositions has historically been achieved after continuing discussion in professional journals and after regular performances have created a demand for his product. The choral works of Richard Faith are not published at this time. The choral compositions are an interesting and varied group. Their quality is consistent within the composer's compositional whole. Seventeen of the eighteen choral works were commissioned by or composed with a specific performing choir in mind. The suitability of these compositions for distinct types of choral forces is an obvious result of Faith's pre-defined compositional strictures. For instance, the four anthems for church choir are less demanding than the Three Songs for Male Chorus, which were written for a semi-professional community chorus. The compositional tools which define Faith's unique style also characterize the musical requirements necessary for a successful performance of the individual works. This measure of requisite musicianship is clear in the choral works. In fact, their origin as commissioned works and the intention of specific musicians to perform the works, determined how Faith would use his compositional tools. The search for new music suited to the abilities of singers and accompanists is an ongoing challenge for many choral conductors. Publication of Richard Faith's choral works would answer the need for new music among the great diversity of choirs. Publication of this interesting compositional body would also acknowledge a fine American composer.

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Mayhall, Ronald Bruce. "Tempo fluctuation in the Romantic Era as revealed by nineteenth-century sources and applied to selected choral compositions /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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

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

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Busarow, Linda Cressman. "Selected baroque compositions with instrumental accompaniment for amateur choir." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1181305158.

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Roush, Dean K. "On chords generating scales ; Three compositions for orchestra /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260135356248.

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Jahn, Jeffry Allen. "Richard Wagner's ''Occasional Works'' for male chorus (1843-1844): Aspects and influences on Wagner's emerging compositional style during the Dresden years (1843-1849)." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185334.

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Richard Wagner was appointed Hofkapellmeister to the Dresden Court in 1841. In conjunction with the duties of his office, he composed four works for male chorus, categorized by him as "occasional works". These works written during the first year-and-a-half of his Dresden tenure demonstrate Wagner's early assimilation of his artistic and philosophical ideals that would culminate in the composition of the opera-cycle, Der Ring des Nibelungen. Wagner's association with the male-voice choral unions of Dresden allowed him opportunity to express and define his compositional goals in his constant quest for a true and pure German art form. The "occasional works" influenced and affected his use of male chorus in the operas Lohengrin, Tannhauser and Die Meistersinger. Wagner, forced to flee Dresden after the May 1849 uprising, no longer had access to the Dresden male-voice choral unions. Consequently, the frequency of male choruses in his operas composed after this time diminishes assuming a different position, both musically and dramatically than in those operas composed prior to and during his Dresden tenure. The "occasional works" demonstrate more than a servial obligation, rather, they encapsulate the very essence of Wagner's compositional thought in a highly condensed and intensely focused form.

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Mensel, Robert. "A music of their own : the impact of affinity compositions on the singers, composers, and conductors of selected gay, lesbian, and feminist choruses /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405811&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 309-313). Also available for download via the World Wide Web; free to University of Oregon users.

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Vangerud, James Karl. "Significant Norwegian choral music since World War II: A study of the compositional styles of Knut Nystedt and Egil Hovland." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185291.

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Since the end of World War II many Scandinavians have emerged as important choral music composers. This study focuses on two Norwegian composers, Knut Nystedt and Egil Hovland. Two works by Nystedt, "Thou O Lord," and "Praise to God," and one work by Hovland, Missa Misericordiae, are analyzed to determine the most important features of the compositional styles of Nystedt and Hovland. The analysis reveals that factors such as the Norwegian national romantic movement of the late nineteenth and early twentieth century, ancient music styles such as Gregorian chant, twentieth century techniques such as neoclassicism and dodecaphony, and recent reforms in Norwegian Church music have influenced the compositional style of both men. The evidence suggests that although Nystedt and Hovland have many similarities in compositional style both men have developed a highly individual musical language that is accessible yet challenging to the listener, conductor, and choir.

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Chang, Yoonchung. "Korean Traditional Elements and Contemporary Compositional Techniques in Hyowon Woo’s Choral Music As Reflected in Gloria." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149552/.

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Among native Korean choral composers, Hyowon Woo has emerged as one of the most significant representatives of choral genre, both in Korea and internationally. She has created a new style of choral music that combines traditional Korean musical elements with contemporary Western compositional techniques, in a synthesis that generates new sonorities and effects. Her choral music falls into three basic categories: music employing direct quotation of Korean folk tunes or other elements, which produce typical Korean sonorities; music using Western practices, which produce modern and Western flavors; and music combining Korean traditional methods with modern Western concepts. Hyowon Woo’s unique contribution to contemporary Korean choral music is ideally represented by her Gloria, which will form the basis for this study. Because traditional Korean music culture has such a strong presence and influence on her choral compositions, detailed knowledge of these elements are essential for the study and performance of her work. The combination of traditional Korean music and Western contemporary techniques lies at the core of her compositional style, and is the principal focus of this study. A detailed understanding of these stylistic elements, both Korean and Western, and how they work together to achieve the composer’s purpose and vision, is vital to achieving an informed performance of this work. This study is intended to supply the conductor these needed tools and to add to the small but growing body of literature related to the performance practice not only of Woo’s significant body of choral compositions, but of Korean choral music in general.

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Schuppener, James Gregory. "Felix Mendelssohn-Bartholdy, director of music for the Berlin Court: Influences upon his unaccompanied compositions written for the Berlin "Domchor"." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185735.

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This study discusses Felix Mendelssohn-Bartholdy's appointment to the Prussian Court of King Friedrich Wilhelm IV, Mendelssohn's relationship with the Court (both personal and professional) and the numerous difficulties encountered with this appointment. In addition, Mendelssohn's musical responsibilities and personal feelings toward the cities of Leipzig and Berlin, Berlin's choral traditions (including a brief history of the Berlin Domchor) will also be discussed. Mendelssohn's op. 78, op. 79 and Die deutsche Liturgie written for the Berlin Domchor reflect the sometimes competing demands of the traditional liturgical genres (e.g. Masses, psalms, motets), which are more "objective" in nature and the far more "subjective" elements inherent in the Romantic "ideal" of expression. This study deals exclusively with the unaccompanied choral compositions written for the Berlin Domchor with particular emphasis given to op. 78 - Drei Psalmen, and op. 79 - Sechs Spruche.

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Rothe, Eric V. (Eric Vaughn). "Mass." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504172/.

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Mass is written for large mixed choruswind ensemble consisting of woodwind quartet (flute, oboe, Bb clarinet, and bassoon), brass quintet (two Bb trumpets, F horn, trombone, bass trombone), and recorded digital synthesizer. This setting of the Ordinary is in Latin and includes the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The duration of the work is approximately twenty-seven minutes.

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Martin, Michael G. "A Study of the Original Composition "Land of Our Birth" for Male Chorus, Brass, Percussion, Woodwinds, and Piano." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376500829.

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Liu, Hsin-Hung. "A study on compositional structure in Max Reger Phantasie für Orgel über den Choral, "Hallelujah! Gott zu loben, bleibe meine Sellenfreud!" /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11211.

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

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

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Vice, President Research Office of the. "Stephen Chatman's Dilemma." Office of the Vice President Research, The University of British Columbia, 2006. http://hdl.handle.net/2429/2702.

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Freedman, Barbara Ann. "The Impact of Technology-Based Music Classes on Music Department Enrollment in Secondary Public High Schools in the Northeastern United States." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538794/.

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The purpose of this study was to examine if the implementation of a technology-based music class in public high schools in the northeastern United States had any significant impact on the overall music department enrollment and on enrollment in traditional performance ensemble courses, such as band and chorus, as they are the courses most offered in high schools in the United States. The two phases of the study included identifying eligible schools and collecting data from schools. A six-year history of music department and school enrollment data was collected from participating schools (n = 12). Individual music classes in each school were categorized as Band, Chorus, Orchestra, Technology-based, or Other Music Classes. Results found a statistically significant increase in overall Music Department enrollment and no statistically significant change in enrollment in Band or Chorus after the implementation of a technology-based music class. Reductions in enrollment did occur in Other Music classes. No significant change to the number of teachers in music departments was found. This study suggests that implementing a technology-based music classes may help increase overall music department enrollment without negatively impacting enrollment in traditional performance ensembles and may not necessitate funding for additional faculty.

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

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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/.

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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.

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Hammerer, Mariana Ferraz Simões. "Análise interpretativa de cinco obras corais sacras do compositor Ernani Aguiar." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-08092016-155515/.

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Este trabalho busca apresentar uma análise focada na interpretação de cinco obras sacras para coro à cappella do compositor Ernani Aguiar. As obras são: Três Motetinos n° 1 (1975-1978), Três Motetinos n° 2 (1982), Três Motetinos n° 3 (1980-1986), Três Motetinos n° 4 e Três Motetinos n° 5 (1992). A metodologia de análise musical está sustentada a partir do Referencial Silva Ramos de Análise de Obras Corais, respondendo as questões pertinentes e depois transformando-as em texto corrido. Apresentamos um pequeno texto sobre sua trajetória de vida, mostrando sucintamente a atividade de Ernani Aguiar como compositor, regente e professor. Em seguida elencamos o conjunto de sua obra coral sacra para coro à cappella, apresentando informações como data de composição, texto utilizado, estreias e gravações das mesmas. Ainda, apresentamos a fundo outros detalhes sobre as composições das cinco obras estudadas. Na continuidade, apresentamos as análises de cada uma das cinco obras e discutimos pontos que ocorreram durante nosso processo de chegada a uma concepção para performance das mesmas. E é na esteira desse trabalho que abordamos as constâncias composicionais de Aguiar, seu modo de escrita e algumas de suas escolhas estéticas, concluindo assim esta dissertação.
This study aims to present an analysis focused on the interpretation of five sacred works for choir a cappella from the composer Ernani Aguiar. The works are: Três Motetinos No. 1 (1975-1978), Três Motetinos No. 2 (1982), Três Motetinos No. 3 (1980-1986), Três Motetinos No. 4 and Três Motetinos No. 5 (1992). The methodology of the musical analysis is sustained from the Silva Ramos Reference of Coral Work Analysis, answering the relevant questions and then turning them into plain text. We present a small text about his life story, succinctly showing Ernani Aguiar\'s activity as a composer, conductor and teacher. Then we list his sacred choral work\'s ensemble to the a cappella choir, presenting information, such as composition date, text used, premieres and its recordings. We also thoroughly present other details about the compositions of the five studied works. Continuing, we present the analysis of each of the five works and we discuss points which occurred during our process of arriving at a guideline for its performance. And it is in the wake of this work that we approach the compositional constancies of Aguiar, his writing mode and some of its aesthetic choices, thus concluding this dissertation.

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Schröder, Gesine. "Hermann Kretzschmars Kompositionen." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-60530.

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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.

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Bottoni, Jennifer C. "The Heart's Portrait: An Emily Dickinson Fascicle for SATB Choir and String Quartet." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/200.

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The Heart's Portrait is a twelve movement composition for SATB choir and string quartet. The eight poems selected as the text for this work were penned by the eminent American poet Emily Dickinson. The text for the first movement, Dickinson's poem "If I can stop one Heart from breaking," succinctly describes the themes she commonly expounded upon in her writings: life, love, aching, pain, and purpose through faith. The remaining seven poems were chosen because they also explore these elemental themes. The main poem returns in variation throughout the piece, resulting in a modified rondo. To complement the four-part consort of voices, I selected a consort of strings in the form of a string quartet. The role of the quartet varies throughout the work from subservient to the vocal part, to dominant of the entire texture, to an equal partnership with the voices; these relationships are dictated by the text. Throughout the movements, I was able to explore a range of compositional techniques, both traditional and contemporary, while maintaining the primary purpose of unifying the text and music. This paper illustrates the initial compositional decisions made to begin the piece, the texts chosen and their placement within the work, the poet's history as it relates to the composition, a brief discussion on composers who have set Dickinson's words, and a thorough analysis of the work itself.

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Jacobus, Enoch S. A. "A NEW GEOMETRIC MODEL AND METHODOLOGY FOR UNDERSTANDING PARSIMONIOUS SEVENTH-SONORITY PITCH-CLASS SPACE." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/10.

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Parsimonious voice leading is a term, first used by Richard Cohn, to describe non-diatonic motion among triads that will preserve as many common tones as possible, while limiting the distance traveled by the voice that does move to a tone or, better yet, a semitone. Some scholars have applied these principles to seventh chords, laying the groundwork for this study, which strives toward a reasonably comprehensive, usable model for musical analysis. Rather than emphasizing mathematical proofs, as a number of approaches have done, this study relies on two- and three-dimensional geometric visualizations and spatial analogies to describe pitch-class and harmonic relationships. These geometric realizations are based on the organization of the neo-Riemannian Tonnetz, but they expand and apply the organizational principles of the Tonnetz to seventh sonorities. It allows for the descriptive “mapping” or prescriptive “navigation” of harmonic paths through a defined space. The viability of the theoretical model is examined in analyses of passages from the repertoire of Frédéric Chopin. These passages exhibit a harmonic syntax that is often difficult to analyze as anything other than “tonally unstable” or “transitional.” This study seeks to analyze these passages in terms of what they are, rather than what they are not.

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Hansen, Chris Robert. "Contemporary choral arrangements product /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Thesis (M.C.M.)--Western Conservative Baptist Seminary, 1987.
Bound with accompanying tape of the arrangements recorded, by the mixed choral ensemble from Milwaukie First Baptist Church, Milwaukie, Oregon and the men's chorus from Western Seminary in Portland.

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Earnhart, Cari L. "Cross-culture Choral Music Education: Issues for Western Choral Conductors Related to the Performance of Arabic Choral Music." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804962/.

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The concept of choral music as defined by the Western world was foreign to Arab cultures until the colonization of the Arab world began in the seventeenth century when we began to see the Western choral style emerging in the churches of the Arab world. Group singing of traditional music was done in unison or heterophonic textures. Notated part-singing is a product of colonization, Westernization, Christianization, and now globalization. In recent years, singing music in mixed or multiple voicings not of a heterophonic nature has spread beyond the churches to the secular Arab world. As choral singing has increased in the Arab world, a new genre of Arabic choral music has emerged. In order for Western conductors to effectively teach, conduct, or perform these new works, it is important for them to develop a basic understanding of traditional Arabic musical styles and pronunciation of the language, thereby making Arabic choral music more accessible and enabling it to become a part of the larger world’s musical vocabulary. This study serves as an introductory resource for non-Arab choral conductors concerning key elements related to performing Arabic choral music and provides a context for how these elements relate to this evolving choral genre. In addition, through interviews with composers and conductors of Arabic choral music, this project will further inform the reader regarding the performance of this genre.

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Petty, Robert Allen. "Evaluation of Procedures to Develop Selected Choral Rehearsal Skills with Undergraduate Choral Methods Students." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384513025.

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Lamartine, Nicole Christopher. "A curriculum of voice pedagogy for choral conductors: The effect of solo voice exercises on individual singer technique, choral tone, and choral literature." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280427.

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The document presents a Curriculum of Voice Pedagogy for Choral Conductors based on the author's solo voice techniques derived from studio voice teaching. Included in the Curriculum is basic voice pedagogy for the chorister, a differentiation between choral warm-ups and voice exercises, five steps to cultivating undeveloped voices, the development of the undergraduate voice, and a sample semester outline of the curriculum. The Curriculum's effectiveness was tested by University Singers, an entry-level collegiate choral ensemble (n = 77), and a panel of six graduate choral conductors at the University of Arizona. Seven common choral tone (Color Voices, Intonation, and Vowel Modulation) and singer technique (Flexibility, Legato, Resonance, and Diction) issues and corresponding exercises from the Curriculum were chosen to be tested from an individual singer's standpoint and from a conductor's aural ensemble perspective. Each exercise was applied to excerpts of choral literature to test its effectiveness in helping a singer to develop the vocal skills demanded by choral music. All exercises were concluded to be successful in that singers understood the purpose, the execution, and the pedagogical function of each exercise, and were inclined to use them in future vocal experiences. In addition, all tested vocal exercises helped to develop singer technique for issues encountered in the choral literature. Furthermore, four of the seven exercises were found to have a positive effect on the ensemble's sound as judged by the panel of conductors. The ensemble sound was also positively affected by the exercises for other tested issues in six out seven cases. Results showed that a focus on building individual singer technique will improve the overall sound and vocal ability of the choral ensemble. Furthermore, individual improvement in Intonation and Legato positively influenced the ensemble sound for all other tested issues.

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Hadjeres, Gaëtan. "Modèles génératifs profonds pour la génération interactive de musique symbolique." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUS027/document.

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Ce mémoire traite des modèles génératifs profonds appliqués à la génération automatique de musique symbolique. Nous nous attacherons tout particulièrement à concevoir des modèles génératifs interactifs, c'est-à-dire des modèles instaurant un dialogue entre un compositeur humain et la machine au cours du processus créatif. En effet, les récentes avancées en intelligence artificielle permettent maintenant de concevoir de puissants modèles génératifs capables de générer du contenu musical sans intervention humaine. Il me semble cependant que cette approche est stérile pour la production artistique dans le sens où l'intervention et l'appréciation humaines en sont des piliers essentiels. En revanche, la conception d'assistants puissants, flexibles et expressifs destinés aux créateurs de contenus musicaux me semble pleine de sens. Que ce soit dans un but pédagogique ou afin de stimuler la créativité artistique, le développement et le potentiel de ces nouveaux outils de composition assistée par ordinateur sont prometteurs. Dans ce manuscrit, je propose plusieurs nouvelles architectures remettant l'humain au centre de la création musicale. Les modèles proposés ont en commun la nécessité de permettre à un opérateur de contrôler les contenus générés. Afin de rendre cette interaction aisée, des interfaces utilisateurs ont été développées ; les possibilités de contrôle se manifestent sous des aspects variés et laissent entrevoir de nouveaux paradigmes compositionnels. Afin d'ancrer ces avancées dans une pratique musicale réelle, je conclue cette thèse sur la présentation de quelques réalisations concrètes (partitions, concerts) résultant de l'utilisation de ces nouveaux outils
This thesis discusses the use of deep generative models for symbolic music generation. We will be focused on devising interactive generative models which are able to create new creative processes through a fruitful dialogue between a human composer and a computer. Recent advances in artificial intelligence led to the development of powerful generative models able to generate musical content without the need of human intervention. I believe that this practice cannot be thriving in the future since the human experience and human appreciation are at the crux of the artistic production. However, the need of both flexible and expressive tools which could enhance content creators' creativity is patent; the development and the potential of such novel A.I.-augmented computer music tools are promising. In this manuscript, I propose novel architectures that are able to put artists back in the loop. The proposed models share the common characteristic that they are devised so that a user can control the generated musical contents in a creative way. In order to create a user-friendly interaction with these interactive deep generative models, user interfaces were developed. I believe that new compositional paradigms will emerge from the possibilities offered by these enhanced controls. This thesis ends on the presentation of genuine musical projects like concerts featuring these new creative tools

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Stylianou, Constantinos Yerolemou. "Music composition." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427954.

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Bunch, M. R. B. "Composition, music." Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.642214.

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1. SIRIUS. String quartet in five movements: C, B, A, K, S Approximate duration: 68 minutes 2. Justine: Overture for dance – “The Silvery Crescent Moon” / “The Dance of the Clown”. Full orchestra. Approximate duration: 18 minutes. 3. “The Great Gate of the Capital of Kiev”. Chamber orchestra. Approximate duration: 10 minutes. An arrangement and expansion of the original piece of the same title, as composed by Modest Petrovich Moussorgsky for his piano suite, Pictures at an Exhibition. 4. i6. Song for small ensemble (counter-tenor, viola, harp and piano). Approximate duration: 10 minutes. 5. Mattinata. Choral work for solo mixed voices a capella (Soprano, Alto, Tenor, Bass). Approximate duration: 8 minutes. 6. Rose Serenades. Three pieces for piano solo: Claire; …looks, my love…; “When I can Dance…” Approximate duration: 12 minutes 7. Two pieces inspired by the Düben family of organists: - Skara, for string quartet - “Prinz Regent: Tyska Kyrkan (Swedish Prelude)”, for organ. Approximate duration: 11 minutes 8. Five O’Clock. Chamber work for small ensemble (Flute, Clarinet in A, Percussion [Sleigh Bells, Claves, Sand Block, Glockenspiel, Bongo Drums], Piano, Violin, Violoncello. Approximate duration: 16 minutes.

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MacMillan, James. "Music composition." Thesis, Durham University, 1987. http://etheses.dur.ac.uk/10283/.

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The works in this folio are not so much concerned with stylistic unity and consistency as with balancing a strongly subjective expression with the need to shape the music into an effective dramatic (or even melodramatic) entity. In achieving a successful fusion of these priorities the eight works gradually unfold various approaches to handling melodic, rhythmic, harmonic and textural parameters. In preserving and enhancing that which is purely instinctual there is an emerging realization throughout the folio that it has to be submitted to some exercise of the intellect, incorporating a degree of external pre-planning. This provides an ever-increasing security of control over my material and, I believe, a greater sophistication and facility of expression. Within this general concern there emerges one other major trait: a desire to give expression to received cultural characteristics from my own background, which is Scottish and Celtic, This is achieved either by absorbing some element of Celtic traditional music or by employing some extra-musical subject matter as an ingredient, ie: a poem as a setting or as an influence, or some quasi-programmatic handling of natural or cultural phenomena from my native country. However, the ultimate purpose in this was not to write ‘national' music (ie: any notion of parody is studiously avoided), but paradoxically to attain an individual voice.

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Benson, John Stuart. "Music composition." Thesis, University of Salford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400828.

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Carvalho, Sara. "Music composition." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367491.

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Renwick, Brendon. "Music composition." Thesis, University of York, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259823.

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Cashian, Philip. "Music composition." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/10284/.

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Carcas, Gillian Ruth. "Music composition." Thesis, Durham University, 1995. http://etheses.dur.ac.uk/10193/.

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Archbold, Paul. "Music composition." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/10188/.

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The attached portfolio is a selection of works that I have composed since October 1990. The selection includes most of the concert music written in this period but excludes the incidental music that I wrote for three productions of Astra Theatre (Woyzeck, Macbeth arid Th~e White Scourge), and incidental music to The Beggar's Opera (written for the St Magnus Festival, Orkney). Two chamber works, with which I was never satisfied, are also omitted: Catch for Three for three oboes, composed for a project for children with special needs and Chimaeric Visions for free bass accordion and percussion. The group of works submitted display several common characteristics; a fascination with instrumental colour and the variety of blends and hues available within an ensemble, a concern for shaping gesture at a motivic and a dramatic level, an interest in metaphor and metonymy in language and music and the possibility of drawing a connection between both art forms, the role of composition processes and structures in determining the perception and comprehension of a work and finally the engagement of the performer in the realisation of the-'virtual' music of the score. This commentary is intended to explore these issues in relation to my work but cannot, for reasons of scope and space, be an authoritative dissertation on each subject. I am aware of the dangers of appropriating terms and concepts from disciplines outside music and have attempted to outline the points of contact in my introductory chapter.

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Chen, Yu-Ting. "Brahms, the early choral music heritage and his piano music /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11206.

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Slusher, Hugh Douglas. "A comparison of the perspectives of college choral directors, voice teachers, and voice students concerning solo and choral singing." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392912787.

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Hansen, Christopher M. "An Analysis of Influences on Choral Performance Adjudicators' Rating Decisions of Choral Performance." Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10260567.

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The purpose of this study was to (a) examine influences on choral music adjudicators’ rating decisions of choral performance quality and (b) to see if differences existed among those influences by participants’ years of adjudication experience and academic training (degree focus). Part One of the study included eight randomly selected participants (N = 8), comprised of choral adjudication experts, to aid in the construction of the data collection instrument. Part Two of the study included a convenience sample (N = 71) comprised of choral music performance adjudicators within the southeastern United States.

For the primary purpose, the Choral Adjudicator Preference Scale (CAPS), a researcher-constructed data-gathering instrument, was developed to determine influences on choral adjudicators’ rating decisions of choral performance. A Cronbach’s Coefficient Alpha measure of internal consistency was calculated to establish reliability of the CAPS data collection instrument. A coefficient of .934 was found for the CAPS, which indicated a high level of internal consistency. Validity for the data-gathering instrument was established through three sources, (a) an open-ended questionnaire sent to the eight choral adjudicators, (b) a thorough review of the related literature and (c) verification by choral activities chairpersons among the southeastern states. For research question one (What factors influence adjudicators’ decisions when adjudicating choirs?) a principal component analysis revealed 23 items that coalesced among four factors of influence: (a) the ensemble’s performance, (b) visual aspects, (c) extra-musical aspects, and (d) the conductor’s contributions. These four factors accounted for 61.49 percent of the total variance in participants’ responses.

For the secondary purpose, a two-way repeated measures analysis of variance was calculated to determine if differences existed among factors of influence by participants’ years of adjudication experience and academic training (degree focus). For research question two (Do differences exist among adjudicators’ influences on rating decisions by years of adjudication experience?) a significant main effect was found for the factors, F (3, 189) = 216.581, p = .000, η² = .775; however, there was no main effect for years of adjudication experience, nor an interaction effect among the factors and years of adjudication experience. For research question three (Do differences exist among adjudicators’ influences on rating decisions by academic training?) a significant main effect was found for the factors, F (3, 201) = 195.326, p = .000, η² = .745; however, there was no main effect for academic training, nor an interaction effect among the factors and academic training.

A discussion of the influences on choral adjudicators’ rating decisions was presented. Recommendations for future research were suggested regarding music performance adjudication, influences on rating decisions, and characteristics of evaluators.

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Johnson, Randy. "The choral music of Samuel Barber /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11233.

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Chai, Joshua John. "POSTMINIMALIST CHORAL MUSIC: A PEDAGOGICAL PERSPECTIVE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/135.

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After the strict processes of mid-twentieth-century minimalism, a new musical style has emerged which retains extensive use of repetition, but is generally more aurally accessible, based in non-functional triadic harmony, and flexible in its compositional structure. Frequent use of non-minimalist resources, musical resources from multiple styles in a single composition, and quotation from previous historical periods define this flexibility. American choral music has many popular compositions that exhibit characteristics of this new musical style, in part because of its accessibility relative to earlier minimalist styles, and in part because it adapts easily to the choral setting. At the same time, teaching this music to choirs requires resources that are not in standard-practice choral pedagogy textbooks or peer-reviewed choral journals. This monograph utilizes newer research in musical analysis and several recent writings attempting to generalize the postminimalist style to develop a definition of choral postminimalism. Then, this monograph also suggests analytical approaches and resources for choral warm-ups, score preparation, and other pedagogical tools for three pieces: Arvo Pärt’s The Beatitudes, Nico Muhly’s Bright Mass with Canons, and Tarik O’Regan’s The Ecstasies Above.

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Wang, Wei-Chun. "The effect of seating arrangements on the mixed choral ensemble /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405851&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 153-160). Also available for download via the World Wide Web; free to University of Oregon users.

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Dissertations / Theses on the topic 'Composition (Music) Choral music'

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