To see the other types of publications on this topic, follow the link: Sacred Cantatas.
Dissertations / Theses on the topic 'Sacred Cantatas'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 22 dissertations / theses for your research on the topic 'Sacred Cantatas.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Reul, Barbara Margaretha. "The sacred cantatas of Johann Friedrich Fasch (1688-1758) /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32766.pdf.
Full text
2
Roberson, Kevin D. (Kevin Douglas). "The Seven Last Words of Christ: A Sacred Cantata." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc935618/.
Full textAbstract:
The Seven Last Words of Christ is a sacred cantata for SATB chorus with soloists accompanied by a woodwind quintet, brass quintet and three percussionists. The text employed in this work is based on the Gospel accounts of the crucifixion of Jesus Christ in the King James Version of the of the Holy Bible. The cantata consists of seven movements with an instrumental introduction and postlude, and has a duration of approximately twenty-seven minutes. The majority of the movements are slow in tempo, reflecting the somber mood of the text. The major goal of this work is to musically represent the drama and prevailing mood present at an event of extreme magnitude and importance in the lives of Christians around the world, and to provide additional literature for special church services through the use of individual movements.
3
Forbes, Anne-Marie H., and Johann Sebastian 1685-1750 Vergnügte Ruh beliebte Seelenlust Vergnügte Ruh beliebte Seelenlust Bach. "A master's recital and analytical programme notes." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9839.
Full textAbstract:
Title from accompanying document.<br>A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator.<br>Digitized by Kansas Correctional Industries
4
Park, Chungwon. "CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194278.
Full textAbstract:
As the core of virtually all vocal and instrumental composition in the Baroque music, the basso continuo group had an extremely important role in the sacred cantatas by Johann Sebastian Bach (1685-1750). During the Baroque period, the choice of instruments was sometimes indicated by the composer, but frequently the performers had to determine which instruments were most appropriate for the particular environment and context of the music.When performing the sacred cantatas of J.S. Bach, the conductor must identify and make decisions regarding the choices and combinations of instruments for both figured and sustained continuo part. In some cases the conductor may even consider changing continuo instrument(s), movement by movement, in a cantata in which a significant shift occurs in the texture, orchestration, or dramatic function of singer's line. Since Bach's cantatas are an encyclopedia of Baroque musical style, and models of compositional techniques of the time, understanding the cantatas is a practical and effective way to gain understanding regarding his other compositions. These cantatas also present musical challenges and rewards to choirs and orchestras.In an attempt to achieve a greater understanding and establish guidelines, I will examine and propose six principles and parameters regarding choices and combinations of basso continuo instruments and obbligato instruments, examining a variety of movement types from six different sacred cantatas of J.S. Bach ; Christ lag in Todesbanden, BWV 4; Ich hatte viel bekümmernis, BWV 21; Halt im Gedächtnis Jesum Christ, BWV 67; Herr, gehe nicht ins Gericct mit deinem Knecht, BWV 105; Wachet auf, ruft uns die Stimme, BWV 140, and Erschallet, ihr Lieder, BWV 172.This study will include:1) A critical review of performance practice and historical evidence regarding the basso continuo part in Bach's sacred cantatas2) Using "4 TAV System: Six Parameters" performance considerations and suggestions for instrument choices in basso continuo group for chorus, solo, recitative, and chorale movements in the selected cantatas3) Examinations and suggestions of several possible choices and combinations of basso continuo instruments
5
Napier, Dione J. "A STUDY OF J.S. BACH’S SACRED AND SECULAR VOCAL WORKS INFLUENCED BY POPULAR STYLIZED DANCE OF THE FRENCH BAROQUE COURT: A PERFORMER’S GUIDE." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/23.
Full textAbstract:
Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource from a performer’s perspective that serves as an informative guide for vocalists, vocal coaches, and voice instructors. It includes biographical information about J.S. Bach, an historical overview of five of the most popular eighteenth-century French court dances, and it features five solo vocal works by Bach whose conception was influenced by French Baroque court dances. The overall goal of this study is to inform the reader about the influences and relationships between French Baroque dance and solo vocal works by J.S. Bach. This study is unique in that it is limited only to those solo vocal works which share a relationship with eighteenth-century French court dances.
6
吳俊凱 and Chun Hoi Daniel Ng. "Original compositions for young musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.
Full text
7
Montaigu, Ginette. "La Vision du Christ, l'Un de la Trinité, et du Dieu trinitaire chez Jean-Sébastien Bach." Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0324.
Full textAbstract:
Une première partie, après l’introduction, est consacrée aux deux passions de Jean-Sébastien Bach, la musique et la théologie-à l’héritage européen du compositeur, tant au point de vue musical que théologique. La seconde partie s’attache à l’analyse d’œuvres de Bach. La cantate Christ lag in Todesbanden a une place essentielle dans la liturgie protestante. Le compositeur reprend les versets du cantique du même nom écrit par Luther. L’attachement du Réformateur est viscéral pour le mystère de la Rédemption et son instrument, la Croix. Jean-Sébastien Bach éprouve la même adoration pour le Christ supplicié, mais il insiste fortement sur l’aspect lumineux de l’autre mystère du Christ, la Résurrection. La cantate Ich hatte viel Bekümmernis introduit le dialogue entre l’âme et Jésus qui laisse pressentir les futures consolations réservées à l’âme qui s’interroge sur l’abandon de Dieu. Une atmosphère de joie débordante en finale de l’œuvre avec jeu de timbales affirme la confiance en Dieu. Matthäus-Passion se termine certes par le repos serein du Christ dans le tombeau, mais la Passacaille, la Messe d’orgue du Klavierübung III soulignent l’hommage au Christ triomphant de la Mort, en accord avec les deux autres personnes de la Trinité. Une troisième partie montre que certaines œuvres dites profanes ont un caractère religieux. On retrouve la symbolique du Christ et du Dieu trine dans des fugues du Clavier bien tempéré. La théologie de la Croix de Luther est suivie par la théologie de la Gloire dans l’œuvre de Bach comme chez les théologiens scolastiques<br>A first part, after the introduction, is devoted to the two passions of Johann Sebastian Bach, music and theology-to the European heritage of the composer, from a musical as well as a theological. The second part sticks to the analysis of works of Bach. The Cantata BWV4 Christ lag in Todesbanden has an essential place in the Protestant liturgy. The composer takes up again the verses of the canticle of the same name written by Luther. The attachment of the Reformer to the mystery of Redemption and its instrument the Cross is deep-rooted. Johann Sebastian Bach feels the same worship for Christ executed, but he strongly insists on the luminous aspect of the other mystery of Christ, the Resurrection. The Cantata BWV21 Ich hatte viel Bekümmernis introduces the dialogue between the heart and Jesus which gives a feeling of the future divine consolations reserved for the soul wondering about God's abandonment. An atmosphere of overflowing joy in the finale of the work with a play of trumpets asserts confidence in God. Saint Matthew's Passion certainly ends with the serene rest of Christ in the sepulchre, but the Passacaglia in C minor, and the Mass Organ part of Clavierübung III underline homage to Christ triumphing over Death, in harmony with the other two persons of the Holy Trinity. A third part shows that some profane works have a religious character. One finds the symbolism of Christ and the triune God in Fugues from the Well-Tempered Clavier. Luther’s theology of the Cross is followed by the theology of Glory in the work of Bach, as with the Scholastic theologians
8
Justi, Katia Regina Kato. "O Oboe e a representação da Confiança nas arias das cantatas sacras de J.S. Bach." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284316.
Full textAbstract:
Orientador: Helena Jank<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-08T14:50:31Z (GMT). No. of bitstreams: 1
Justi_KatiaReginaKato_M.pdf: 5248099 bytes, checksum: 458f3d47310142d1aeb11b9ad58cbc71 (MD5)
Previous issue date: 2007<br>Resumo: Este trabalho propõe a investigação, do ponto de vista da retórica, da utilização do oboé, oboé d?Amore e oboé da Caccia, nas árias sacras das cantatas de Johann Sebastian Bach. Para tanto, iniciamos nossos estudos a partir do Movimento da Reforma Protestante, suas origens e fundamentos e sua grande influência na música. Procuramos fazer, nos diversos períodos da vida de Bach, um levantamento de todas as árias compostas para oboé, com especial ênfase nas árias compostas para um instrumento obbligato. Avaliamos também a grande importância das doutrinas da Musica Poetica e da retórica na vida e no pensamento musical alemão e como essas doutrinas influenciaram as composições de Bach. Finalmente buscamos traçar relações entre os aspectos retórico-musicais e a utilização do oboé obbligato nas árias sacras com os afetos da confiança e do temor<br>Abstract: This work aims at investigating, from a rhetoric point of view, the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. For this, we started our study from the Protestant Reform Movement, its origins and bases and its great influence in the music. Treating the different periods of Bach's life, we tried to gather all of his arias composed for the oboe, with special emphasis in the arias composed for an obbligato instrument. We also evaluated the great importance of the doctrines of Musica Poetica and of life rhetorics to the musical German thought. We also evaluated how these doctrines influenced Bach's compositions. Finally, we tried to trace the relationships between the rethorical musical aspects and the use of the obbligato oboe in the sacred arias with the affects of trust and fear<br>Mestrado<br>Mestre em Música
9
Fructus, Michel. "Les cantates de Nicolaus Bruhns (1665-1697)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20067/document.
Full textAbstract:
Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable<br>Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing
10
Holler, Marcos Tadeu. "A interpretação de recitativos em cantatas sacras de G. P. Telemann sob uma perspetiva historica." [s.n.], 1995. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284173.
Full textAbstract:
Orientadores: Helena Jank, Dorotea Kerr<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-20T21:04:39Z (GMT). No. of bitstreams: 1
Holler_MarcosTadeu_M.pdf: 4958477 bytes, checksum: 3076180d8d6ccb6a32b8b2633c3ac9c3 (MD5)
Previous issue date: 1995<br>Resumo: Não informado<br>Abstract: Not informed.<br>Mestrado<br>Mestre em Artes
11
Bauman-Szulakowska, Jolanta. "Rajmund Hanke, Silesia Cantat. Dzieje polskiego śpiewactwa koscielnego na Śla̧sku [Silesia Cantat. The History of Polish Sacred Choral Societies in Silesia], Katowice 1996,333 S. [Rezension]: Rajmund Hanke, Silesia Cantat. Dzieje polskiego śpiewactwa koscielnego na Śla̧sku [Silesia Cantat. The History of Polish Sacred Choral Societies in Silesia], Katowice 1996,333 S. [Rezension]." Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 179-181, 1999. https://ul.qucosa.de/id/qucosa%3A15650.
Full text
12
Bauman-Szulakowska, Jolanta. "Rajmund Hanke, Silesia Cantat. Dzieje polskiego śpiewactwa koscielnego na Śla̧sku [Silesia Cantat. The History of Polish Sacred Choral Societies in Silesia], Katowice 1996,333 S. [Rezension]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-225131.
Full text
13
Frozoni, Giuliana. "Vamos todos para a Lapa visitar o Bom Jesus : o itinerário da romaria a partir dos benditos cantados pelos romeiros do Bom Jesus da Lapa BA." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/1857.
Full textAbstract:
Made available in DSpace on 2016-04-25T19:20:21Z (GMT). No. of bitstreams: 1
Giuliana Frozoni.pdf: 15568010 bytes, checksum: 4266c95b0cb6931acaedd5d5b9d66d49 (MD5)
Previous issue date: 2012-06-01<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The object of this work are the benditos sung by the pilgrims during the pilgrimage to
the Sanctuary of Bom Jesus da Lapa BA, studied and analyzed through a ritual
perspective. These popular songs of oral tradition sung in novenas, rosaries and
religious processions are one of the earliest manifestations of popular Catholicism that
still remain in some communities, mainly inland and rural of northeastern Brazil. We
hypothesized that by studying and analyzing the benditos sung by the pilgrims in Bom
Jesus da Lapa is possible to systematize the pilgrimage, recognizing all stages of this
itinerary, identify the myths of the Sanctuary origin and compose a sort of "ordinary
pilgrimage", with their own songs and benditos that, when sung, contributes to the
update of this religious tradition and confirms their specificity. By studying the musical
repertoire cultivated by pilgrims, we are also in search of the spirit of pilgrimage.
Initially we contextualize the sertão, the background for the entire pilgrimage, and
describe the profile of the pilgrim and their intentions on the pilgrimage, as well as
present the rites and departure s benditos. Then we talk about the origin of the
Sanctuary, its founding myths and myths of origin of the pilgrimage itself, and also we
report the rites and benditos themselves of the outward journey. After, we describe
the rites of arrival at the Sanctuary, the relationship of closeness and intimacy that is
established between the pilgrim and the saint, and speak of rites and the permanency
benditos. To finish the work, we look after the rites of farewell, with their own
benditos, we broach the theme of remembrance and the cyclicity of the pilgrimage, and
the benditos sung by pilgrims on the journey back, thus completing the entire cycle of
pilgrimage.
In this study, we conclude that the pilgrims of Bom Jesus da Lapa do not just sing at the
pilgrimage, but instead sing "the" pilgrimage itself, with its own ordinary; and while
singing the pilgrimage, the pilgrims sing themselves. It was also possible to see that,
indeed, the benditos are an integrant part of pilgrimage and prerequisite for its effective
fulfillment<br>O objeto deste trabalho são os benditos entoados pelos romeiros durante a romaria
ao Santuário do Bom Jesus da Lapa BA, estudados e analisados através de uma
perspectiva ritual. Estes cantos populares da tradição oral cantados em novenas, terços
e procissões representam uma das mais antigas manifestações do catolicismo popular
que ainda se conservam em algumas comunidades, principalmente interioranas e rurais,
do nordeste brasileiro. Trabalhamos com a hipótese de que por meio do estudo e da
análise dos benditos cantados pelos romeiros do Senhor Bom Jesus da Lapa é possível
sistematizar a romaria, reconhecendo todas as etapas deste itinerário, identificar os
mitos de origem do Santuário e compor uma espécie de ordinário da romaria , com
seus cantos e benditos próprios que, ao serem cantados, contribuem para a atualização
desta tradição religiosa e para confirmar suas especificidades. Ao estudar o repertório
musical cultivado pelos peregrinos, também estamos em busca do espírito da romaria.
Inicialmente contextualizamos o sertão, pano de fundo para toda a romaria, e
descrevemos o perfil do peregrino e suas intenções ao peregrinar, bem como
apresentamos os ritos e benditos de saída. Em seguida, falamos da origem do
Santuário, dos seus mitos de fundação e dos mitos de origem da própria romaria, além
de relatarmos os ritos e benditos próprios da viagem de ida. Depois descrevemos os
ritos de chegada ao Santuário, a relação de proximidade e intimidade que se estabelece
entre o romeiro e o santo, além de falar dos ritos e benditos de permanência. Para
finalizar o trabalho, tratamos dos ritos de despedida, com seus benditos próprios,
abordamos o tema da saudade e da ciclicidade da romaria, além dos benditos cantados
pelos romeiros na viagem de volta, completando, assim, todo o ciclo da peregrinação.
Com o presente trabalho, concluímos que os romeiros e peregrinos do Bom Jesus da
Lapa não cantam simplesmente na romaria, mas, ao contrário, cantam a própria
romaria, com seu ordinário próprio; e ao cantar a romaria, os romeiros cantam a si
mesmos. Também foi possível perceber que, de fato, os benditos são parte integrante
da romaria e condição sine qua non para sua efetiva realização
14
Vieira, Ger?nimo Brito. ""Cantata para louvor e gl?ria", de Cleide Dorta Benjamim: preparo para a execu??o." Universidade Federal do Rio Grande do Norte, 2015. http://repositorio.ufrn.br/handle/123456789/20082.
Full textAbstract:
Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:11Z
No. of bitstreams: 1
GeronimoBritoVieira_DISSERT.pdf: 2786919 bytes, checksum: a2f8a28f3d46c4dd502130a0cb75f671 (MD5)<br>Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-18T23:20:12Z (GMT) No. of bitstreams: 1
GeronimoBritoVieira_DISSERT.pdf: 2786919 bytes, checksum: a2f8a28f3d46c4dd502130a0cb75f671 (MD5)<br>Made available in DSpace on 2016-03-18T23:20:12Z (GMT). No. of bitstreams: 1
GeronimoBritoVieira_DISSERT.pdf: 2786919 bytes, checksum: a2f8a28f3d46c4dd502130a0cb75f671 (MD5)
Previous issue date: 2015-02-13<br>O presente trabalho tem como objetivo relatar o processo de prepara??o para a execu??o da
?Cantata Para Louvor e Gl?ria?, composta em 1985, pela compositora Cleide Dorta
Benjamim (1936 - ), visando antecipar para futuros regentes, cantores e instrumentistas, as
poss?veis dificuldades encontradas e enfrentadas. Inicialmente, atrav?s de uma breve
apresenta??o da obra, s?o abordadas quest?es relacionadas ao texto escolhido, bem como a
sua estrutura e import?ncia no processo composicional. Mais ? frente, s?o analisadas,
identificadas e propostas resolu??es para as dificuldades existentes do ponto de vista das
execu??es, vocais e instrumentais, e do gestual aplicado ? reg?ncia, sendo abordado,
detalhadamente, cada movimento que comp?e a obra. O trabalho tamb?m apresenta um
memorial que descreve todo o processo pr?tico de prepara??o da Cantata: reedi??o da
partitura; sele??o e perfil dos cantores e instrumentistas; os ensaios; modifica??es e
adequa??es na partitura; e uma breve entrevista com quatro cantores e dois instrumentistas
que participaram do processo. A intera??o com a compositora, durante parte significativa do
trabalho, traz uma marcante amplia??o dos poss?veis esclarecimentos e desenvolvimento das
ideias, potencializando uma execu??o coerente da obra.<br>This study aims to document the preparation process for the implementation of "Cantata To
Praise and Glory"(Cantata Para Louvor e Gl?ria), composed in 1985 by composer Cleide
Dorta Benjamin (1936 - ), in order to anticipate and address the possible difficulties faced
by future conductors, singers and instrumentalists. Issues that relate to the chosen text as well
as its structure and importance in the compositional process, are initially addressed through a
brief presentation of the work. Consequently, by addressing every detail of the work,
solutions to vocal and instrumental execution difficulties, as well as with the conducting
gesture, are analyzed, identified and proposed. The work also presents a report that describes
all the practical processes of preparation of the Cantata: reissue of the score; selection and
profile of singers and instrumentalists; rehearsals; changes and adjustments to the score; and a
brief interview with four singers and two musicians who participated in the process. The
interaction with the composer throughout a significant part of the work, brings a notable
increase of possible clarifications and idea development, enabling a coherent performance of
the work.
15
Sing, Beverly Jung. "Geistliche Vokalkomposition zwischen Barock und Klassik : Studien zu den Kantatendichtungen Johann Gottfried Herders in den Vertonungen Johann Christoph Friedrich Bachs /." Baden-Baden : V. Koerner, 1992. http://catalogue.bnf.fr/ark:/12148/cb36955846h.
Full text
16
Hughes, Timothy Stephen. "An Argument for the Reassessment of Stravinsky's Early Serial Compositions." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278325/.
Full textAbstract:
Between 1952 and 1957, Igor Stravinsky surprised the world of music by gradually incorporating serialism into his style of composition. Although Stravinsky still used the neo-classical trait of making strong references to the music of earlier periods, musical analyses of this transitional period have focused on serial aspects to the exclusion of anachronistic elements.
Evidence of Stravinsky's possible use of musical structures adapted from earlier times is found in his consistent use of musical figures that are closely related to the cadences of the late Medieval and Renaissance eras. By fully addressing these neo-classical traits in future analyses, music theorists will gain an additional perspective, which is helpful in understanding the music of Stravinsky's transitional period.
17
Reul, Barbara Margaretha. "The Sacred cantatas of Johann Friedrich Fasch (1688-1758)." Thesis, 1996. http://hdl.handle.net/1828/8206.
Full textAbstract:
J.F. Fasch, the Kapellmeister at the Court of Anhalt-Zerbst from 1722 to 1758
and one of the most neglected contemporaries of J.S. Bach, composed approximately
1400 sacred cantatas during his life time. Seven cycles comprising 1000 cantatas were
listed by Fasch in a music inventory, the Concert=Stube des Zerbster Schloβes.
Using data recorded in volumes 352-369 of the Konsistorium Zerbst Rep 15 IXa
chronicle, this dissertation sheds light on the musical-liturgical activities at the Court
Chapel during the years of Fasch's tenure. This primary source was hitherto thought to
be lost but it is indeed held at the Landesarchiv Oranienbaum, Germany, and has
provided a wealth of illuminating information for this study. It allows us to solve a
number of enigmas which have long puzzled scholars.
First, we can gain insight into the music and worship traditions at the Court
Chapel and examine Fasch's role as Kapellmeister in a contemporary mid-eighteenth
century context. In addition to performing his own cantata cycles and premiering cycles by other composers such as Telemann and G.F. Stölzel, Fasch repeated these cycles
between two and six times.
Secondly, we can date the largest collection of sacred cantatas by Fasch preserved
at the Staatsbibliothek zu Berlin—Preuβischer Kulturbesitz. The majority of cantatas
form part of a cycle from 1735/36, Das in Bitte, Gebeth, Fürbitte and Dancksagung
bestehende Opffer. The extant copies were prepared by Fasch in the early 1750s,
probably upon the request of a fellow composer who participated in the Musikalientausch which Fasch had begun organizing in 1728.
Finally, an examination of Fasch's compositional procedures as evident in the
sacred cantatas preserved at the Staatsbibliothek shows that while his musical style was
firmly rooted in the mid-eighteenth century, Fasch also employed forward-oriented
techniques and developed an Individualstil.
This investigation, having brought to light important source materials and offered
significant insights, provides a useful basis for, and stimulus to any future research into
the sacred music of J.F. Fasch as well as the musical-liturgical activities at German
Courts during the first half of the eighteenth century.<br>Graduate
18
Metzler, Patrizia. "Aria forms and chorus textures in Bach's early cantatas : the influences of Neumeister, Telemann, and Rosenmüller /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3269978.
Full textAbstract:
Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007.<br>Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2722. Adviser: John Walter Hill. Includes bibliographical references (leaves 187-193) Available on microfilm from Pro Quest Information and Learning.
19
"A comparison of Igor Stravinsby's word-setting of the scriptures in different languages from selected passages in Threni ; A sermon, a narrative, and a prayer ; and Abraham and Isaac." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887265.
Full textAbstract:
by Lai Boon Tsing Joseph.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.<br>Includes bibliographical references (leaves 212-214) and discography (leave 215).<br>Chapter Chapter 1 --- Introduction --- p.1<br>Chapter Chapter 2 --- The Development of I. Stravinsky's Word- setting Philosophy --- p.8<br>Chapter Chapter 3 --- The Word-setting of Threni: id est Lamentationes Jeremiae Prophetae (1957/58) --- p.29<br>Chapter Chapter 4 --- "The Word-setting of A Sermon, a Narrative and a Prayer (1960/1)" --- p.70<br>Chapter Chapter 5 --- The Word-setting of Abraham and Isaac (1962/3) --- p.102<br>Chapter Chapter 6 --- Comparison of the Word-setting of the Three Selected Passages --- p.137<br>Chapter Chapter 7 --- Conclusion --- p.156<br>Appendices --- p.162<br>Bibliography --- p.212<br>Discography --- p.215<br>List of Appendices<br>Appendix I THRENI: The metric placement of the normally-stressed syllables --- p.162<br>Appendix II THRENI: The metric placement of the normally-unstressed syllables --- p.168<br>Appendix IIIA THRENI: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.175<br>Appendix IIIB THRENI: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.178<br>"Appendix IV THRENI: The treatment of the ultimate syllable of a phrase, clause or sentence" --- p.180<br>"Appendix V A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Table of monosyllabic sung- words showing their stressed or non- stressed identity" --- p.182<br>"Appendix VI A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-stressed syllables" --- p.185<br>"Appendix VII A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-unstressed syllables" --- p.187<br>"Appendix VIIIA A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.189<br>"Appendix VIIIB A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.190<br>"Appendix IX A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of all syllables stressed by all means" --- p.191<br>Appendix X ABRAHAM AND ISAAC :The metric placement of the normally-stressed syllables --- p.195<br>Appendix XI ABRAHAM AND ISAAC: The metric placement of the normally-unstressed syllables --- p.199<br>Appendix XIIA ABRAHAM AND ISAAC : Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.204<br>Appendix XIIB ABRAHAM AND ISAAC: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.206<br>"Appendix XIIIA A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The distribution of normally-stressed monosyllabic words" --- p.208<br>"Appendix XIIIB A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of normally-unstressed monosyllabic words" --- p.210
20
"Redeemed from the Fall For Double Choir & Soloists with Violin, Bass Clarinet, Marimba & Organ." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44109.
Full textAbstract:
abstract: Redeemed from the Fall is a cantata in five movements for double choir SSAATTBB with Soprano and Baritone soloists and violin, bass clarinet, marimba, and organ. The work’s approximate duration is 19 minutes. The text is derived from ancient and modern scriptures including the Bible, the Book of Mormon and the Book of Moses as contained in the Pearl of Great Price. The textual theme addresses the compelling narrative of the redemption of Adam and Eve after the Fall and expulsion from the Garden of Eden. The work begins with an instrumental overture, In Sorrow, inspired by the fallen state our first parents entered as consequence for partaking of the forbidden fruit. The second movement, The First Angel, is an aria for baritone accompanied by choir a cappella. It sets to music the words of an angel who appeared to Adam proclaiming that animal sacrifice is representative of the future atoning sacrifice of the Son of God. The central movement, The Baptism of Adam, is for soprano solo, choir (SSAA) and the ensemble. It depicts the miraculous events surrounding Adam’s acceptance of the gospel covenant, with the Holy Spirit baptizing Adam by immersion in water. The subsequent a cappella chorus, This Is the Plan of Salvation, further explores the truth that salvation for Adam and Eve and all their posterity was prepared through Christ from the beginning. The full chorus and ensemble perform the finale, Adam Fell, declaring that the very purpose of the Fall was that all humans could know the joy of redemption through Christ.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2017
21
Ordás, Manuel Alejandro. "Seven Last Words from the Cross (1993) - James MacMillan." Tesis, 2008. http://hdl.handle.net/10915/40672.
Full textAbstract:
<i>Seven Last Words from the Cross</i>, considerada ampliamente como uno de los mejores logros de James MacMillan (n. 1959), promete brindar una experiencia fascinante y movilizadora en concierto, tanto para los intérpretes como para la audiencia. Esta cantata sigue las últimas palabras de Cristo en la Crucifixión, reflexiona en cada una para formar una secuencia dramática y emocional. Las partes vocales e instrumentales recurren a modelos característicos: técnicas barrocas luteranas para el coro y tradiciones de composición sofisticadas del siglo XX británico y polaco para la orquesta de cuerdas.
<b>Seven Last Words from the Cross (1993) - Primera audición argentina</b>
Cantata sacra para solistas, coro y orquesta de cuerdas
I. Father, forgive them, for they know not what they do
II. Woman, behold thy Son! ... Behold, thy Mother!
III. Verily, I say unto thee, today thou shalt be with me in Paradise
IV. Eli, Eli, lama sabachthani?
V. I thirst
VI. It is finished
VII. Father, into Thy hands I commend my Spirit
Dirección musical: Manuel Alejandro Ordás<br>El video completo del concierto puede accederse desde <a href="http://youtu.be/u8UQtJ-Ty8o">aquí</a>.
22
Konvalinková, Anna. "Zrození barokní kantáty." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-325498.
Full textAbstract:
The thesis deals with the birth of the Baroque cantata in Northern and Central Germany. It introduces musical forms that led to the creation of cantata and thus significantly influenced its form, which crystalized during the Late Baroque period. The picture of Early Baroque German music is completed with profiles of three principal composers, on a selection of whose works the gradual development of this new musical form - the German Baroque cantata - is demonstrated. The second part is devoted to an analysis of a work representative of this style, Dietrich Buxtehude's Membra Jesu nostri, which is a supreme example of this musical form.