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Dissertations / Theses on the topic 'Sacred (Mixed voices) with organ'

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1

King, Deborah Simpkin. "The Full Anthems and Services of John Blow and the Question of an English Stile Antico." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332091/.

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John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. The sacred polyphony of John Blow represents the last great flowering of the English polyphonic tradition, with all of its idiosyncracies, in a lively, as yet unfettered style.
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2

Lemieux, Glenn C. (Glenn Claude). "Sacred Symphony." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330973/.

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Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals. The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's own words. The Gloria acts as a culmination of the previous two movements because it gives glory to both the Father and the Son.
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3

Garcia-Castells, Federico Jose Chen Yi. "Pervigilivm [i.e. Pervigilium] veneris for mixed choir, piano and percussion quartet /." Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.<br>"A thesis in music composition." Typescript. Advisor: Chen Yi. Includes vita and English translation of text. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Online version of the print edition.
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4

Clifton, Jeremy J. "The four horsemen : an original composition for choir and mixed ensemble." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1466724.

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The Four Horsemen is an original composition in three movements that sets the texts of the Greetings and Doxology, the story of the four horsemen, and the River of Life from the Book of Revelation as found in the New International Version of the Bible. The text, which is presented in English, is set for a large SATB choir and narrator with a mixed ensemble, which consists of flute, clarinet, horn, trumpet, piano, organ, and cello. This fifteen-minute composition makes extensive use of pitch and numerical symbolism by way of a twelve-tone row. Although the piece uses a row, it contains elements of tonality and is globally organized around a tonal center. The piece uses several extended vocal and instrumental techniques to heighten the dramatic character of the apocalypse story. The accompanying document provides historical context for the piece and a discussion of the musical elements and compositional processes used in the work. The symbolic nature of the text, as well as a detailed account of the story of the four horsemen, is also included in this document. The review of repertoire considers a selection of recent works that set portions of the text, as well as compositions inspired by Revelation. The methodology chapter explains the construction, use, and symbolic elements of the row as well as the inclusion and setting of well-known motives like the Dies Irae and the chromatic-fourth lament bass. An analysis of each movement includes discussion of the use of pitch and rhythmic material, texture, setting of the text, and other musical elements that contribute to and/or enhance the symbology of the work. The first movement establishes C as the tonal center, introduces the row and other important motives, and sets the mood for the piece. The second movement, which includes two ostinato figures (a figure based on the reordered version of the row and the lament bass), makes extensive use of syncopation and hemiola throughout the multi-metric environment. The final movement sees the return of motives from the first movement; it employs the row’s retrograde and concludes with a plagal cadence.<br>School of Music
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5

Lee, Brent 1964. "En una noche oscura, canticle II." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59568.

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En una Noche Oscura, Canticle II, is a musical composition scored for a capella chorus in eight parts, with occasional solo passages in some voices. The piece takes its title from St. John-of-the-Cross, and is in one sense a musical response to the spiritual journey undertaken by the pilgrim of St. John's text, of Job, of David, and of countless other mystics, Christian and otherwise.<br>I have divided the accompanying analysis of the work into two parts: first, an introductory discussion of the technical ideas behind the composition of Canticle II, and second, a more thorough, section-by-section analysis of the composition itself. The introduction outlines the formal, rhythmic, and harmonic approaches taken in the composition of this piece, while the close analysis shows more specifically how these ideas are reflected in the actual score.
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6

Klund, Heather A. "Music, lyrics, and plot synopsis for Redemption, a musical on the book of Ruth." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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7

Wilson, Kathleen McCormick, and Giovanni Giacomo fl 1582-1609 Balletti voices (5) Selections Gastoldi. "A recital." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9980.

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Title from accompanying document.<br>Collegiate Chorale ; conducted by Kathleen Wilson ; J. Sloop, soprano ; D. Huyett, piano ; J. Hall, organ ; Student String quartet ; Student Recorder Ensemble.<br>Digitized by Kansas Correctional Industries
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8

Piekarski, James. "Te Deum." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935762/.

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Te Deum is a single movement work for chorus and orchestra. It employs an ensemble comprising the complement of string, woodwind, and brass instruments typically available in a small symphony orchestra with an expanded percussion section. The choral forces are in proportional relation to the instrumental forces are in proportional relation to the instrumental forces and it is sung in the original Latin. The intended performance time is approximately 18 minutes. Temporal aspects of the work are characterized by three contrasting sections. The slow and solemn opening section is given to long stretches of silence sparsely punctuated by low drums. The remainder of the work is texturally more dense and employs a much quicker tempo. A steady core pulse is also a key feature, with attention given to avoiding any regular metrical implications by use offset accents, non-consecutive identical phrase lengths, and a slow harmonic rhythm.
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9

ISAACS, KEVIN JAY. "TE DEUM OPUS 62. (ORIGINAL COMPOSITION)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188189.

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This work is a setting of the hymn of Thanksgiving written by St. Nicetius in the sixth century, the TE DEUM. In the Roman Catholic liturgy it replaces the last responsory of Matins on Feast Days and Sundays and in the Anglican liturgy it is one of the canticles of Morning Prayer. The text is one of the few surviving examples of Latin "Psalmus Idioticus" which were, along with the GLORIA of the Ordinary of the Mass and the EXULTET, early Latin texts written in imitation of the Psalms. This TE DEUM was written to continue a tradition of choral settings of this text, in Latin, English, and German, beginning with Palestrina and Handel, and continuing with Haydn, Mozart, Berlioz, Bruckner, Dvorak, Verdi, Britten, Walton, Kodaly, Persichetti, and Vaughan Williams to the present. The quotes from the Metamorphoses for 23 strings of Richard Strauss are used in honor of Strauss' quote of Beethoven's EROICA Funeral March at the end of the Metamorphoses. Strauss was acknowledging the "Master" and his compositional tradition and in the same way I humbly respect the artistic legacy I have inherited. The text and the music have symbiotically wended their way through the centuries out of the pens of the masters. The work is set using the English translation of the Anglican Church, is in one movement and is scored for the following forces: double woodwind with alto saxophone, four horns, 2 trumpets, 2 trombones, tuba, timpani, suspended cymbal, tam tam, tubular chimes, vibraphone, triangle, crash cymbals, SATB soli, SSAATTBB chorus, and strings.
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10

Au, Siu-ming Stefan. "Jonah's Prayer: a Composition for Solo Tenor, Mixed Chorus and Two Pianos." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277770/.

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Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.
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11

Burleson, Jill L. "Selected choral works from Musica sacra by Heitor Villa-Lobos : a performance edition with critical notes and commentary." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1369912.

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Heitor Villa-Lobos (1887-1959) is regarded as the composer of highest distinction in twentieth-century Brazilian music. His musical compositions, representing virtually every musical genre, reflect his concerted effort toward developing a nationalistic Brazilian style. While the importance of this composer's ouvre and his contribution to a national Brazilian style is well established, particularly with regard to his instrumental works, his sacred choral compositions are generally considered to be peripheral in his overall compositional productivity. Although his major sacred choral works such as Bendita Sabedoria, Missa Sad Sebastian, and Magni scat Alleluia are programmed occasionally, the smaller sacred choral pieces found in his Musica Sacra collection remain less well-known.Musica Sacra, initially published by Vincente Vitale in 1951-52, is an out-of-print collection of twenty-three unaccompanied motet-style pieces, composed throughout Villa-Lobos's lifetime. Limited availability to many of these pieces has resulted in a paucity of programming of this music by choral conductors, as well as a lack of understanding of its place in his collected works.This study provides an updated and corrected performance edition of selected choral pieces from Musica Sacra, providing choral conductors with appropriately edited material for concert programming. It includes historical background, editorial notes, and performance notes to provide context and clarity.In this study, I have compared seventeen pieces from the original Vitale edition with manuscripts provided by the Museu Villa-Lobo, in an effort to represent the composer's musical intent in a manner accessible to the contemporary choral conductor. I have alsoidentified and discussed salient musical traits in this music, exemplifying not only the Spanish Renaissance influence as it existed in the Brazilian society during Villa-Lobos's lifetime, but more broadly reflecting, through its diverse assortment of musical features, an expression of the overall religious syncretism in Brazil at the time.Within the sacred choral framework of Musica Sacra, one discovers the composer's stylized representation of Brazilian musical eclecticism. This is exhibited through elements of musical spontaneity, Brazilian multi-cultural ethnicity, nationalism, European impressionism, Renaissance imitation, and twentieth-century harmonic dissonance. These features represent Villa-Lobos's synthesis of style that, according to Latin American music scholar, Gerard Behague, illuminates "Brazil's Musical Soul."<br>School of Music
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12

Job, Lynn R. (Lynn Renee). "Elatio: Praises and Prophecies." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935642/.

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ELATIO: Praises and Prophecies is an allegorical composition based upon a collection of carols, poetry and prose in selected verses, phrases and fragments from medieval Christian liturgy, the canonical Hebrew Bible (Old Testament) and New Testament, and portions of various non-canonical Dead Sea Scroll texts. The languages used in the selections presented here are English, Medieval Latin, and transliterated Biblical Hebrew.
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13

McDonough, Daniel Thomas. ""-- for the waters are come in unto my soul --" fragments of Psalm 69 /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1178139061.

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Thesis (M.M.)--Bowling Green State University, 2007.<br>For SATB chorus (up to SSSAAATTTBBB), with flute, clarinet in B♭, horn, bassoon and piano. Document formatted into pages; contains 1 score (vi, 39 p.) Includes bibliographical references.
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14

Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.

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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.
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15

Grant, John Ward. "Folio of compositions and critical commentary /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19321.pdf.

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16

Neikirk, Anne L. "Missa Ad Honorem Sancti Francisci for Satb Choir, Soloists and Woodwind Quintet." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242249236.

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17

Green, Richard T. (Richard Thurmond). "Remembrance of the Fiftieth Anniversary of the Dedication of the Moravian Church at Lititz, Pennsylvania, 13 August 1837: An Edition of Moravian Music." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500942/.

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This thesis is a musical reconstruction of the primary services held on 13 August 1837, for the fiftieth anniversary of the dedication of the Moravian church at Lititz, Pennsylvania. The work includes general background on the Moravians and interprets information from contemporary sources to place the music in its accurate historical context. The edition of music comprises more than one half of the paper, and is taken from the original manuscript scores used. Included in the edition are five concerted anthems for choir and orchestra, and eighteen hymns from eighteenth- and early nineteenth-century Moravian tunebooks. The special texts come from an original set of orders of service.
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18

Ellis, Christopher E. "The choral anthems of Alice Mary Smith : performance editions of three anthems by a woman composer in Victorian England." 2014. http://liblink.bsu.edu/uhtbin/catkey/1744491.

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19

Garris, Nathaniel Berle Callender Clifton. "Requiem brevis." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-05082006-163721/.

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Thesis (M.M.) Florida State University, 2006.<br>Advisor: Clifton Callender, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-20-2007). Document formatted into pages; contains 46 pages. For SATB choir with soprano soloist, string choir, and piano. Includes biographical sketch.
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20

"Requiem and dream: a ballet suite." Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888418.

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by Lo Hau Man.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1995.<br>Chapter 1 --- Programme notes of Requiem --- p.1-1<br>Text of Requiem --- p.1-3<br>Programme notes of Dream --- p.1-7<br>Chapter 2 --- Requiem --- p.2-i<br>Instrumentation --- p.2-ii<br>Note and Directions --- p.2-iii<br>Chapter (I) --- Requiem Aeternam --- p.2-1<br>Chapter (II) --- Dies Irae 2- --- p.24<br>Chapter (III) --- Offertorio --- p.2-108<br>Chapter (IV) --- Sanctus --- p.2-122<br>Chapter (V) --- Agnus Dei --- p.2-137<br>Chapter (VI) --- Libera Me --- p.2-147<br>Chapter 3 --- Dream - Ballet Suite --- p.3-i<br>"Instrumentation, Note & Direction" --- p.3-ii<br>Chapter (I) --- Allemande --- p.3-1<br>Chapter (II) --- Air --- p.3-6<br>Chapter (III) --- Gigue --- p.3-11
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21

Johnson, Julie. "A woman's work a music composition portfolio : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Composition in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20080310.014500.

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