DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifrgher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infcnnaticn Compaiy 300 North Zeeb Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE BAROQUE AND CLASSICAL INTERPRETATION FOR SECONDARY SCHOOL CHORAL MUSIC CONDUCTORS: A GUIDE FOR PERFORMANCE A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By PHILEMON DEMETRIUS THEODOROU JR. Norman, Oklahoma 1998 UMI Number: 9822821 UMI Microform 9822821 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 £' Philemon Demetrius Theodorou Jr. 1998 Ail Rights Reserved BAROQUE AND CLASSICAL INTERPRETATION FOR SECONDARY SCHOOL CHORAL MUSIC CONDUCTORS: A GUIDE FOR PERFORMANCE A DISSERTATION APPROVED FOR THE SCHOOL OF MUSIC Dr. Dennis Shrock g. c. Dr. Steven C. Curtis Dr. Eugerc Enrico Dr. MichaeLRogers v ,6 f Dr. Andrew Phelan ACKNOWLEDGMENTS I am deeply indebted to Dr. Dennis Shrock for his advice and valuable input during the completion of this documenL His ideas and insight were a primary force behind the inception of the project, and I am most grateful for his help throughout the process. Drs. R. Bruce Mayhall and Shaun Amos offered helpful suggestions and support as well. The outstanding assistance of Ms. Erica Keithley while I was preparing the manuscript is also noteworthy. I thank my family and friends for providing everything else that was needed. Permission by G. Schirmer and Hinshaw Music, Inc. to reprint portions of the motet Ave Verum corpus by W.A. Mozart is gratefully acknowledged. This study is dedicated with love and admiration to Mr. Palmer L. Pbulson. Thank you. Bud, for having a heart big enough for two families. IV TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................... iv LIST OF MUSICAL E X A M P L E S .............................................................................. vü ABSTRACT .................................................................................................................... xiü INTRODUCTION ........................................................................................................ I CHAPTER I. SELECTED BAROQUE AND CLASSICAL REPERTOIRE SUITABLE FOR SECONDARY SCHOOL CHORAL ENSEMBLES . 3 Standard Seventeenth- and Eighteenth-Century Repertoire for Secondary-Level Choral Ensembles ................................................. 3 Performance Practice Issues for Secondary-Level Choral Ensembles ............................................................................. 7 Repertoire Illustrating the Selected Performance Issu es ...................... 9 S u m m ary ............................................................................................... 12 II. SELECTING EDITIONS FOR THE SECONDARY SCHOOL CHOIR. 13 Checking the Accuracy of a S c o r e ..................................................... 13 How Editors Change S c o res ................................................................ 14 A Comparison of Editions for the Selected R epertoire ...................... 16 Evaluating the Various E d itio n s ................................................................22 S u m m a ry ............................................................................................... 26 in. BASIC APPROACHES TO SEVENTEENTH-AND HGHTEENTH- CENTURY PERFORMANCE PRACTICES AS DICTATED BY PRIMARY SOURCES...........................................................................................27 Sound Q uality .......................................................................................... 27 Some General Baroque and Classical Sound Ideals .... 28 Some Specific Baro(^e and Classical Sound Ideals .... 30 Period Vocal Technique .............................................................. 32 Using Voices and Instrum ents ......................................................45 Meter and T em p o ..................................................................................... 67 Time Signatures and Meter S y m b o ls ........................................68 Tempo Terms and Characteristics .................................................73 Tempo Fluctuation ......................................................................... 75 R ecitative ......................................................................................81 Phrasing and A rticulation ........................................................................83 Messa di v o c e ............................................................................. 88 Slurs.......................................................................................... 89 Metric Accentuation .................................................................................91 Rhythmic A lteration .................................................................................97 Ornamentation .........................................................................................101 Appropriate Omamentations for Secondary School C h o irs .....................................................106 Using Ornamentation ............................................................. 107 Expression .............................................................................................. 112 S u m m ary ...............................................................................................119 IV. BAROQUE AND CLASSICAL PERFORMANCE PRACTICES FOR THE SELECTED REPERTOIRE ...............................................................................120 Sound Q uality ......................................................................................... 122 General Concepts .......................................................................122 Use of Voices and Instruments .....................................................125 Use of C o n tin u e ............................................................................127 Use of Continue in Accompanying R ecitativ es .........................129 Meter and T em po .................................................................................... 130 Tempo Fluctuation in Recitatives ................................................133 Articulation, Ruasing, and Messa di V o ce ............................................ 137 Metric Accentuation ................................................................. 137 Rhythmic A lteration ............................................................................... 140 Overdotting ................................................................................ 140 Notes Inégales ............................................................................142 VI Rhythmic Conformity ...................................................................143 Ornamentation .........................................................................................145 E x p r e s s io n .............................................................................................. 149 S u m m ary ...................................................................................................153 APPENDIX; SELECTED EDITIONS ...........................................................................155 BIBUOGRAPHY ............................................................................................................163 vu UST OF ILLUSTFIATIONS Figure Page 1. A portion of mm. 3S-44 from Mozart’s Ave Verum Corpus, K. 618 in the Neue Mozart A u sg a b e ......................................................................... 18 2. A portion of mm. 38-44 from Mozart’s Ave Verum Corpus, K. 618 in the Hinshaw e d itio n ................................................................................. 19 3. A portion cf mm. 38-44 from Mozart’s Ave Verum Corpus, K. 618 in the G. Schirmer e d i t i o n ............................................................................ 19 4. A portion of mm. 38-44 from Mozart’s Ave Verum Corpus, K. 618 in the Bourne and Presser editions .............................................................
Load more

Recommended publications
  • Jan Dismas Zelenka's Missae Ultimae
    Jan Dismas Zelenka's Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) Item Type text; Electronic Dissertation Authors Cho, Hyunjin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 20:42:28 Link to Item http://hdl.handle.net/10150/195489 JAN DISMAS ZELENKA‟S MISSA DEI PATRIS (1740): THE USE OF STILE MISTO IN MISSA DEI PATRIS (ZWV 19) by HyunJin Cho ______________________ Copyright © HyunJin Cho 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by HyunJin Cho entitled Jan Dismas Zelenka‟s Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) and recommend that it be accepted as the fulfilling requirements for the degree of Doctor of Musical Arts ___________________________________________________ Date: 07/16/2010 Bruce Chamberlain ___________________________________________________ Date: 07/16/2010 Elizabeth Schauer ___________________________________________________ Date: 07/16/2010 Robert Bayless Final approval and acceptance of this document is contingent upon the candidate‟s submission of the final copy of the document to the Graduate College.
    [Show full text]
  • Apollo's Fire
    CAL PERFORMANCES PRESENTS PROGRAM Saturday, November 9, 2013, 8pm Johann David Heinichen (1683–1789) Selections from Concerto Grosso in G major, First Congregational Church SeiH 213 Entrée — Loure Menuet & L’A ir à L’Ita lien Apollo’s Fire The Cleveland Baroque Orchestra Heinichen Concerto Grosso in C major, SeiH 211 Jeannette Sorrell, Music Director Allegro — Pastorell — Adagio — Allegro assai Francis Colpron, recorder Kathie Stewart, traverso PROGRAM Debra Nagy, oboe Olivier Brault, violin Johann Sebastian Bach (1685–1750) “Brandenburg” Concerto No. 3 in G major, BWV 1048 Bach “Brandenburg” Concerto No. 4 in G major, BWV 1049 Allegro — Adagio — Allegro Allegro — Andante — Presto Olivier Brault, violin Bach “Brandenburg” Concerto No. 5 in D major, Francis Colpron & Kathie Stewart, recorders BWV 1050 Allegro Affettuoso The Apollo’s Fire national tour of the “Brandenburg” Concertos is made possible by Allegro a generous grant from the National Endowment for the Arts. Jeannette Sorrell, harpsichord Apollo’s Fire’s CDs, including the complete “Brandenburg” Concertos, are for sale in the lobby. Olivier Brault, violin The artists will be on hand to sign CDs following the concert. Kathie Stewart, traverso INTERMISSION Cal Performances’ 2013–2014 season is sponsored by Wells Fargo. 16 CAL PERFORMANCES CAL PERFORMANCES 17 PROGRAM NOTES PROGRAM NOTES a mountaintop experience: extraordinary power to move, delight, and cap- Concerto No. 5 requires from the harpsi- performing concertos for the virtuoso bands of europe tivate audiences for 250 years. But what is it that chordist a level of speed in the scalar passages gives them that power—that greatness that we that far exceeds anything else in the repertoire.
    [Show full text]
  • Chamber-Singers-Repertoire
    Chamber Singers Allegri Miserere 2006 Alleoti Al Turbar de bei lumi 2012 Applebaum Shall I Compare Thee 2010 (small ensemble), 2012 (Quartet) Arlen (arr. Whalen) Somewhere Over the Rainbow 2010 Barber Let Down the Bars, O Death 2003 Sure on this Shining Night 1999, 2012 Bennet Let Go, Why do You Stay Me 2002 Beethoven 5th Symphony arrangement 2007, 2012 Elegischer Gesang 2005 Kyrie from Mass in C 2012 Mass in C 2013 At MA and with WCS David Bednall 1914 IV: The Dead 2015 from “Three Songs of Remembrance” Berger Alleluia from Brazilian Psalm 2008 My True Love Hath My Heart 1997 (Quartet), 2002, 2012 Billings Consonance 2012 David’s Lamentation 1997, 2012 Modern Musick 2010 Brahms The Hunter 1997 In Stiller Nacht 2003 Liebeslieder Walzer 2001 O Bone Jesu 2012 Britten Hymn to St. Cecelia 2001, 2014 Concord 2014 Burleigh My Lord What a Morning 2010 Byrd Ave Verum Corpus 1996, 2001 Ego sum panis vivus 2000 Haec Dies 2002 Sacerdotes Domini 1998, 2000, 2002 Sweet and Merry Month of May 2010 Carey The Lake Isle of Innisfree 2002 Carissimi Agnus Dei 2006 (Mass for Three Voices) Cantate Domino (S, S, A) 2015 Chatman Song of Remembrance 2004, 2006 Clemens Adoramus Te 2008 Coleman The Rhythm of Life 2005 Coleridge-Taylor The Lee Shore 2012 Copland Long Time Ago 1999 Croce O vos omnes 2013 Crueger Cantate Domino 2006 Dawson Ain’t a that Good News 1996, 2000 There is a Balm in Gilead 2000 Di Lasso Ich Weiss mir ein Meidlein 2001 I Know a Young Maiden 2003 Jubilate Deo 2007 Matona mia cara 1995, 2000 Mon coeur 2004 Dvorak Songs of Nature (#1) 2007 Napadly Pisnĕ (SON #1 in Czech) 2015 Farmer Fair Phyllis I Saw 2008 Fauré Ave Verum Corpus 2002, 2010 (Small ensemble) Cantique de Jean Racine 2002, 2016 Gibbons The Silver Swan 1995, 2003 Gjeilo Ubi Caritas 2013, 2016 Haydn Gloria from Lord Nelson 2005 Haydn, Michael Tenebrae Factae Sunt 2006 Universi qui te expectant 2007 Hensel Schöne Fremde 2008, 2014 Janáček Kačena Divoká 2015 Janequin Le Rossignol 2015 Joplin (arr.
    [Show full text]
  • Dec 31 2017 January 2018
    St. Mary’s Catholic Church 111 Hampton Ave. Greenville, South Carolina 29601 Fr. Jay Scott Newman, Pastor Arlen Clarke Choirmaster 864-901-1250 Dr. David Rhyne Organist Philip Paluszak, Organ Scholar Music Schedule December 31, 2017 - January 2018 Mass Settings for Saturday 5:00 PM Vigil Mass and Sunday Mass 9:00 AM Kyrie Simplex Gloria in excelsis Lee, ed 2011 Sanctus Vat. Ed. XVIII Agnus Dei Vat. Ed. XVIII Mass Setting for the 11:00 AM Mass Kyrie Missa de Angelis VIII Gloria in excelsis Missa de Angelis VIII Sanctus Missa de Angelis VIII Agnus Dei Missa de Angelis VIII Propers Introit, Offertory and Communion from the Roman Missal – English 31 December Holy Family of Jesus, Mary and Joseph Entrance Hymn Once in Royal David’s City Irby Offertory Hymn Of the Father’s Love Begotten Divinium Mysterium Post Communion Hymn Angels from the Realms of Glory Regent’s Square Mass 0900 Communion Motet In the Bleak Mid Winter Gustav Holst Mass 1100 Offertory Anthem Lo, How a Rose E’er Blooming Praetorius Communion Motets Coventry Carl Traditional In the Bleak Midwinter Gustav Holst Propers Introit, Offertory and Communion verse from the Roman Missal - English 1 January 2017 Mary, the Holy Mother of God Entrance Hymn Of the Father’s Love Begotten Divinum Mysterium W III 398 Offertory Hymn Immaculate Mary Lourdes Hymn W III 708 Post Communion What Child is this Greensleeeves W III 411 0900 Communion Motet In the Bleak Midwinter Gustav Holst 1100 Offertory Anthem Ave Maria Arlen Clarke Communion Ave verum corpus WA Mozart In the Bleak Midwinter Gustav
    [Show full text]
  • Order for the Public Worship Of
    ORDER FOR THE PUBLIC WORSHIP OF GOD SENTENCES OF SCRIPTURE from Psalm 98, Common English Bible THE WORD Sing to the Lord a new song PRAYER FOR ILLUMINATION Sixth Sunday of Easter - Communion because he has done wonderful things! May 5, 2019 The Lord be with you. His own strong hand and his own holy arm And also with you. have won the victory! Let us pray together. The congregation speaks the bold and italicized words. The Lord has made his salvation widely known; Speak to us of your truth, O God. Open us to your love. *The congregation is invited to stand in body or in spirit. he has revealed his righteousness Help us to hear what we need to hear, that we may walk in your in the eyes of all the nations. light and joy. Amen. THE GATHERING God has remembered his loyal love THE GOSPEL LESSON John 21:1-19 N. T. Page 115 and faithfulness to the house of Israel; Response: Large Print Page 141 PRELUDE Christe eleison and Kyrie II J.S. Bach every corner of the earth has seen our God’s salvation. The Gospel of the Lord. (1685-1750) Praise to you, Lord Christ. *HYMN #667 When Morning Guilds the Sky LAUDES DOMINI Qui tollis J.S. Bach Jackie Stevens, soprano *PRAYER OF CONFESSION SERMON Looking Back to Look Forward Rev. Adam Fronczek Almighty God, we confess how hard we find it to be your people. THE RESPONSE Qui tollis peccata mundi, You have called us to be the church, You who take away the sin of the world, to continue the mission of Jesus Christ to our lonely and *HYMN #517 Here, O Our Lord, We See You MORECAMBE Miserere nobis.
    [Show full text]
  • Dresden Eng 03
    Music City Dresden Program # 3 „Gloria in Excelsis Deo“: A Century of Catholic Church Music at the Dresden Court Greetings from Bonn, Germany, for another program on the musical heritage of the city of Dresden. I’m Michael Rothe. It has taken sixty years for the Frauenkirche, the Church of Our Lady, to rise in new splendor from the rubble and ashes into which it sank during the infamous firebombing that consumed the entire city in February of 1945. 2005 is the year of the rededication of that glorious landmark, and we mark the occasion with this broadcast series from Deutsche Welle Radio, “Music City Dresden.“ Today we’ll survey a century of Catholic church music at the Dresden court, and we begin with this movement from an early 18th century setting of the Magnificat by Johann David Heinichen. Johann David Heinichen (1683-1729) Magnificat in A Major: 6th movement: Sicut erat in principio 1:50 Rheinische Kantorei, Das kleine Konzert Cond: Hermann Max LC 08748, Capriccio 10 557, (Track 20) The region ruled by the Saxon princes from the seat of their court in Dresden had long been Protestant. But around the turn of the 18th century, Catholicism found its way into the city, quietly, as if on tiptoes. That all had very much to do with the Saxon Elector Frederick Augustus I, who came to be known as Augustus the Strong. Augustus converted to Roman Catholicism in 1697. His entire family soon followed course. For the popular sovereign, who had a reputation as something of a skirt-chaser, it wasn’t a matter of religious fervor, but power politics.
    [Show full text]
  • Program Booklet 2007
    27th Annual Season 17-24 June 2007 2 Los Angeles • Century City • San Francisco • Orange County • Del Mar Heights San Diego • Santa Barbara • New York • Washington D. C. • Shanghai 3 4 May 20 – August 26, 2007 850 San Clemente Drive | Newport Beach Mary Heilmann: To Be Someone is sponsored by: Major support for the exhibition is provided by The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts, a federal agency. The official media sponsor of the Orange County Museum of Art is: nt0670_BMF_4.75x3.75 5/4/07 4:15 PM Page 1 www.ocma.net Additional media sponsorship is provided by: It may be those who do most, dream most. — STEPHEN LEACOCK Northern Trust salutes those whose dreams have broadened our horizons, brightened our worlds, and helped make the Baroque Music Festival a success. Betty Mower Potalivo, Region President – Orange County and Desert Communities 16 Corporate Plaza Drive, Newport Beach, CA 92660 • 949-717-5506 northerntrust.com Northern Trust Banks are members FDIC. ©2007 Northern Trust Corporation. 5 What is Your NUMBER? What is Your NUMBER? [How many dollars will you [How many dollars will you need to produce the need to produce the retirement retirement income you want?] income you want?] Call us for a complimentary initial consultation to Call us for a complimentary initial consultation to explore this question explore this question and many others, including “how?” and many others, including “how?” The Lindbloom Powell Group specializes in helping The Lindbloom Powell Group specializes in helping clients convert clients convert wealth to income in retirement.
    [Show full text]
  • Considerations for Choosing and Combining Instruments
    CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH Item Type text; Electronic Dissertation Authors Park, Chungwon Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 04:28:57 Link to Item http://hdl.handle.net/10150/194278 CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH by Chungwon Park ___________________________ Copyright © Chungwon Park 2010 A Document Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College The UNIVERSITY OF ARIZONA 2010 2 UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Chungwon Park entitled Considerations for Choosing and Combining Instruments in Basso Continuo Group and Obbligato Instrumental Forces for Performance of Selected Sacred Cantatas of Johann Sebastian Bach and recommended that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________Date: 5/15/2010 Bruce Chamberlain _______________________________________________________Date: 5/15/2010 Elizabeth Schauer _______________________________________________________Date: 5/15/2010 Thomas Cockrell Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • George J. Buelow. Thorough-Bass Accompaniment According to Johann David Heinichen
    Document generated on 09/29/2021 1:01 a.m. Canadian University Music Review Revue de musique des universités canadiennes George J. Buelow. Thorough-Bass Accompaniment according to Johann David Heinichen. Revised edition. Lincoln, Neb., and London: University of Nebraska Press, 1992. xvii, 462 pp. ISBN 0-8032-6106-3 (pa) Sandra Mangsen Number 14, 1994 URI: https://id.erudit.org/iderudit/1014319ar DOI: https://doi.org/10.7202/1014319ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this review Mangsen, S. (1994). Review of [George J. Buelow. Thorough-Bass Accompaniment according to Johann David Heinichen. Revised edition. Lincoln, Neb., and London: University of Nebraska Press, 1992. xvii, 462 pp. ISBN 0-8032-6106-3 (pa)]. Canadian University Music Review / Revue de musique des universités canadiennes, (14), 210–215. https://doi.org/10.7202/1014319ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1994 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 210 CUMR/RMUC Should it not be, rather, a tool in the service of a more inclusive phenomenon, a device subservient to the multifarious experience of our art? We theorists must be reminded, once in a while, that affirming tonality is NOT the goal and purpose of tonal music.
    [Show full text]
  • Summer Chorale
    J Ave maris stella University of Washington tic, THE SCHOOL OF MUSIC C Hail, Star of the Sea, o incomparable Virgin, {'iq1 Loving Mother of God, Meek above all others, presents and Virgin Immortal, Make us, freed from our faults, g-l( Heaven's blissful portal! Meek and chaste. Receiving that "Ave" Keep our life pure, From the mouth of Gabriel, make our journey safe, AN EVENING OF Reversing the name of "Eva," So that, seeing Jesus, Establish us in peace. We may rejoice together forever. MARIAN AND FOLK Break the chains of sinners, Let there be praise to God the Bring light to the blind, Father, SONGS Drive away our evils, and glory to Christ the most High. and ask for all good things. and to the Holy Spirit, and to the Three be one Honor. Show thyself to be a mother, with the That, through thee, Amen. He may accept our prayers, He who, born for us, Chose to be your Son. Summer Chorale TRANSLATIONS BY RON JEFFERS Steven G. McCollum* conductor PERSONNEL SOPRANO ALTO Juliana Brandon Elizabeth Angell Sara Hanson & Mindy Patras Chelsea Case Aubrey Bruneau Maia Dunsini Katherine Klang accompanists Patricia Petrisor Schmidt Molly Melbye Julia H. Tracy Ji Yeon Nam Kimberly Pangilinan Mindy Patras Cristin Schmitt Rohini Wadhwani 7:00 PM, August 11, 1999 Brechemin Auditorium TENOR BASS Mark Feldhaus Nicholas Bone Dong-Soo Suh Kevin M. Gausepohl *in partial fulfillment of the requirements for the Nathan Kang David A. White degree of Doctor of Musical Arts in Jin Yagasaki John Williams choral conducting. 7:>4-=1 I;) J f;?;; 1 (!J) 1"3, 'Silo ~ PROGRAM t"'" <!D Magnificat My soul magnifies the Lord.
    [Show full text]
  • Norrback/Orgel
    A Passable and Good Temperament A New Methodology for Studying Tuning and Temperament in Organ Music JOHAN NORRBACK A Passable and Good Temperament A Passable and Good Temperament – A New Methodology for Studying Tuning and Temperament in Organ Music JOHAN NORRBACK Cover: Anders Bodebeck Cover Art: The organ in Abbenrode built by Cristoph Contius, 1708 (photo: Reinhard Menger); the manu- script to the Prelude in B minor, BWV 544 (Universal Edition, no. 7005); engraving for a monochord from An- dreas Werckmeister’s Musicalische Temperatur, 1691 (Nederlands Muziek Instituut, The Hague). Layout: Johan Norrback Printed by Copyright © 2002 by Johan Norrback All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, elec- tronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the author. Göteborg University Department of Musicology Box 200 405 30 Göteborg Sweden Skrifter från Musikvetenskapliga institutionen, Göteborgs universitet, nr 70, 2002 Studies from the Department of Musicology, Göteborg University, no. 70, 2002 ISBN 91 85974 66-8 ISSN 1650-9285 Contents List of Illustrations vii Notes on the Text ix Preface 1 1. Introduction 3 1.1. Problem and aim 3 1.2. Previous research 5 1.3. Methodological considerations 8 2. The Written Sources 13 2.1. Descriptions of tunings and temperaments 15 2.1.1. Michael Praetorius (1571–1621) 15 2.1.2. Wolffgang Caspar Printz (1641–1717) 16 2.1.3. Andreas Werckmeister (1645–1706) 18 2.1.4. Johann Philipp Bendeler (1654–1709) 29 2.1.5.
    [Show full text]
  • (Palm) Sunday Sunday, March 29, 2015
    Passion (Palm) Sunday Sunday, March 29, 2015 Cantors: 5pm Lisa Paradowski, 7:30 Mary Filippis, Prelude : 9:00 Adult Choir, 10:45 Spirit Song & Childrens Choir Choir : One Thousand Hosannas (choir arr) 10:45am Children in White Robes & Palms process in Music Practice : with Celebrant Commemoration of the Lord's Entrance into Jerusalem Opening Ant. : G3-496 | Palm Sunday Processional refrain Only(2) Gospel : spoken responce: Praise to you Lord Jesus Christ Procession : G3-496 | Palm Sunday Processional (___) Children Dismissal: Invitation to the Word (3) Liturgy of the Word First Reading : Isaiah 50:4-7 Despite rejection, Isaiah does not abandon his call. Resp. Psalm : Psalm 22:8-9.17-18.19-20.23-24 My God, my God, why have you abandoned me? Setting : G3-33 | Psalm 22: 2-32 - A Psalm of David (___) Second Reading : Philippians 2:6-11 Jesus made himself lowly and was exalted. G3-375 | Mass of the Angels and Saints - Holy, holy - Gospel Accl'n : Revised Order of Mass (___) Gospel : Matthew 26:14-27,66 or 27:11-54 The Passion. Special Rites : Dismissal of Catechumens: G3-117 May the Word (3) spoken Creed (6) Intercessions : G3-210 | SUNG: God of mercy hear our prayer (2) Liturgy of the Eucharist Preparation : G3-475 | Tree of Life (___) Preface Dialog : spoken "The Lord be with you... G3-375 | Mass of the Angels and Saints - Holy, holy Sanctus : (2) G3-376 | Mass of the Angels and Saints - Memorial Memorial Accl'n : Acclamation (2) G3-377 | Mass of the Angels and Saints - Amen (no Amen : screen) Communion Rite Lord's Prayer : spoken (no screen) G3-388 | Mass of the Angels and Saints - Lamb of Lamb of God : God - Revised Order of Mass Communion : G3-511 | Were You There (___) Post-Communion : G3-510 | Jesus, Remember Me (___) Adult Choir: Ave Verum Corpus (Mozart) Concluding Rite Closing Song : SILENCE! Postlude :.
    [Show full text]