Copyright (c) 2013 Georgia State University All rights reserved. http://digitalarchive.gsu.edu/music_theses Recent documents in Music Theses en-us Thu, 21 Mar 2013 15:30:18 PDT 3600 http://digitalarchive.gsu.edu/music_theses/3 http://digitalarchive.gsu.edu/music_theses/3 Mon, 26 Nov 2012 09:15:13 PST This document presents the development trouser role. The first part is concentrated in the seventeenth century when the use of castrati was the main business in church music. Later in the same chapter is presented the development of women in opera, which so far was not a common practice, and how and why they dominate the opera after the castrati were not an accepted practice anymore. The following chapters contain demonstrations of trouser role’s types. Each chapter is based in one role of an opera from a different period of history. From Gluck’s Orfeo ed Euridice to Strauss’ Der Rosenkavalier, the pants role is exemplified from a different point of view according to their importance in opera.

]]> Tabita C. Iwamoto http://digitalarchive.gsu.edu/music_theses/2 http://digitalarchive.gsu.edu/music_theses/2 Mon, 08 Feb 2010 17:09:23 PST Gabriel Fauré’s Requiem, Op. 48 was an evolving work, which he continued to revise from its inception in 1887 until the published version of 1900. The focus and intent of this paper is to present a detailed analysis of Requiem, Op. 48 as well as historical background to aid conductors in the preparation and performance of this work. Discussions include the history of the requiem mass as a liturgical form, the evolution of Requiem, Op. 48, the John Rutter edition (1984) and his research, and a conductor’s analysis addressing issues of harmony, form, and style.

]]> Ryan Parker McKendrick http://digitalarchive.gsu.edu/music_theses/1 http://digitalarchive.gsu.edu/music_theses/1 Mon, 08 Feb 2010 17:09:22 PST This document uses historical research and performance practices in choral music to reveal the meaning of Mozart’s Missa Brevis in C, K. 220. The focus of this research compares the development of Mozart’s composition to the Hungarian Twentieth-century composer, Zoltan Kodaly’s, setting of the Missa Brevis written for choir and organ. The author gives a detailed analysis of both compositions, which further explains the influences and musical nuances of the 18th century Catholic church music. In addition to preparing a choral performance for K. 220, other missa brevis by Mozart are briefly discussed and organized by origin, performing forces, difficulty level, and duration. This analytical approach ultimately reveals that Mozart’s K. 220 serves as a festive and unified model of choral excellence throughout the history of sacred choral music. INDEX WORDS: W.A Mozart, 1756-1791, Missa brevis, K.220, Zoltan Kodaly, 1882- 1897, Spatzenmesse, Masses, Eighteenth- Century church music, Thesis (M.Mu), Choral Conductor’s analysis, Georgia State University, College of Arts and Science

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