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201665 https://hdl.handle.net/2286/R.2.N.201665 http://rightsstatements.org/vocab/InC/1.0/ All Rights Reserved 2025 141 pages Doctoral Dissertation Academic theses en Murphy, Teresa Weiss, Stephanie Palkki, Joshua Saucier, Catherine Arizona State University Partial requirement for: D.M.A., Arizona State University, 2025 Field of study: Music The Jesuits as a religious order have used music as a means of evangelizationsince their early days. Saint Ignatius of Loyola founded the Jesuit Order in 1546, and within a century, his companions began to travel to present-day South America. Here, they encountered a variety of Indigenous communities, including the Chiquitanos of present-day Bolivia and Guaraníes of present-day Paraguay. Many of the Jesuits who encountered these Indigenous communities brought with them knowledge of Western European music: the ability to read, compose, sing, play instruments, and even construct instruments. The Jesuits taught the Guaraníes and Chiquitanos European music, and in turn, these Jesuits learned about the Guaraní culture and language, though not always affirming it. Though the missionary work of the Latin American Baroque Jesuits was both an evangelical and musical feat, it is seldom celebrated within the context of Jesuit secondary education. While many Jesuit high schools in the United States celebrate the pioneering spirituality of Saint Ignatius, or the missioning of St. Francis Xavier, the musical-cultural outreach of the Guaraní Jesuits often goes unspoken. To fully appreciate the musical legacy of the Jesuits, I believe that students should perform these works in their Jesuit high schools. Not only would this allow students to better understand the Baroque period of Catholic history, it could open for them conversations about colonialism, colonization, conversion, and questions about the agency or lack of agency in this conversion process. One of the barriers to performing these Baroque works at a Jesuit high school is the original voicing of the works. While most Jesuit high schools in the US are ii single sex, the choral works written by Jesuit mission composers are overwhelmingly set for Soprano, Alto, and Tenor. In this paper, I offer a guide to arranging Soprano-Alto- Tenor (SAT) works for Tenor-Bass (TB), and Tenor-Baritone-Bass (TBB) choir, depending on the age and musicality of the ensemble at hand. Founded on the vocal pedagogy of Tenor-Bass voices, aged 14-18, I consider range, melody, and dynamics, as well as rhythmic, melodic, and harmonic difficulty. Music performing arts Music Education Jesuit Mission Music for the Young Tenor-Bass Choir: An Age-Appropriate Arrangement of Domenico Zipoli’s Misa de Potosí