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Norwegian composer Ola Gjeilo (b. 1978) is highly regarded as an accomplished and prolific composer of choral music. His creative output includes works for chorus, solo piano, and wind symphony. His unique style infuses elements of cinematic music, jazz and improvisation, with particularly intriguing selections of text. This study examines

Norwegian composer Ola Gjeilo (b. 1978) is highly regarded as an accomplished and prolific composer of choral music. His creative output includes works for chorus, solo piano, and wind symphony. His unique style infuses elements of cinematic music, jazz and improvisation, with particularly intriguing selections of text. This study examines the factors that influence Gjeilo's compositional techniques, and the musical interpretations of conductor Charles Bruffy in his preparation for The Phoenix Chorale's recording Northern Lights: Choral Works by Ola Gjeilo. The eleven works discussed in this study are: The Ground, Evening Prayer, Ubi caritas, Prelude, Northern Lights, The Spheres, Tota pulchra es, Serenity, Phoenix (Agnus Dei), Unicornis captivatur, and Dark Night of the Soul. As a relatively new and young composer, there is very little published literature on Gjeilo and his works. This study provides an intimate glance into the creative process of the composer. By composing in multiple styles and with a variety of inspirational sources, Gjeilo creates a fresh approach toward composition of new choral music. His style is revealed through interviews and numerous collaborations with conductors and performers who have prepared and performed his music, as well through an examination of the eleven works recorded by The Phoenix Chorale.
ContributorsGarrison, Ryan Derrick (Author) / Reber, William (Thesis advisor) / Saucier, Catherine (Committee member) / Rockmaker, Jody (Committee member) / Doan, Jerry (Committee member) / Arizona State University (Publisher)
Created2013
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Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and

Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
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Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility

Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
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Description
Dieterich Buxtehude (ca. 1637-1707) is known for his many organ works. However, no significant portion of his choral music is in the standard performing repertoire. Buxtehude's large-scale choral work Membra Jesu Nostri should be considered a seminal "passion" composition in part because of its historic position in early German Lutheran

Dieterich Buxtehude (ca. 1637-1707) is known for his many organ works. However, no significant portion of his choral music is in the standard performing repertoire. Buxtehude's large-scale choral work Membra Jesu Nostri should be considered a seminal "passion" composition in part because of its historic position in early German Lutheran church music. It also serves as an example of the heightened levels of affect in a seventeenth century devotional passion. To better understand Buxtehude and his music, an overview of his life, career and religious beliefs are discussed, including the incorporation of pietism and mysticism in his cantata, Membra Jesu Nostri. Details of the composition's structure, unifying thematic elements and text sources with translations are included. Historical performance practices are discussed, including the composer's probable intent of having one of the seven cantatas performed every day before Easter. This research study also provides conductors with a variety of practical performance considerations. Through these observations, it will be shown that Buxtehude's Membra Jesu Nostri is one of the most well-conceived and well-constructed choral works of the early Baroque era.
ContributorsKim, Youn Ju (Author) / Gentry, Gregory (Thesis advisor) / Hill, Gary (Committee member) / Reber, William (Committee member) / Rogers, Rodney (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsBubar, Kristina (Performer) / Cangelosi, Dianne (Performer) / Bowman, Joseph (Performer) / Hlavenka, Dasha (Performer) / Neuenschwander, Amy (Performer) / Johnson, J.J. (Performer) / Patel, Ajay (Performer) / Woodrich, Matthew (Performer) / Bausman, Christina (Performer) / Reber, William (Conductor) / ASU Library. Music Library (Publisher)
Created2001-04-20
ContributorsBubar, Kristina (Performer) / Cangelosi, Dianne (Performer) / Reber, William (Conductor) / ASU Library. Music Library (Publisher)
Created2000-04-06
ContributorsFitzPatrick, Carole (Performer) / Ryan, Russell (Performer) / ASU Library. Music Library (Publisher)
Created2017-10-15
ContributorsFitzPatrick, Carole (Performer) / Ryan, Russell (Performer) / McLin, Katherine (Performer) / ASU Library. Music Library (Publisher)
Created2016-10-16
ContributorsYin, Joyce (Performer) / Song, Peipei (Performer) / Kupitz, Emily (Performer) / DePuy, Ethan (Performer) / Mihajlovich, Lazo (Performer) / Reber, William (Conductor) / ASU Library. Music Library (Publisher)
Created2013-04-07
ContributorsFitzPatrick, Carole (Performer) / Barefield, Robert (Performer) / Ryan, Russell (Performer) / ASU Library. Music Library (Publisher)
Created2014-03-23