http://hdl.handle.net/2104/4750 Wed, 19 Jun 2013 22:48:46 GMT 2013-06-19T22:48:46Z http://beardocs.baylor.edu:80/xmlui/bitstream/id/24823/music.jpg http://hdl.handle.net/2104/4750 http://hdl.handle.net/2104/8595 Ecstatic Utterances explained : a companion to Ecstatic Utterances. Simmons, Jim (James D.) This paper provides technical and philosophical insight into the composition Ecstatic Utterances. Three distinguishing approaches feature in this thesis: strands, and their accompanying theory; harmonic crescendo and a limited aleatory passage. Of greatest importance amongst these three is the concept of a strand, and the possibilities obtaining therein; possibilities which have crystallized in the writer’s musical and verbal expression, providing methods for both composition and analysis. While these methods remain in need of development, important strides have already been taken: a detailed analysis of portions of Ecstatic Utterances and a brief theoretical foundation titled “A Beginning to the Discussion of Strands as a Form of Musical Expression: A Conceptual Glossary.” Both documents were developed simultaneously in an attempt to be systematic. All work is original unless otherwise cited. Wed, 15 May 2013 00:00:00 GMT http://hdl.handle.net/2104/8595 2013-05-15T00:00:00Z http://hdl.handle.net/2104/8517 The public invitation and "Gospel Hymns Nos. 1 to 6". Snider, Emily R. Perhaps the most distinctive characteristic of traditional evangelical worship is the widespread practice of the "invitation" near the close of the worship service. A significant element of that invitation is the accompanying hymn, one that emphasizes the need for conversion and spiritual renewal. This thesis addresses the origin and early evolution of the public invitation, and more specifically, the hymns that have been used by evangelicals for this part of their worship. Hymns from Gospel Hymns Nos. 1 to 6, the most popular hymnal among evangelicals in the nineteenth century, are analyzed and discussed along five primary categories: 1) metaphors and imagery, 2) scriptural allusions, 3) overarching themes, 4) hymn forms, and 5) fundamental theological themes. Finally, hymns of three recently published Baptist hymnals, those belonging to what is presently the largest evangelical group, are evaluated and compared along similar lines to determine the nature of the contemporary hymn of invitation. Thu, 29 Nov 2012 00:00:00 GMT http://hdl.handle.net/2104/8517 2012-11-29T00:00:00Z http://hdl.handle.net/2104/8509 For such a time as this : classical music and 9/11. Phillips, Ariana S. This thesis takes as a foundational principle the conviction that music is a vital component of the process of mourning. From this foundation, I focus on three of classical music's responses to 9/11: John Adams' On the Transmigration of Souls, John Corigliano's One Sweet Morning, and Steve Reich’s WTC 9/11. The first chapter sets up analytical paradigms for the use of music in expressions of mourning, while the second applies those paradigms to music of the past. The third chapter discusses the compositional histories of each contemporary work, and chapter four analyzes structural characteristics that augment their expressive qualities. Chapter five focuses on the relationships between each work and memory, as well as the messages those entail. Aspects of reception history, including performance records and critical responses, form the basis of the sixth chapter, while chapter seven argues for these works' importance in the ongoing process of mourning 9/11. Thu, 29 Nov 2012 00:00:00 GMT http://hdl.handle.net/2104/8509 2012-11-29T00:00:00Z http://hdl.handle.net/2104/8417 Composers as spiritual mediators : Henryk Górecki and John Luther Adams. Cooper, S. Grant (Steven Grant) This thesis considers how composers act as agents of spiritual mediation. It examines two individuals of divergent philosophical and cultural perspectives. Henryk Górecki and John Luther Adams responded to twentieth-century crises with two signature works that reflect a desire to remediate the suppression of spiritual forces. Górecki’s Miserere, opus 44 is a plea for reconciliation prompted by the abuse of Poland’s Solidarity movement, and is examined as a product of political and religious oppression in the composer’s nation, and as an invocation of Roman Catholic traditions that relate to its biblical text. John Luther Adams’s In the White Silence, a defense of wilderness places in Alaska, is examined as an outgrowth of environmental activism that resulted in a musical idiom based on ecological principles. The object of this study is to illuminate the role of composers as mediators between corporeal and incorporeal forces, manifesting the spiritual exigencies of mankind. Wed, 08 Aug 2012 00:00:00 GMT http://hdl.handle.net/2104/8417 2012-08-08T00:00:00Z