Analysis of selected choral works by John Tavener with particular reference to the post-1977 works
- Authors: Imrie, Sally
- Date: 1998
- Subjects: Tavener, John Choral music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2642 , http://hdl.handle.net/10962/d1002307
- Description: This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.
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- Date Issued: 1998
The growth, development and impact of the Grahamstown Festival of the Arts with special reference to music
- Authors: Silva, Jane Susan
- Date: 1998
- Subjects: Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2656 , http://hdl.handle.net/10962/d1002322 , Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Description: The Grahamstown Festival has become a huge and complex annual celebration of the arts, transforming the small Eastern Cape city for ten days every year. However this event had very modest beginnings, as did music and festivals in the city of Grahamstown. From its early days Grahamstown showed strong signs of becoming an important cultural centre, presenting numerous musical concerts from 1812, the festival tradition in the city beginning in 1887. The modern arts festival, initiated in 1971, had a chequered history during the early and mid 1970's, weathering economic recession, petrol restrictions and a repressive and restrictive political atmosphere. However by 1979 the event had become established and popular enough to ensure continued success during the 1980's. The period 1980-89 was one of great growth and development for the festival regarding attendance, and the number and nature of productions presented. Music had always been an integral part of the festival, and for the first time its role in this artistic celebration is being examined. The impact of such an event is varied and far-reaching, and thus difficult to assess, but the thesis ends with an attempt to gauge the Festival's impact.
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- Date Issued: 1998
The vocal works of Olivier Messiaen
- Authors: Donkin, Deborah Jean
- Date: 1995
- Subjects: Messiaen, Olivier, 1908-1992 Vocal music -- Research
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2634 , http://hdl.handle.net/10962/d1002299
- Description: Olivier Messiaen's compositions for voice, though less widely known than his instrumental works, span some forty years and comprise a fifth of his total output. They have hitherto not been subject to much attention. A study of the elements comprising the vocal lines and accompanying instrumentation from the piano-voice song set, Trois melodies (1930), to the vast orchestral-choral La Transfiguration de Notre Seigneur Jesus-Chlist (1969) reveals, amongst other characteristic and evolving features, the emergence of a unique, simulated, plainchant style and its subsequent transformation into incantation with suitably modified accompaniment. While wide-ranging, chromatic and rhythmically free vocal lines are typical of many twentieth century compositions, Messiaen's use of such features is found to be novel, by virtue of the peculiar modal and temporal ambits within which he operated. Vocal delivery is progressively expanded from conventional bel canto production to humming, howling,and eventually speech and percussive sounds and reaches an apotheosis in the virtuoso effects of Cinq Rechants (1949). This recedes somewhat in La Transfiguration, which displays instead a wealth of hybrid plainsong-type writing. Choral works are interesting in that the emphasis shifts from standard part-writing to monody or accompanied unison singing, with an attendant absence of characterised solo parts. By constantly varying the colour of the single melodic line with different permutations of voice types, timbre assumes a new importance, particularly in La Transfiguration. The study of the texts, most of which were conceived by the composer simultaneously with the music, contributes much to the understanding of each work. Biblical symbolism in the early lyrics is progressively enriched by references to numerological, mythological and nature symbolism, mixed in an increasingly Surrealistic manner. The gradual incorporation of emotive phonemes in the texts, culminates in the invented language of Cinq Rechants. The thesis thus reveals an evolving yet persistently idiosyncratic vocal style, which establishes Messiaen as one of the most original composers of his time. It further demonstrates that his vocal works are an important component of his total oeuvre and also a significant contribution to twentieth century vocal literature.
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- Date Issued: 1995
A study of Oliver Messiaen's song-cycles Poèms pour mi, Chants de terre et de ciel, and Harawi
- Authors: Donkin, Deborah Jean
- Date: 1992
- Subjects: Messiaen, Olivier, 1908-1992 Song cycles--Interpretation (Phrasing, dynamics, etc.)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2635 , http://hdl.handle.net/10962/d1002300
- Description: This thesis ventures into the relatively neglected world of twentieth century vocal music, via the three song cycles of Oliver Messiaen. The song cycle is a comparatively young genre, generally dated from Beethoven's An die ferne Geliebte or by some, even later to Schubert's Die schone Miillerin. Nevertheless, considerable changes have taken place in the 160 years which separate Messiaen's cycles from those of the 'pioneers' mentioned above. A fuller appreciation of twentieth century cycles is facilitated by observing this evolutionary process and placing the works within an historical and cultural perspective. Such an introduction is provided in part one of this thesis, along with relevant details on the life and interests of Messiaen. The latter information gives insight into the compositions themselves and may satisfy the reader's curiosity on the origin of some of the more unexpected techniques or ideas Messiaen llses. Before embarking on a study of the cycles, it is necessary to look at the highly individual musical language of the composer. Section two undertakes this task in some depth, wherever possible relating the explanations directly to the songs which follow. In order to clarify the text and to simplify the exercise for the reader, numerous musical examples have been used. This contributes to the apparent bulk of this section. The main emphasis of the thesis is the detailed study of the 20 songs contained in Poemes pour Mi, Chants de Terre et de Cief and Harawi. The third section of the thesis deals with this material thoroughly and systematically, dividing it up into musical and extra-musical aspects. The texts are considered in terms of Surrealist, religious, Nature, numerological and, in the case of Harawi, mythological and Peruvian folk symbolism. The relationship of text to music is studied and evelopments highlighted. Musically, the study is further sub-divided into piano part and vocal part. In each case, an extensive exploration of the techniques required of the performer is presented. This makes possible the subsequent categorisation of the songs on the basis of similarities in the musical means. Conclusions reached show a progressive development through the three song cycles in the composer's handling of the text, his treatment of the voice, his use of the piano and his expansion of the voice-piano relationship. This body of solo vocal literature emerges as typical of Oliver Messiaen's compositional style in general and therefore properly representative of the meticulous craftsmanship with which his works are constructed. The detailed analysis of all aspects of the songs contributes original material to scholarship on Messiaen and on song cycles in the twentieth century.
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- Date Issued: 1992