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dc.contributor.advisorSkones, Mauriceen_US
dc.contributor.authorWordelman, Peter Dale.
dc.creatorWordelman, Peter Dale.en_US
dc.date.accessioned2011-10-31T17:38:51Z
dc.date.available2011-10-31T17:38:51Z
dc.date.issued1991en_US
dc.identifier.urihttp://hdl.handle.net/10150/185475
dc.description.abstractMany twentieth-century American composers have written works for chorus with brass accompaniment. This study focuses on the compositional techniques Daniel Moe applies to his brass and choral works and the musical and religious influences that aided in the development of Moe's composition language. Eight of Daniel Moe's works for brass and chorus are analyzed to determine the influences and techniques employed in his style of composition. The analysis reveals: the choir and brass remain independent and never dominate each other, the brass consistently play at their loudest dynamic levels while the choir is not singing, the heights of the choral phrases are unaccompanied, and final cadences are voiced with the highest pitches in the choral writing which allows an equality of forces. As a conductor, Moe has encountered many Venetian and contemporary works for brass and chorus that had a direct result on the techniques he applied to his brass and choral works. The evidence suggests that Daniel Moe's choral works with brass accompaniment involve a combination of twentieth-century harmonies and rhythms, Biblical and liturgical texts influenced by his strong Lutheran heritage, and a style of transparent scoring which carefully integrates the brass instruments into the overall texture of his compositions.
dc.language.isoenen_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.subjectMoe, Daniel, 1926- -- Choral musicen_US
dc.subjectMusic.en_US
dc.titleDaniel Moe's choral works with brass accompaniment.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
dc.identifier.oclc704284401en_US
thesis.degree.grantorUniversity of Arizonaen_US
thesis.degree.leveldoctoralen_US
dc.contributor.committeememberKnott, Josefen_US
dc.contributor.committeememberWilson, Garyen_US
dc.contributor.committeememberDay, Larryen_US
dc.contributor.committeememberFan, Paulaen_US
dc.identifier.proquest9125453en_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.nameD.M.A.en_US
refterms.dateFOA2018-09-03T09:20:23Z
html.description.abstractMany twentieth-century American composers have written works for chorus with brass accompaniment. This study focuses on the compositional techniques Daniel Moe applies to his brass and choral works and the musical and religious influences that aided in the development of Moe's composition language. Eight of Daniel Moe's works for brass and chorus are analyzed to determine the influences and techniques employed in his style of composition. The analysis reveals: the choir and brass remain independent and never dominate each other, the brass consistently play at their loudest dynamic levels while the choir is not singing, the heights of the choral phrases are unaccompanied, and final cadences are voiced with the highest pitches in the choral writing which allows an equality of forces. As a conductor, Moe has encountered many Venetian and contemporary works for brass and chorus that had a direct result on the techniques he applied to his brass and choral works. The evidence suggests that Daniel Moe's choral works with brass accompaniment involve a combination of twentieth-century harmonies and rhythms, Biblical and liturgical texts influenced by his strong Lutheran heritage, and a style of transparent scoring which carefully integrates the brass instruments into the overall texture of his compositions.


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