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dc.contributor.authorBotley, Arthur Lee, Jr.
dc.creatorBotley, Arthur Lee, Jr.en_US
dc.date.accessioned2011-10-31T17:58:49Z
dc.date.available2011-10-31T17:58:49Z
dc.date.issued1992en_US
dc.identifier.urihttp://hdl.handle.net/10150/186111
dc.description.abstractThe liturgical music of Edmund Rubbra has been generally neglected by choral conductors. This neglect may be explained by his indifference toward twentieth century trends and a style of composition that may be elusive. The purpose of this document is to present Rubbra's Missa in Honorem Sancti Dominici, Op. 66, as an example of a twentieth century liturgical mass that was influenced by the principle of Motu Proprio of 1903; and to provide conductors with an insight on Rubbra's style, with the hope that it will generate interest among conductors to perform the mass. By focusing on aspects of Rubbra's Missa in Honorem Sancti Dominici and his style, the following questions will be answered: How does Rubbra's Missa in Honorem Sancti Dominici fit within the framework of liturgical music as outlined in the Motu proprio of 1903? What is the link between Renaissance practice and twentieth century thought in Rubbra's Missa in Honorem Sancti Dominici? The document is organized in four parts: part one is a historical perspective which gives an overview of efforts at reform in Roman Catholic church music in the nineteenth century; part two is a brief biography of Rubbra and a discussion of the aspects of his style; part three is a discussion of the mass; part four is a synthesis of the preceding parts that form a background against which the questions presented may be answered.
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.subjectDissertations, Academic.en_US
dc.subjectMusic.en_US
dc.titleRubbra's "Missa in Honorem Sancti Dominici", Op. 66.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
dc.contributor.chairKnott, Josefen_US
dc.identifier.oclc714876170en_US
thesis.degree.grantorUniversity of Arizonaen_US
thesis.degree.leveldoctoralen_US
dc.contributor.committeememberSkones, Maurice H.en_US
dc.contributor.committeememberJohnson, Roy A.en_US
dc.identifier.proquest9313011en_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.nameD.M.A.en_US
refterms.dateFOA2018-06-15T22:51:55Z
html.description.abstractThe liturgical music of Edmund Rubbra has been generally neglected by choral conductors. This neglect may be explained by his indifference toward twentieth century trends and a style of composition that may be elusive. The purpose of this document is to present Rubbra's Missa in Honorem Sancti Dominici, Op. 66, as an example of a twentieth century liturgical mass that was influenced by the principle of Motu Proprio of 1903; and to provide conductors with an insight on Rubbra's style, with the hope that it will generate interest among conductors to perform the mass. By focusing on aspects of Rubbra's Missa in Honorem Sancti Dominici and his style, the following questions will be answered: How does Rubbra's Missa in Honorem Sancti Dominici fit within the framework of liturgical music as outlined in the Motu proprio of 1903? What is the link between Renaissance practice and twentieth century thought in Rubbra's Missa in Honorem Sancti Dominici? The document is organized in four parts: part one is a historical perspective which gives an overview of efforts at reform in Roman Catholic church music in the nineteenth century; part two is a brief biography of Rubbra and a discussion of the aspects of his style; part three is a discussion of the mass; part four is a synthesis of the preceding parts that form a background against which the questions presented may be answered.


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