Doctoral Final Projects--Choral Conducting (DM)

Permanent link for this collectionhttps://hdl.handle.net/2022/14083

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Cantonese Choral Music: Development, Learning Diction with Jyutping, and Performance Suggestions
(Indiana University, 2025-07-18) Kwok, Yee Yan Michelle
This document is dedicated to Cantonese choral music, which remains underrepresented despite its cultural and artistic significance. Although approximately 86 million people worldwide speak Cantonese, its unique linguistic challenges have made composing and performing choral music particularly demanding. This document aims to serve as an introduction to Cantonese choral music to scholars and musicians. I advocate the usage of the romanization system Jyutping, which is designed specifically for learning Cantonese, in approaching Cantonese choral works. I begin with an overview of choral music development in Hong Kong, tracing the emergence of Cantonese choral works from British colonization in the late 19th century up till today. In the second chapter, I dive into an introduction to the Cantonese language, analyzing its syllabic structure and tonal system. I argue that Jyutping is more effective than IPA and other romanization systems, such as Yale, to learn Cantonese lyric diction. I then compare how composers use Jyutping in their compositions and adjust their notation methods for performers to sing Cantonese stylistically and authentically. The final chapter provides a pronunciation guide and performance suggestions for three selected choral pieces. I aim to assist performers in mastering Cantonese choral works’ linguistic and musical nuances, ultimately contributing to the growth and appreciation of this distinctive genre.
STICKING PINS IN SUNBEAMS: A METHOD OF SCORE PREPARATION INSPIRED BY THE PHILOSOPHY OF JULIUS HERFORD, WITH EXAMPLES FROM THE BEETHOVEN MASS IN C
(Indiana University, 2025-06-16) Koppel, Alexander
This document presents a score study methodology based on the approach of Julius Herford (1901–1981), a pivotal but under-documented figure in American choral pedagogy. Herford's teaching profoundly shaped generations of conductors, yet his analytical techniques were never codified in a systematic form. Drawing on archival research, published writings, and interviews with former students, this study distills Herford’s approach into a structured, practical method designed for contemporary use. The project is divided into four chapters. Chapter 1 contextualizes Herford’s influence and outlines the rationale for revisiting his methodology. Chapter 2 reconstructs that methodology in four interrelated stages: Context, Overall Form, Structurally Essential Details, and Form as a Process in Motion. These components are synthesized from Herford’s primary documents, including his annotated piano-vocal score and handwritten charts on Beethoven’s Mass in C, as well as from his writings in Choral Conducting: A Symposium and American Music Teacher. Chapter 3 applies this reconstructed method to the Kyrie from Beethoven’s Mass in C, drawing on Herford’s own analytical materials and offering a detailed case study that demonstrates both the method’s rigor and its interpretive flexibility. Chapter 4 reflects critically on the application process, acknowledging both the strengths and limitations of Herford’s approach and exploring its continued relevance for modern conductors. The central argument is that Herford’s philosophy and techniques, though demanding and nonlinear, offer conductors a means of deeply internalizing musical structure and intention. His emphasis on visual graphing, expressive pacing, and the integration of textual and historical insights provides a powerful alternative to more reductive analytical models. By constructing a model based on Herford and testing it against one of the works he himself studied, this document both preserves and revives a tradition of score study rooted in aural imagination and formal clarity. In doing so, it bridges archival scholarship with the practical needs of working musicians, offering a toolset for score preparation that is systematic and strategically exhaustive.
Cultural Appropriation: The Use of Māori Material in Western Choral Music
(Indiana University, 2025-05-09) Palmer, Jonathan
Edward Elgar's Te Deum and Benedictus in F Major, Op. 34: A Critical Edition
(Indiana University, 2025-05-07) Kim, JaeEun
Early Forms and Processes in the Choral Works of Paul Hindemith
(Indiana University, 2025-05-07) Berlanga, Steven
STYLISTIC DUALISM IN PAUL PARAY'S MESSE POUR LE 5e CENTENAIRE DE LA MORT DE JEANNE D'ARC
(Indiana University, 2025-03-07) Kadeli, Peter
THE EVOLVING SIGNIFICANCE OF LANGUAGE IN PHILIPPINE MUSIC HISTORY: JOSEFINO CHINO TOLEDO’S MISA LINGUA SAMA-SAMA
(Indiana University, 2024-07-12) Angangco, Raoul Carlo F.
A CONDUCTOR’S ANALYSIS OF GABRIEL JACKSON’S “THE PASSION OF OUR LORD JESUS CHRIST”
(Indiana University, 2024-05-01) Abernathy, Lawrence
Assessing cultural value : ethical gatekeeping in choral music
(Indiana University, 2024-02-14) Grace, Samuel
A conductor's guide to the music of Hildegard von Bingen
(Indiana University, 2021-07-23) Gardiner, Katie
Making Chinese choral music accessible in the United States : a standardized IPA guide for Chinese-language works
(Indiana University, 2020-12-04) Cai, Hana J., 1988-
Chinese choirs and conductors are gaining an increasing presence at American choral conferences. Yet as much as Chinese choral conductors advocate for performing Chinese pieces, it is nearly impossible to find easy ways to prepare and perform Chinese choral works in the United States. Through interviews with conductors and composers of Chinese choral music, I researched the process of acquiring these pieces remotely, the trends in Chinese choral music, and the potential market for these works. This study examines why the accessibility of Chinese choral music in America is hindered by issues of discoverability, copyright and publication, and language. Although simple solutions do not exist for the first two issues, I have addressed language by advocating for the use of Pinyin in all Chinese choral publications in the US and by establishing and creating a Mandarin Chinese diction guide for choral conductors. This diction guide includes a chart that equates every sound of Pinyin with an IPA symbol and describes how to teach each sound to non-Chinese speakers.
Heaven and Earth: A Conductor's Guide
(Indiana University, 2020-11-17) Lewis, Caleb
A conductor's analysis of Antonio María Valencia's Requiem
(Indiana University, 2020-05-03) Hernández, Juan (Juan Camilo)
A conductor's analysis of Antonio María Valencia's Requiem
(Indiana University, 2020-05-03) Hernandez, Juan
The mourning jewels
(Indiana University, 2020-05-03) Ritter, Sam, 1990-
The missa pro defunctis at the Catedral Metropolitana de la Asunción de la Santísima Virgen María a los Cielos: featuring the Misa de difuntos (1760) by Ignacio Jerusalem y Stella, maestro di capilla (1707-1769)
(Indiana University, 2020-05-03) Geier, Benjamin
The Misa de difuntos (1760) by Ignacio Jerusalem y Stella is a choral-orchestral setting of the Requiem Mass which offers a unique glimpse into the fusion of the European Classical and Spanish cathedral traditions. The Mass Ordinary movements are influenced by Mid-Eighteenth compositional style and technique, offering clear and straightforward harmonic progressions with largely homophonic choral interjections. The Mass Proper provides a suitable contrast with strong dissonances and ample use of chromaticism to evoke the textual themes of the Requiem. The Misa de difuntos (1760) was first discovered by me in Thomas Stanford’s Catálogo de los acervos musicales de las catedrales metropolitanas de México y Puebla de la Bibioteca Nacional de Antropología e Historia y ostras colecciones menores. Although it appeared as a simple entry in the catalog, its immense size of five hundred seventy-six pages and description of a chamber orchestra and chorus caught my attention. The music that constitutes the basis of my edition survives in a single manuscript, located in the Archivo del Cabildo Catedral Metropolitano de México (ACCMM) in Mexico City. I have not been able to travel to Mexico City, but I was granted access to the microfilm which is held at the Instituto Nacional de Antropología e Historia (INAH). Passages of the work required some philological emendation. Fortunately, Ignacio Jerusalem’s score and accompanying part books are remarkably free of errors and are well preserved. The majority of editorial decisio ns made were as a result of composer shorthand or misinterpretations on the part of the copyists. This edition serves promote the music of Ignacio Jerusalem y Stella and the vast numbers of unknown works that exist in the Mexican cathedral archives.
Quantitas temporalis intrinseca in the context of contrapuntal vocal music
(Indiana University, 2020-04-22) Zamudio, Juan Carlos
Caroline Shaw's use of Renaissance and Baroque dance forms in her partita for 8 voices
(Indiana University, 2020-04-10) Harper, Joshua (Joshua David)
Church and theater on a colossal scale: the juxtaposition of ancient and modern elements in Franz Liszt's oratorio Christus
(Indiana University, 2018-12-13) Hagan, Maria C.
A jazz vespers: for chorus, soloists, orchestra and jazz quintet
(2016-12-16) McCutchen, Keith
An Analysis of Liturgical Jazz, Classical and Jazz Collaborations and Analytical Commentary on a Jazz Vespers for Chorus, Soloists, Orchestra and Jazz Quintet This paper presents a background on the use of jazz in the church, a historical timeline of integration of jazz and classical music, and lastly, a summary and analysis of my Jazz Vespers for Chorus, Soloists, Orchestra and Jazz Quintet. This piece reflects my desire to reconcile the various cultural aspects of my work and the components of the church’s history into a single act of worship. These components include the harmonies and rhythms of jazz and gospel music, Twentieth Century Classical music, including Stravinsky and more extensively Monteverdi’s Vespers, Musical Theater and Opera. The modern use of the term “Jazz Vespers” means primarily a jazz performance or service without any application of text, and/or use of the formal structure of the actual Vespers service of the Roman Catholic, Greek Orthodox, or Protestant liturgies. None the less, there are many instances of jazz music being used successfully as service music, and performances being observed within the structure of a liturgical service, such as the Vespers, with the use of either traditional Psalms or Old Testament readings and poems, literary prose, and other writings which reflect a spiritual, humanistic nature.

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