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Title:Paraliturgicalism in the vespers sequence of Ivan Moody
Author(s):Williams, Geoffrey D
Director of Research:Megill, Andrew D.
Doctoral Committee Chair(s):Megill, Andrew D.
Doctoral Committee Member(s):Mattax-Moersch, Charlotte; Taylor, Stephen; Alwes, Chester
Department / Program:Music
Discipline:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D.
Genre:Dissertation
Subject(s):choral programming, church music, choral conducting, Orthodox music, Ivan Moody
Abstract:Ivan Moody (b. 1964) is an Orthodox priest, composer, editor, and critic who deserves better recognition as a composer. He is primarily known through his scholarly writings and performing editions. Moody’s own compositions are influenced by and maintain a stream of continuity with the school of sacred minimalist composers like Arvo Pärt, John Tavener, and Henryck Gorecki. His vocal compositions often exhibit “paraliturgicalism” –a term he uses and in part created to describe repertoire with roots in music of liturgical rites repurposed for concert use. Choirs and small vocal ensembles from amateur to professional have used repertoire from sacred music traditions to program concerts since the advent of concerted music. Specialist vocal ensembles such as the Hilliard Ensemble, Trio Mediaeval, Cappella Romana and New York Polyphony are current champions of his work. However, quantifying the use of essentially liturgical music in a concert setting has had little exploration or explanation. This project serves to open the veil, break down some of the potential barriers, and open doors to make the methodology of programming liturgical sacred music at a concert context a less ambiguous or reckless affair. Through Moody’s music, particularly his Vespers Sequence, we see a contemporary composer deliberately placing the idioms and styles of liturgical music into the traditional venues and parameters of concert performance. Their symbiosis is defined as “paraliturgicalism” and this thesis offers situations and suggestions for its use in concert programming.
Issue Date:2019-04-12
Type:Text
URI:http://hdl.handle.net/2142/105000
Rights Information:Copyright 2019 Geoffrey Williams
Date Available in IDEALS:2019-08-23
Date Deposited:2019-05


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