Paraliturgicalism in the vespers sequence of Ivan Moody

Williams, Geoffrey D

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Description

Title

Paraliturgicalism in the vespers sequence of Ivan Moody

Author(s)

Williams, Geoffrey D

Issue Date

2019-04-12

Director of Research (if dissertation) or Advisor (if thesis)

Megill, Andrew D.

Doctoral Committee Chair(s)

Megill, Andrew D.

Committee Member(s)

• Mattax-Moersch, Charlotte
• Taylor, Stephen
• Alwes, Chester

Department of Study

Music

Discipline

Music

Degree Granting Institution

University of Illinois at Urbana-Champaign

Degree Name

A.Mus.D.

Degree Level

Dissertation

Keyword(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.

Graduation Semester

2019-05

Type of Resource

text

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http://hdl.handle.net/2142/105000

Copyright and License Information

Copyright 2019 Geoffrey Williams

Owning Collections