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THE COLLABORATION OF CHOIR AND CONGREGATION
IN THE PERFORMANCE OF THE MUSIC OF MICHAEL PRAETORIUS
by
Leonora Kathleen Wagner
________________________________________________________________________
A Dissertation Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(HISTORICAL MUSICOLOGY)
December 2012
Copyright 2012 Leonora Kathleen Wagner
Object Description
| Title | The collaboration of choir and congregation in the performance of the music of Michael Praetorius |
| Author | Wagner, Leonora Kathleen |
| Author email | lkwagner@usc.edu;leonora.k.wagner@biola.edu |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Music (Historical Musicology) |
| School | Thornton School of Music |
| Date defended/completed | 2012-08-20 |
| Date submitted | 2012-09-06 |
| Date approved | 2012-09-07 |
| Restricted until | 2012-09-07 |
| Date published | 2012-09-07 |
| Advisor (committee chair) | Brown, Bruce Alan |
| Advisor (committee member) |
Ongaro, Giulio M. Demers, Joanna T. |
| Abstract | Although congregational singing has been an important element of Lutheran worship since the early years of the Reformation, as visitation reports show, the success of its implementation in the sixteenth and seventeenth centuries varied from place to place and from congregation to congregation. Because of this, encouraging lay members to sing at appropriate times during worship services and providing music for such singing were relevant concerns for Lutherans during these years. Appropriately, then, at the beginning of the seventeenth century, the influential music director and composer Michael Praetorius addressed these concerns by providing philosophical support, performance suggestions, and music for lay participation. This dissertation investigates these contributions to the advancement of congregational singing in collaboration with trained musicians in Lutheran worship services. ❧ Through examination of Praetorius’ treatises and prefaces to publications, I explore his philosophy of worship, especially as it pertains to the respective roles of skilled musicians and the laity in the presentation of church music. Praetorius’ collection of more than 750 cantional settings forms the backbone of his group of compositions intended especially for congregational singing, and includes harmonizations of versions of chorale tunes from various regions. I assess Praetorius’ accuracy in reproducing local melodic variants, demonstrating his volumes to be reliable sources of singing practices from different geographical areas. In order to clarify Praetorius’ compositional tendencies, I analyze his settings with respect to the properties of individual voices, texture, harmony, incorporation of variety, motivic manipulation and text painting, and compare them to settings by some of his contemporaries. As this analysis testifies, the number, characteristics and quality of Praetorius’ cantional settings reflect his stated beliefs about the importance of congregational singing. ❧ Additionally, I consider the multiple options for incorporating congregational singing in a service that Praetorius presents in his volumes. Exhibiting a wide range of complexity, these options include performing cantional settings with four vocal parts only, performing them with instruments and multiple choirs, and combining verses in a simple style with ones from concerted polychoral motets or contrapuntal Latin Magnificats. Not only are Praetorius’ methods practical, in terms of allowing and enticing lay people to participate, but according to a Lutheran perspective, performances using these methods foreshadow worship in heaven and promote, and illustrate, the proper functioning of the church body. |
| Keyword | chorale; cantional; Praetorius; congregation |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m |
| Rights | Wagner, Leonora Kathleen |
| Access conditions | The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given. |
| Repository name | University of Southern California Digital Library |
| Repository address | USC Digital Library, University of Southern California, University Park Campus MC 7002, 106 University Village, Los Angeles, California 90089-7002, USA |
| Repository email | cisadmin@usc.edu |
| Archival file | uscthesesreloadpub_Volume4/etd-WagnerLeon-1185.pdf |
Description
| Title | Page 1 |
| Full text | THE COLLABORATION OF CHOIR AND CONGREGATION IN THE PERFORMANCE OF THE MUSIC OF MICHAEL PRAETORIUS by Leonora Kathleen Wagner ________________________________________________________________________ A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (HISTORICAL MUSICOLOGY) December 2012 Copyright 2012 Leonora Kathleen Wagner |
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