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https://hdl.handle.net/2142/70813
Description
Title
Egil Hovland: Four Select Works
Author(s)
Olien, Raymond Arnold
Issue Date
1982
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
D.M.A.
Degree Level
Dissertation
Keyword(s)
Music
Abstract
This dissertation analyzes and describes Egil Hovland's compositional style as revealed through four extended choral works composed since 1967. Each work is unique within his development and, together, they most aptly project his compositional style.
Missa Vigilate, op. 59, is the first in a series of compositions focusing upon a concern for liturgical renewal. Hovland achieves a highly distinguished means of worship through the fusion of the Word, music, and dance. The work presents a kind of collage of Gregorian song, tonal elements, clusters and dodecaphony.
Missa Verbi, op. 78, is one of the later attempts to create an alternative form of worship service, where instruments and choir, in a more advanced tonal language emphasize the text or theme while the congregation participates in musically simpler forms.
Missa Misericordiae, op. 80, is an a cappella mass set to the texts of the ordinary. The work is a "Missa Brevis" in the format of the older Norwegian masses with the ommission of the Credo. Melodic units are developed from note cells and segments of octatonic scale construction yielding a high degree of chromaticism. The work is based on a free tonal harmony where chordal structures are subordinate to the chromaticism of the individual voice parts.
Kyrkans Eviga Lovsang, op. 82, is an independent work with no specific liturgical function, for three choirs, brass, organ, and chime. The instruments provide a contemporary tonal expression which establishes and maintains the emotional impact of the text. The choral forces provide a melodic function in the chorale verses, a dramatic function through the use of the spoken and whispered statements, and a textural function.
Hovland's melodies reveal his respect for the musical line in its union with the text. The melodic lines are gratifying to the voice. The analysis reveals that in his harmonies, rhythms, and forms, Hovland is a skillful manipulator of standard materials and not an innovator. Especially in his church music, he operates with widely different styles, but Hovland's strength lies in his ability to place his own stamp on everything he creates.
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