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https://hdl.handle.net/2142/70838
Description
Title
The Choral Music of Vladimir Ussachevsky
Author(s)
Mecham, Mark Leonidas
Issue Date
1985
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
The purpose of this study of the choral music of Vladimir Ussachevsky is to identify its stylistic characteristics, to determine evolutionary trends in his style and to identify performance problems involved in his compositions through analysis of all of the works. The following questions were addressed: What stylistic characteristics can be identified with regard to harmony, rhythm, form, texture, and the relationship of the text to the music? Is there evidence of evolutionary trends in his compositional style? And, what are the problems of performance in each of the works discussed?
The study is divided into three sections, an introduction, and two chapters. The introduction serves to place the choral music of Vladimir Ussachevsky into a historical perspective with regards to the rest of his distinguished compositional career. Further, it introduces the reader to several issues considered important by Ussachevsky, as revealed in many articles written by the composer himself. Admittedly, these articles are in the main written to illuminate his choices in the realm of electronic music, and there is to date only one choral piece with this type of accompaniment. However, these same issues are important when considering his non-electronic works, and offer many clues to the thoughtful reader.
Chapter I: "Meeting Old Friends," deals with Ussachevsky's non-electronic choral compositions. They include: Praise Ye O Lord, 1935; Jubilee Cantata, 1938; Psalm XXIV, 1947; and Missa Brevis, 1971.
Chapter II: The Creation, treats his use of choir in combination with his most celebrated contribution to twentieth-century music: electronic tape.
Finally, the conclusion provides a summary of the entire paper, and attempts to validate its findings. Included at the end of the paper are several appendices: a score for his early, unpublished work, Praise Ye O Lord; texts and translations; and a list of compositions, premieres and recordings. An extensive bibliography is also included.
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