Abstracts of Recent SWBTS School of Church Music Doctoral Dissertations

Artistic Theologian 3 (2015): 87-88

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Kendall Taylor, Beethoven Editions, and the “Tempest” Sonata

Moira Hopfe-Ostensen, DMA

The purpose of this project is to highlight the life and career of Sir Kendall Taylor, a notable pianist and pedagogue in Great Britain. His experience as a teacher and performer with editions of the Beethoven piano sonatas led him to compile his own edition in four volumes.

Chapter 1 is a retrospective of Taylor’s life, highlighting his musical journey as student, pianist, and teacher. This chapter includes the thoughts of former students, teachers, and. colleagues. They share anecdotes and comment on Taylor’s influence in their lives.

Chapter 2 investigates the terminology of various editions and Taylor’s viewpoint on the necessity of producing a new Beethoven piano sonata edition. An overview of Taylor’s edition demonstrates the immense thought and care that went into its preparation.

Chapter 3 is a comparative study of editions of the “Tempest” Sonata. This chapter focuses on some of the more prominent discrepancies that exist among editions, including indications of tempo, articulation, dynamics, accents, pedaling, and ornamentation.

The Liturgical History of the Song of Songs and Suggestions for its Inclusion in Haitian Evangelical Religious Gatherings

Azer Lilite, PhD

This dissertation argues that the Song of Songs has historically been a liturgical element in Jewish worship, Catholic masses, and Protestant Church practice. The analysis of its liturgical history urges Haitian Evangelicals to identify and cherish the divine principles found in its text, recall how God’s people should react before His revealed truth, and encourage church musicians to compose new songs unto God from the lyrics of the most excellent song.

Chapter 1 introduces the need for the inclusion of the Song of Songs in all aspects of Haitian evangelical religious gatherings.

Chapter 2 is a literature review, which includes (1) major debates on the Song of Songs, (2) considerations on its stance as Scripture, and (3) its recognition as a unique ancient Near-Eastern literary piece.

Chapter 3 examines the liturgical role of the Song of Songs in Jewish worship.

Chapter 4 examines the liturgical role of the Song of Songs in Roman Catholicism.

Chapter 5 examines the liturgical role of the Song of Songs in Protestant religious gatherings.

Chapter 6 proposes initial steps to include the Song of Songs in all aspects of modern Christian ministries in Haitian Evangelical church settings.

A Performer’s Analysis of Fantasia in C Minor, K. 475 and Sonata in C Minor, K. 457 by Wolfgang Amadeus Mozart, and Selected Etudes, Nos. 1, 4, 10, and 16 by György Sandor Ligeti

Kyoung Ah Mun, DMA

The purpose of this document is to provide a performer’s analysis of the Fantasia in C minor (K. 457) and Sonata in C minor (K. 475) by Wolfgang Amadeus Mozart and Études nos. 1, 4, 10, and 16 by György Ligeti.

This document consists of two main parts: the first, regarding Mozart, consists of five chapters, and the second, on Ligeti, consists of three chapters.

In part one, a brief biography of Mozart and an outline of his musical output is presented in the first chapter. The second chapter deals with the history of the fantasia as a keyboard genre from the sixteenth century to the time of Mozart. The third chapter is devoted to an analysis of the Fantasia in C minor, K. 457. The fourth chapter refers to the history of the sonata from its appearance to the time of Mozart. A brief examination of his other sonatas occurs in this chapter followed by an analysis of the Sonata in C minor, K. 475 in the fifth chapter.

In part two, a brief biography of Ligeti and an outline of his musical output is presented in chapter six. The seventh chapter deals with the general characteristics of Ligeti’s three books of études and includes brief background information and analysis of the individual works. The eighth chapter is devoted to the analysis of the four selected études, nos. 1, 4, 10, and 16, examining the form, melody, harmony, rhythmic devices, and texture.

This document was prepared in conjunction with a D.M.A. lecture-recital of the works discussed.

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