Publication Date

2009-12-18

Availability

Embargoed

Embargo Period

2014-04-10

Degree Type

Doctoral Essay

Degree Name

Doctor of Musical Arts (DMA)

Department

Vocal Performance (Music)

Date of Defense

2009-10-23

First Committee Member

Donald Oglesby - Committee Chair

Second Committee Member

Paul Wilson - Committee Member

Third Committee Member

Joshua Habermann - Committee Member

Fourth Committee Member

Frank Cooper - Committee Member

Abstract

Marc-Antoine Charpentier's setting of the Messe pour Monsieur Mauroy is the only composition in his oeuvre which was dedicated to a particular person. Each of Charpentier's twelve mass settings is unique; this mass setting is his longest at over 1,500 measures. Charpentier masses are diverse: one composition for women's voices, a mass for instruments only, a Christmas mass, as well as settings of the Requiem text. This document traces the history of the missa concertata up until the time of Charpentier. It examines the intricacies of Charpentier's compositional process: form, melody, harmony, and self-borrowing. This paper also analyzes recent findings as to the pronunciation of Latin in France during this time period. It also explores the correlations between the Mass and oration - the understanding and implementation of rhetoric. Musical examples from the Mass, period treatises, and phonetic transcriptions of French-Latin are a part of this document.

Keywords

Concerted Mass; French-Latin; Style; Rhetoric; French Baroque; Charpentier

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