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A view of German passion music throu...

Wolff, Lisa Yvonne.

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A view of German passion music through the lens of parallel Biblical motets: A comparative analysis of setting of "Fuerwahr er trug unsere Krankheit" ("Surely He Has Borne Our Griefs").

Record Type:	Language materials, printed : Monograph/item
Title/Author:	A view of German passion music through the lens of parallel Biblical motets: A comparative analysis of setting of "Fuerwahr er trug unsere Krankheit" ("Surely He Has Borne Our Griefs")./
Author:	Wolff, Lisa Yvonne.
Description:	100 p.
Notes:	Adviser: Ann Howard Jones.
Contained By:	Dissertation Abstracts International68-04A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3259904

A view of German passion music through the lens of parallel Biblical motets: A comparative analysis of setting of "Fuerwahr er trug unsere Krankheit" ("Surely He Has Borne Our Griefs").
Wolff, Lisa Yvonne.

A view of German passion music through the lens of parallel Biblical motets: A comparative analysis of setting of "Fuerwahr er trug unsere Krankheit" ("Surely He Has Borne Our Griefs"). - 100 p.

Adviser: Ann Howard Jones.

Thesis (D.M.A.)--Boston University, 2007.

The custom of singing the Passion, the Gospel account of Christ's suffering and crucifixion, has deep roots in the sacred choral tradition. Significant literature exists on the history of Passion settings, but comparatively few writings concern related Biblical texts. As the sung Passion evolved, embellishments eventually replaced the story with reflection and commentary. Like medieval tropes, these added texts and music took on a life of their own.Subjects--Topical Terms:

516178
Music.

A view of German passion music through the lens of parallel Biblical motets: A comparative analysis of setting of "Fuerwahr er trug unsere Krankheit" ("Surely He Has Borne Our Griefs").
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035 $a (UMI)AAI3259904
035 $a AAI3259904
040 $a UMI $c UMI
100 1 $a Wolff, Lisa Yvonne. $3 1271540
245 1 2 $a A view of German passion music through the lens of parallel Biblical motets: A comparative analysis of setting of "Fuerwahr er trug unsere Krankheit" ("Surely He Has Borne Our Griefs").
300 $a 100 p.
500 $a Adviser: Ann Howard Jones.
500 $a Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1227.
502 $a Thesis (D.M.A.)--Boston University, 2007.
520 $a The custom of singing the Passion, the Gospel account of Christ's suffering and crucifixion, has deep roots in the sacred choral tradition. Significant literature exists on the history of Passion settings, but comparatively few writings concern related Biblical texts. As the sung Passion evolved, embellishments eventually replaced the story with reflection and commentary. Like medieval tropes, these added texts and music took on a life of their own.
520 $a This study concerns German settings of a Biblical text associated with the Passion: Isaiah's prophecy of the Suffering Servant, Furwahr er trug unsere Krankheit (Surely he has borne our griefs, Is. 53:4-12). Chapter 1 discusses this text in its Roman Catholic liturgical context as the Latin Versicle, Vere languores nostros. Relevant art history parallels, motifs of sacrifice (Lamb of God, Agnus Dei) and typology of Christ are found in the Verduner Altar, Klosterneuburg, Austria. Chapter 2 analyzes the 1631 Weissagung des Leidens and Sterbens Jesu Christi (Prophecy of the Suffering and Death of Jesus Christ), also called the Esaijas-Weissagung (Isaiah Prophecy), by Christoph Demantius. This is part of his Passion nach dem Evangelisten Johannes (St. John Passion), the last known example of the motet Passion. Discussion includes history of German Lutheran Passion settings, German poetic reforms of Luther and Opitz, and the messianic theology of the Servant Song and the Suffering Servant. Chapter 3 concerns Thomas Selle's setting of Furwahr, an Intermedium in his 1643 Passion nach dem Evangelisten Johannes (St. John Passion), the earliest known Passion with independent instrumental accompaniment. Historical influences considered include Italian madrigalism, Monteverdi's seconda pratica and the Thirty Years War. Chapter 4 offers analysis of Hugo Distler's motet, Furwahr er trug unsere Krankheit, and its closing choral, Ein Lammlein geht. This work is compared with Dietrich Buxtehude's cantata on the Furwahr text. Chapter 5 explores historical parallels between Demantius and Distler, along with their respective contemporaries Heinrich Schutz and Paul Hindemith. Discussion of impact of Nazism on Distler's work, and upon its subsequent post-World War II reception precedes a concluding perspective on the place of this sacred motet literature in the contemporary choral repertoire.
590 $a School code: 0017.
650 4 $a Music. $3 516178
650 4 $a Religion, History of. $3 1017471
690 $a 0320
690 $a 0413
710 2 $a Boston University. $3 1017454
773 0 $t Dissertation Abstracts International $g 68-04A.
790 $a 0017
790 1 0 $a Jones, Ann Howard, $e advisor
791 $a D.M.A.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3259904