{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/80831"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/80831","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"Missa Trencadís","abstract":"Ph.D.","abstract_html":"Ph.D.","abstract_has_math":false,"creators":["Henderson, Brien"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Felder, David","Music"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-10-29T16:47:22Z","date_published":"2019-10-29T16:47:22Z","updated_at":"2026-07-27T19:05:25Z","subjects":["musical composition"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/80831","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Felder, David","Music"]},{"key":"dc:creator","label":"Author","values":["Henderson, Brien"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-10-29T16:47:22Z","2019","2019-07-30 21:11:04"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Dissertation"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["musical composition"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/80831"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ph.D.","This work is the result of study, animated by the contemplation of the broken-tile mosaics to be seen all over Barcelona: trencadís. Tiles were produced according to traditional principles; the factories generated piles of broken pieces, normal in manufacturing; and the pieces were used to decorate the facades of a growing Barcelona in the late 19th and early 20th centuries, most notably in Antoni Gaudí’s structures. The style itself intimates a cycle of creation, destruction, and re-creation. You can almost see the original tiles. You can see they have been broken. You can see the pieces have been assembled with other pieces and cement to render the mosaic.My first interest in the music of the mass coincided with my initial trencadís fascination. The mass is the first major form in the history of the music I have studied for so many years, beginning in the medieval and developing to a grander cyclic form in the Renaissance. This music is the root, the source, the first batch of musical tile fired in the kiln of Europe. At a time when I was concerning myself with composing music to impress, to realize professional ambitions, to build cultural capital among my colleagues and professors, this early music got my attention, as did trencadís, and began to overwhelm any concern for the current trends in my discipline. The cycle of creation, destruction, and re-creation was foremost on my mind, and I found the early music to be the most compelling as the first creation in the cycle of the west. I had to begin there.In total, the work is a series of incongruous elements: a large-scale trencadís, one might say. The first and last movements, Kyrie and Agnus Dei respectively, are texts of the Roman Rite (the world’s most common). The Sanctus is a text of the Hispano-Mozarabic Rite, a tradition traceable to very early Christian worship in the Iberian peninsula, still regularly celebrated in Toledo, Spain. As such, the work in its entirety cannot be used for worship under any existing Catholic rubric. It is a concert mass, a work of artifice on the topic of the mass, rather than a functioning liturgical instrument.The sung movements are composed according to mostly traditional, even archaic, musical principles. These movements alternate with instrumental interludes, Trencadís I and II, in which the vocal melodies have been broken into shorter melodic pieces and arranged in various configurations, at multiple simultaneous speeds, cemented together by textural layering and sustained tones. Their presence manifests my own contemplations and invites yours.However, the greatest aspiration of this work is at its end, in its final line of text, when only the voices are heard: Dona nobis pacem (Grant us peace). When the constant striving to impress, to slake the thirst of ambition, to grow in market share and capital (cultural or real), when the veil of vanity is pierced and falls away, a deep hunger for peace in one’s life is revealed.","**To request an accessible version of the file(s) associated with this item, contact library@buffalo.edu. Please include the item's persistent URL [http://hdl.handle.net/. . .] in your request.**"]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Missa Trencadís"]}]}],"canonical_facts":{"dc:contributor":["Felder, David","Music"],"dc:creator":["Henderson, Brien"],"dc:date":["2019-10-29T16:47:22Z","2019","2019-07-30 21:11:04"],"dc:description":["Ph.D.","This work is the result of study, animated by the contemplation of the broken-tile mosaics to be seen all over Barcelona: trencadís. Tiles were produced according to traditional principles; the factories generated piles of broken pieces, normal in manufacturing; and the pieces were used to decorate the facades of a growing Barcelona in the late 19th and early 20th centuries, most notably in Antoni Gaudí’s structures. The style itself intimates a cycle of creation, destruction, and re-creation. You can almost see the original tiles. You can see they have been broken. You can see the pieces have been assembled with other pieces and cement to render the mosaic.My first interest in the music of the mass coincided with my initial trencadís fascination. The mass is the first major form in the history of the music I have studied for so many years, beginning in the medieval and developing to a grander cyclic form in the Renaissance. This music is the root, the source, the first batch of musical tile fired in the kiln of Europe. At a time when I was concerning myself with composing music to impress, to realize professional ambitions, to build cultural capital among my colleagues and professors, this early music got my attention, as did trencadís, and began to overwhelm any concern for the current trends in my discipline. The cycle of creation, destruction, and re-creation was foremost on my mind, and I found the early music to be the most compelling as the first creation in the cycle of the west. I had to begin there.In total, the work is a series of incongruous elements: a large-scale trencadís, one might say. The first and last movements, Kyrie and Agnus Dei respectively, are texts of the Roman Rite (the world’s most common). The Sanctus is a text of the Hispano-Mozarabic Rite, a tradition traceable to very early Christian worship in the Iberian peninsula, still regularly celebrated in Toledo, Spain. As such, the work in its entirety cannot be used for worship under any existing Catholic rubric. It is a concert mass, a work of artifice on the topic of the mass, rather than a functioning liturgical instrument.The sung movements are composed according to mostly traditional, even archaic, musical principles. These movements alternate with instrumental interludes, Trencadís I and II, in which the vocal melodies have been broken into shorter melodic pieces and arranged in various configurations, at multiple simultaneous speeds, cemented together by textural layering and sustained tones. Their presence manifests my own contemplations and invites yours.However, the greatest aspiration of this work is at its end, in its final line of text, when only the voices are heard: Dona nobis pacem (Grant us peace). When the constant striving to impress, to slake the thirst of ambition, to grow in market share and capital (cultural or real), when the veil of vanity is pierced and falls away, a deep hunger for peace in one’s life is revealed.","**To request an accessible version of the file(s) associated with this item, contact library@buffalo.edu. Please include the item's persistent URL [http://hdl.handle.net/. . .] in your request.**"],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/80831"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["musical composition"],"dc:title":["Missa Trencadís"],"dc:type":["Text","Dissertation"]},"updated_at":"2026-07-27T19:05:25Z"}