{"id":{"repo_id":"lsu-thes","oai_identifier":"oai:repository.lsu.edu:gradschool_dissertations-1239"},"canonical_url":"https://search.dev.ndltd.org/etd/lsu-thes/oai:repository.lsu.edu:gradschool_dissertations-1239","repository":{"repo_id":"lsu-thes","name":"Lousiana State University","base_url":"https://repository.lsu.edu/do/oai/"},"display":{"title":"A Conductor’s Analysis of Almeida Prado’s Passion of Our Lord Jesus Christ According to Saint Mark","abstract":"This study is based on the analysis and performance considerations of the Passion of our Lord Jesus Christ According to Saint Mark by the Brazilian composer Almeida Prado (1943-2010). This passion setting, which comprises mixed choir, actors, organ, harpsichord and timpani, was composed in 1967. The setting of the passion story strictly follows the gospel account, and no other poetic text, reflective chorales or arias were added. Among other factors, this work is unique in that the choir is used to carry the narrative throughout the work. Also, the composer masterfully uses text-painting in the choral and instrumental parts in isolation or in many combinations. The use of actors for the direct dialogues suggests that staging and acting are appropriate for the dramatic representation of the work. It is based on non-functional harmony and incorporates chromaticism, clusters, modality, and experiments with both texture and tone color as found in the works of Messiaen, Debussy, and Schoenberg. Many European techniques were being recognized and incorporated into works of Brazilian composers that adhered to the avant-garde movement that took place in Brazil during the 1960s. Almeida Prado was one of the most important of these composers in Brazil, with an output of over 400 works.","abstract_html":"This study is based on the analysis and performance considerations of the Passion of our Lord Jesus Christ According to Saint Mark by the Brazilian composer Almeida Prado (1943-2010). This passion setting, which comprises mixed choir, actors, organ, harpsichord and timpani, was composed in 1967. The setting of the passion story strictly follows the gospel account, and no other poetic text, reflective chorales or arias were added. Among other factors, this work is unique in that the choir is used to carry the narrative throughout the work. Also, the composer masterfully uses text-painting in the choral and instrumental parts in isolation or in many combinations. The use of actors for the direct dialogues suggests that staging and acting are appropriate for the dramatic representation of the work. It is based on non-functional harmony and incorporates chromaticism, clusters, modality, and experiments with both texture and tone color as found in the works of Messiaen, Debussy, and Schoenberg. Many European techniques were being recognized and incorporated into works of Brazilian composers that adhered to the avant-garde movement that took place in Brazil during the 1960s. Almeida Prado was one of the most important of these composers in Brazil, with an output of over 400 works.","abstract_has_math":false,"creators":["Gonçalves, Cléusia Carreira"],"institution":"Music","degree_name":"Doctor of Musical Arts (DMA)","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-01-01T08:00:00Z","date_published":"2015-01-01T08:00:00Z","updated_at":"2026-07-24T02:57:21Z","subjects":["Brazilian composer","rehearsal techniques","Passion","Almeida Prado","Choral conducting"],"languages":[],"rights":["unrestricted","Release the entire work immediately for access worldwide."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["etd-01062016-204726","https://repository.lsu.edu/gradschool_dissertations/240"],"render_values":[{"text":"etd-01062016-204726","href":null,"code":true},{"text":"https://repository.lsu.edu/gradschool_dissertations/240","href":"https://repository.lsu.edu/gradschool_dissertations/240","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.31390/gradschool_dissertations.240","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Gonçalves, Cléusia Carreira"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-12-07"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2022-05-12T23:08:09Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Musical Arts (DMA)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Music"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Brazilian composer","rehearsal techniques","Passion","Almeida Prado","Choral conducting"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["unrestricted","Release the entire work immediately for access worldwide."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["etd-01062016-204726","10.31390/gradschool_dissertations.240","https://repository.lsu.edu/gradschool_dissertations/240"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This study is based on the analysis and performance considerations of the Passion of our Lord Jesus Christ According to Saint Mark by the Brazilian composer Almeida Prado (1943-2010). This passion setting, which comprises mixed choir, actors, organ, harpsichord and timpani, was composed in 1967. The setting of the passion story strictly follows the gospel account, and no other poetic text, reflective chorales or arias were added. Among other factors, this work is unique in that the choir is used to carry the narrative throughout the work. Also, the composer masterfully uses text-painting in the choral and instrumental parts in isolation or in many combinations. The use of actors for the direct dialogues suggests that staging and acting are appropriate for the dramatic representation of the work. It is based on non-functional harmony and incorporates chromaticism, clusters, modality, and experiments with both texture and tone color as found in the works of Messiaen, Debussy, and Schoenberg. Many European techniques were being recognized and incorporated into works of Brazilian composers that adhered to the avant-garde movement that took place in Brazil during the 1960s. Almeida Prado was one of the most important of these composers in Brazil, with an output of over 400 works."]},{"key":"dc:title","label":"Title","values":["A Conductor’s Analysis of Almeida Prado’s Passion of Our Lord Jesus Christ According to Saint Mark"]}]}],"canonical_facts":{"dc:creator":["Gonçalves, Cléusia Carreira"],"dc:date":["2015-12-07"],"dc:date.available":["2022-05-12T23:08:09Z"],"dc:description.abstract":["This study is based on the analysis and performance considerations of the Passion of our Lord Jesus Christ According to Saint Mark by the Brazilian composer Almeida Prado (1943-2010). This passion setting, which comprises mixed choir, actors, organ, harpsichord and timpani, was composed in 1967. The setting of the passion story strictly follows the gospel account, and no other poetic text, reflective chorales or arias were added. Among other factors, this work is unique in that the choir is used to carry the narrative throughout the work. Also, the composer masterfully uses text-painting in the choral and instrumental parts in isolation or in many combinations. The use of actors for the direct dialogues suggests that staging and acting are appropriate for the dramatic representation of the work. It is based on non-functional harmony and incorporates chromaticism, clusters, modality, and experiments with both texture and tone color as found in the works of Messiaen, Debussy, and Schoenberg. Many European techniques were being recognized and incorporated into works of Brazilian composers that adhered to the avant-garde movement that took place in Brazil during the 1960s. Almeida Prado was one of the most important of these composers in Brazil, with an output of over 400 works."],"dc:identifier":["etd-01062016-204726","10.31390/gradschool_dissertations.240","https://repository.lsu.edu/gradschool_dissertations/240"],"dc:rights":["unrestricted","Release the entire work immediately for access worldwide."],"dc:subject":["Brazilian composer","rehearsal techniques","Passion","Almeida Prado","Choral conducting"],"dc:title":["A Conductor’s Analysis of Almeida Prado’s Passion of Our Lord Jesus Christ According to Saint Mark"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Doctor of Musical Arts (DMA)"],"thesis:institution_name":["Music"]},"updated_at":"2026-07-24T02:57:21Z"}