{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/105000"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/105000","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Paraliturgicalism in the vespers sequence of Ivan Moody","abstract":"Ivan Moody (b. 1964) is an Orthodox priest, composer, editor, and critic who deserves better recognition as a composer. He is primarily known through his scholarly writings and performing editions. Moody’s own compositions are influenced by and maintain a stream of continuity with the school of sacred minimalist composers like Arvo Pärt, John Tavener, and Henryck Gorecki. His vocal compositions often exhibit “paraliturgicalism” –a term he uses and in part created to describe repertoire with roots in music of liturgical rites repurposed for concert use. Choirs and small vocal ensembles from amateur to professional have used repertoire from sacred music traditions to program concerts since the advent of concerted music. Specialist vocal ensembles such as the Hilliard Ensemble, Trio Mediaeval, Cappella Romana and New York Polyphony are current champions of his work. However, quantifying the use of essentially liturgical music in a concert setting has had little exploration or explanation. This project serves to open the veil, break down some of the potential barriers, and open doors to make the methodology of programming liturgical sacred music at a concert context a less ambiguous or reckless affair. Through Moody’s music, particularly his Vespers Sequence, we see a contemporary composer deliberately placing the idioms and styles of liturgical music into the traditional venues and parameters of concert performance. Their symbiosis is defined as “paraliturgicalism” and this thesis offers situations and suggestions for its use in concert programming.","abstract_html":"Ivan Moody (b. 1964) is an Orthodox priest, composer, editor, and critic who deserves better recognition as a composer. He is primarily known through his scholarly writings and performing editions. Moody’s own compositions are influenced by and maintain a stream of continuity with the school of sacred minimalist composers like Arvo Pärt, John Tavener, and Henryck Gorecki. His vocal compositions often exhibit “paraliturgicalism” –a term he uses and in part created to describe repertoire with roots in music of liturgical rites repurposed for concert use. Choirs and small vocal ensembles from amateur to professional have used repertoire from sacred music traditions to program concerts since the advent of concerted music. Specialist vocal ensembles such as the Hilliard Ensemble, Trio Mediaeval, Cappella Romana and New York Polyphony are current champions of his work. However, quantifying the use of essentially liturgical music in a concert setting has had little exploration or explanation. This project serves to open the veil, break down some of the potential barriers, and open doors to make the methodology of programming liturgical sacred music at a concert context a less ambiguous or reckless affair. Through Moody’s music, particularly his Vespers Sequence, we see a contemporary composer deliberately placing the idioms and styles of liturgical music into the traditional venues and parameters of concert performance. Their symbiosis is defined as “paraliturgicalism” and this thesis offers situations and suggestions for its use in concert programming.","abstract_has_math":false,"creators":["Williams, Geoffrey D"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Megill, Andrew D.","Mattax-Moersch, Charlotte","Taylor, Stephen","Alwes, Chester"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-08-23T20:35:48Z","date_published":"2019-08-23T20:35:48Z","updated_at":"2026-07-22T22:24:44Z","subjects":["choral programming, church music, choral conducting, Orthodox music, Ivan Moody"],"languages":["en"],"rights":["Copyright 2019 Geoffrey Williams"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/2142/105000","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Megill, Andrew D.","Mattax-Moersch, Charlotte","Taylor, Stephen","Alwes, Chester"]},{"key":"dc:creator","label":"Author","values":["Williams, Geoffrey D"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-08-23T20:35:48Z","2021-08-24T09:15:16Z","2019-04-12","2019-05"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"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":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["choral programming, church music, choral conducting, Orthodox music, Ivan Moody"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2019 Geoffrey Williams"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/105000"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ivan Moody (b. 1964) is an Orthodox priest, composer, editor, and critic who deserves better recognition as a composer. He is primarily known through his scholarly writings and performing editions. Moody’s own compositions are influenced by and maintain a stream of continuity with the school of sacred minimalist composers like Arvo Pärt, John Tavener, and Henryck Gorecki. His vocal compositions often exhibit “paraliturgicalism” –a term he uses and in part created to describe repertoire with roots in music of liturgical rites repurposed for concert use. Choirs and small vocal ensembles from amateur to professional have used repertoire from sacred music traditions to program concerts since the advent of concerted music. Specialist vocal ensembles such as the Hilliard Ensemble, Trio Mediaeval, Cappella Romana and New York Polyphony are current champions of his work. However, quantifying the use of essentially liturgical music in a concert setting has had little exploration or explanation. This project serves to open the veil, break down some of the potential barriers, and open doors to make the methodology of programming liturgical sacred music at a concert context a less ambiguous or reckless affair. Through Moody’s music, particularly his Vespers Sequence, we see a contemporary composer deliberately placing the idioms and styles of liturgical music into the traditional venues and parameters of concert performance. Their symbiosis is defined as “paraliturgicalism” and this thesis offers situations and suggestions for its use in concert programming.","Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2021-05-01","The student, Geoffrey Williams, accepted the attached license on 2019-04-10 at 13:42.","The student, Geoffrey Williams, submitted this Dissertation for approval on 2019-04-10 at 13:45.","This Dissertation was approved for publication on 2019-04-12 at 07:53.","DSpace SAF Submission Ingestion Package generated from Vireo submission #13547 on 2019-08-22 at 15:05:43","Made available in DSpace on 2019-08-23T20:35:48Z (GMT). No. of bitstreams: 2 WILLIAMS-DISSERTATION-2019.pdf: 532100 bytes, checksum: a06e705916f234efcd2bca388363ee68 (MD5) LICENSE.txt: 4214 bytes, checksum: 62b06fcec8e6bb468bc39eeac5025a82 (MD5) Previous issue date: 2019-04-12","Embargo set by: Seth Robbins for item 112119 Lift date: 2021-08-23T20:36:18Z Reason: Author requested U of Illinois access only (OA after 2yrs) in Vireo ETD system","U of I Only Restriction Lifted for Item 112119 on 2021-08-24T09:15:16Z."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Paraliturgicalism in the vespers sequence of Ivan Moody"]}]}],"canonical_facts":{"dc:contributor":["Megill, Andrew D.","Mattax-Moersch, Charlotte","Taylor, Stephen","Alwes, Chester"],"dc:creator":["Williams, Geoffrey D"],"dc:date":["2019-08-23T20:35:48Z","2021-08-24T09:15:16Z","2019-04-12","2019-05"],"dc:description":["Ivan Moody (b. 1964) is an Orthodox priest, composer, editor, and critic who deserves better recognition as a composer. He is primarily known through his scholarly writings and performing editions. Moody’s own compositions are influenced by and maintain a stream of continuity with the school of sacred minimalist composers like Arvo Pärt, John Tavener, and Henryck Gorecki. His vocal compositions often exhibit “paraliturgicalism” –a term he uses and in part created to describe repertoire with roots in music of liturgical rites repurposed for concert use. Choirs and small vocal ensembles from amateur to professional have used repertoire from sacred music traditions to program concerts since the advent of concerted music. Specialist vocal ensembles such as the Hilliard Ensemble, Trio Mediaeval, Cappella Romana and New York Polyphony are current champions of his work. However, quantifying the use of essentially liturgical music in a concert setting has had little exploration or explanation. This project serves to open the veil, break down some of the potential barriers, and open doors to make the methodology of programming liturgical sacred music at a concert context a less ambiguous or reckless affair. Through Moody’s music, particularly his Vespers Sequence, we see a contemporary composer deliberately placing the idioms and styles of liturgical music into the traditional venues and parameters of concert performance. Their symbiosis is defined as “paraliturgicalism” and this thesis offers situations and suggestions for its use in concert programming.","Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2021-05-01","The student, Geoffrey Williams, accepted the attached license on 2019-04-10 at 13:42.","The student, Geoffrey Williams, submitted this Dissertation for approval on 2019-04-10 at 13:45.","This Dissertation was approved for publication on 2019-04-12 at 07:53.","DSpace SAF Submission Ingestion Package generated from Vireo submission #13547 on 2019-08-22 at 15:05:43","Made available in DSpace on 2019-08-23T20:35:48Z (GMT). No. of bitstreams: 2 WILLIAMS-DISSERTATION-2019.pdf: 532100 bytes, checksum: a06e705916f234efcd2bca388363ee68 (MD5) LICENSE.txt: 4214 bytes, checksum: 62b06fcec8e6bb468bc39eeac5025a82 (MD5) Previous issue date: 2019-04-12","Embargo set by: Seth Robbins for item 112119 Lift date: 2021-08-23T20:36:18Z Reason: Author requested U of Illinois access only (OA after 2yrs) in Vireo ETD system","U of I Only Restriction Lifted for Item 112119 on 2021-08-24T09:15:16Z."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/2142/105000"],"dc:language":["en"],"dc:rights":["Copyright 2019 Geoffrey Williams"],"dc:subject":["choral programming, church music, choral conducting, Orthodox music, Ivan Moody"],"dc:title":["Paraliturgicalism in the vespers sequence of Ivan Moody"],"dc:type":["text"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["A.Mus.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:24:44Z"}