{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/19482"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/19482","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"The sacred choral music of Alberto Ginastera","abstract":"\"The noted Argentine composer, Alberto Ginastera is remembered primarily for operas, Don Rodrigo, Bomarzo, and Beatrix Cenci. Stuart Pope, editor of Ginastera's works and personal friend, has written in the preface of his catalogue: \"\"As with his (Ginastera's) contemporary Benjamin Britten, the human voice is perhaps Alberto Ginastera's greatest influence: the operas, the cantatas, the chamber music with voice and not least the choral writing.\"\" Ginastera composed three choral works and, notably, all three appear in the sacred genre. These three sacred choral works were written at the beginning of his ouevre, Psalm 150 (Op. 5, 1938), the middle years, Hieremiae Prophetae Lamentationes (Op. 14, 1946), and Turbae ad Passionem Gregroianam, (Op. 43, 1974). From a musical and historical view, this study will show not only his choral compositional techniques but also yield in-sights into the development of Ginastera as a composer in general.\"","abstract_html":""The noted Argentine composer, Alberto Ginastera is remembered primarily for operas, Don Rodrigo, Bomarzo, and Beatrix Cenci. Stuart Pope, editor of Ginastera's works and personal friend, has written in the preface of his catalogue: ""As with his (Ginastera's) contemporary Benjamin Britten, the human voice is perhaps Alberto Ginastera's greatest influence: the operas, the cantatas, the chamber music with voice and not least the choral writing."" Ginastera composed three choral works and, notably, all three appear in the sacred genre. These three sacred choral works were written at the beginning of his ouevre, Psalm 150 (Op. 5, 1938), the middle years, Hieremiae Prophetae Lamentationes (Op. 14, 1946), and Turbae ad Passionem Gregroianam, (Op. 43, 1974). From a musical and historical view, this study will show not only his choral compositional techniques but also yield in-sights into the development of Ginastera as a composer in general."","abstract_has_math":false,"creators":["King, Tim Raynaud"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Alwes, Chester L."],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-05-07T12:08:54Z","date_published":"2011-05-07T12:08:54Z","updated_at":"2026-07-22T22:25:14Z","subjects":["Religion, General","Music"],"languages":["eng"],"rights":["Copyright 1993 King, Tim Raynaud"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9411674","(UMI)AAI9411674"],"render_values":[{"text":"AAI9411674","href":null,"code":true},{"text":"(UMI)AAI9411674","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/19482","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Alwes, Chester L."]},{"key":"dc:creator","label":"Author","values":["King, Tim Raynaud"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-05-07T12:08:54Z","10000-01-01","1993"]},{"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":["D.M.A."]},{"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":["Religion, General","Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 1993 King, Tim Raynaud"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9411674","(UMI)AAI9411674","http://hdl.handle.net/2142/19482"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"The noted Argentine composer, Alberto Ginastera is remembered primarily for operas, Don Rodrigo, Bomarzo, and Beatrix Cenci. Stuart Pope, editor of Ginastera's works and personal friend, has written in the preface of his catalogue: \"\"As with his (Ginastera's) contemporary Benjamin Britten, the human voice is perhaps Alberto Ginastera's greatest influence: the operas, the cantatas, the chamber music with voice and not least the choral writing.\"\" Ginastera composed three choral works and, notably, all three appear in the sacred genre. These three sacred choral works were written at the beginning of his ouevre, Psalm 150 (Op. 5, 1938), the middle years, Hieremiae Prophetae Lamentationes (Op. 14, 1946), and Turbae ad Passionem Gregroianam, (Op. 43, 1974). From a musical and historical view, this study will show not only his choral compositional techniques but also yield in-sights into the development of Ginastera as a composer in general.\"","Made available in DSpace on 2011-05-07T12:08:54Z (GMT). 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Stuart Pope, editor of Ginastera's works and personal friend, has written in the preface of his catalogue: \"\"As with his (Ginastera's) contemporary Benjamin Britten, the human voice is perhaps Alberto Ginastera's greatest influence: the operas, the cantatas, the chamber music with voice and not least the choral writing.\"\" Ginastera composed three choral works and, notably, all three appear in the sacred genre. These three sacred choral works were written at the beginning of his ouevre, Psalm 150 (Op. 5, 1938), the middle years, Hieremiae Prophetae Lamentationes (Op. 14, 1946), and Turbae ad Passionem Gregroianam, (Op. 43, 1974). From a musical and historical view, this study will show not only his choral compositional techniques but also yield in-sights into the development of Ginastera as a composer in general.\"","Made available in DSpace on 2011-05-07T12:08:54Z (GMT). No. of bitstreams: 2 license.txt: 4922 bytes, checksum: 910b249b4beec47e7ab768910c8f966f (MD5) 9411674.pdf: 10038635 bytes, checksum: e9d6ebaf37b5b26bc782394028b4b7bd (MD5) Previous issue date: 1993","Item marked as restricted to the 'UIUC Users [automated]' Group (id=2) by Howard Ding (hding2@illinois.edu) on 2011-05-07T14:37:15Z Item is restricted indefinitely.","Restriction data tranferred 2014-07-01T11:15:18-05:00 Original Data Group with Access UIUC Users [automated] Release Date: none Reason: ETDs are only available to UIUC Users without author permission","ETDs are only available to UIUC Users without author permission","U of I Only"],"dc:identifier":["AAI9411674","(UMI)AAI9411674","http://hdl.handle.net/2142/19482"],"dc:language":["eng"],"dc:rights":["Copyright 1993 King, Tim Raynaud"],"dc:subject":["Religion, General","Music"],"dc:title":["The sacred choral music of Alberto Ginastera"],"dc:type":["text"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["D.M.A."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:25:14Z"}