{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85841"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85841","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"The Sonata/fugue in Haydn's Sacred Choral Music","abstract":"\"The analysis of these movements follows, presenting them chronologically, divided into two groups. Chapter II discusses works written before the 1780s: the Cacelienmesse \"\"Gratias\"\", the Stabat Mater \"\"Virgo virginum praeclara\"\" and \"\"Paradisi gloria\"\", and the Grosse Orgelmesse Kyrie and \"\"Dona nobis pacem\"\". Chapter III covers examples in the late works: the Heiligmesse Kyrie, the Paukenmesse \"\"Et vitam venturi\"\", the Kyrie and \"\"Dona nobis pacem\"\" from the Nelsonmesse, the Theresienmesse Kyrie, and the \"\"In gloria Dei Patris\"\" and \"\"Dona nobis pacem\"\" from the Schopfungsmesse. The analysis reveals the variety of ways in which Haydn juxtaposed fugue and sonata--placing fugatos in various sections of the sonata, creating the sonata in different formations, and sometimes permeating the sonata with fugal texture. Significantly, all but one of the movements studied occur at the beginning or the end of works or important sections of works, i.e. the very places in a symphony where a sonata form would be expected, thus reinforcing the Landon/Chusid description of these choral works as symphonic.\"","abstract_html":""The analysis of these movements follows, presenting them chronologically, divided into two groups. Chapter II discusses works written before the 1780s: the Cacelienmesse ""Gratias"", the Stabat Mater ""Virgo virginum praeclara"" and ""Paradisi gloria"", and the Grosse Orgelmesse Kyrie and ""Dona nobis pacem"". Chapter III covers examples in the late works: the Heiligmesse Kyrie, the Paukenmesse ""Et vitam venturi"", the Kyrie and ""Dona nobis pacem"" from the Nelsonmesse, the Theresienmesse Kyrie, and the ""In gloria Dei Patris"" and ""Dona nobis pacem"" from the Schopfungsmesse. The analysis reveals the variety of ways in which Haydn juxtaposed fugue and sonata--placing fugatos in various sections of the sonata, creating the sonata in different formations, and sometimes permeating the sonata with fugal texture. Significantly, all but one of the movements studied occur at the beginning or the end of works or important sections of works, i.e. the very places in a symphony where a sonata form would be expected, thus reinforcing the Landon/Chusid description of these choral works as symphonic."","abstract_has_math":false,"creators":["Pedersen, Keith Ernest"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Temperley, Nicholas"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:54:26Z","date_published":"2015-09-25T22:54:26Z","updated_at":"2026-07-22T22:26:26Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI9737219"],"render_values":[{"text":"(MiAaPQ)AAI9737219","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85841","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Temperley, Nicholas"]},{"key":"dc:creator","label":"Author","values":["Pedersen, Keith Ernest"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:54:26Z","10000-01-01","1997"]},{"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":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85841","(MiAaPQ)AAI9737219"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"The analysis of these movements follows, presenting them chronologically, divided into two groups. Chapter II discusses works written before the 1780s: the Cacelienmesse \"\"Gratias\"\", the Stabat Mater \"\"Virgo virginum praeclara\"\" and \"\"Paradisi gloria\"\", and the Grosse Orgelmesse Kyrie and \"\"Dona nobis pacem\"\". Chapter III covers examples in the late works: the Heiligmesse Kyrie, the Paukenmesse \"\"Et vitam venturi\"\", the Kyrie and \"\"Dona nobis pacem\"\" from the Nelsonmesse, the Theresienmesse Kyrie, and the \"\"In gloria Dei Patris\"\" and \"\"Dona nobis pacem\"\" from the Schopfungsmesse. The analysis reveals the variety of ways in which Haydn juxtaposed fugue and sonata--placing fugatos in various sections of the sonata, creating the sonata in different formations, and sometimes permeating the sonata with fugal texture. Significantly, all but one of the movements studied occur at the beginning or the end of works or important sections of works, i.e. the very places in a symphony where a sonata form would be expected, thus reinforcing the Landon/Chusid description of these choral works as symphonic.\"","Made available in DSpace on 2015-09-25T22:54:26Z (GMT). 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Chapter II discusses works written before the 1780s: the Cacelienmesse \"\"Gratias\"\", the Stabat Mater \"\"Virgo virginum praeclara\"\" and \"\"Paradisi gloria\"\", and the Grosse Orgelmesse Kyrie and \"\"Dona nobis pacem\"\". Chapter III covers examples in the late works: the Heiligmesse Kyrie, the Paukenmesse \"\"Et vitam venturi\"\", the Kyrie and \"\"Dona nobis pacem\"\" from the Nelsonmesse, the Theresienmesse Kyrie, and the \"\"In gloria Dei Patris\"\" and \"\"Dona nobis pacem\"\" from the Schopfungsmesse. The analysis reveals the variety of ways in which Haydn juxtaposed fugue and sonata--placing fugatos in various sections of the sonata, creating the sonata in different formations, and sometimes permeating the sonata with fugal texture. Significantly, all but one of the movements studied occur at the beginning or the end of works or important sections of works, i.e. the very places in a symphony where a sonata form would be expected, thus reinforcing the Landon/Chusid description of these choral works as symphonic.\"","Made available in DSpace on 2015-09-25T22:54:26Z (GMT). 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