{"id":{"repo_id":"umkc","oai_identifier":"oai:mospace.umsystem.edu:10355/43498"},"canonical_url":"https://search.dev.ndltd.org/etd/umkc/oai:mospace.umsystem.edu:10355/43498","repository":{"repo_id":"umkc","name":"University of Missouri - Kansas City","base_url":"https://mospace.umsystem.edu/oai/request"},"display":{"title":"Archistrategos","abstract":"A few years ago I became interested in Christian Orthodoxy, a faith tradition as old as my own -- Roman Catholicism -- yet unfamiliar to most in the Western world. I was seduced by the mysticism and sensuality of Orthodoxy, from the more poetic approach to theology to the engagement of the senses during the Divine Liturgy. Of particular interest has been the dazzling artwork ubiquitous to Orthodox churches around the world known as iconography. Usually a painting or mosaic presented on a flat panel, an icon depicts a holy individual or individuals, either alone or within the context of a specific event from scripture or sacred tradition. Orthodoxy considers icons to be first and foremost didactic in nature, each one serving to convey a specific teaching or theological concept, facilitated in part through universally familiar symbolism. But despite many artistic restraints, iconography is astonishingly nuanced and capable of elevating ones attention to the heavens. Archistrategos is a musical reaction to various iconographic depictions of Michael the Archangel. In choosing materials, I reflected on the dual nature of the angel who is both a military leader charged with leading heavens armies against the Gates of Hell (\"Archistrategos,\" an ancient Greek military term for a commanding officer, is a common Orthodox reference to Michael) and a peaceful, protective entity. This duality gives rise to contrasting materials: sections marked by agitated rhythms, sharp attacks, short phrase lengths, dissonant pitch collections, and militant percussion writing are juxtaposed against passages of more tranquil, celestial music characterized by expansive, legato phrasing and a more consonant harmonic palette. In the climax of the work, elements from both musical domains are combined. The aforementioned mysticism and sensuality of Orthodoxy inspired the unusual timbres (e.g. bowed woodblock and rubbed cowbells) and the sparseness and drawn-out pacing of the middle section","abstract_html":"A few years ago I became interested in Christian Orthodoxy, a faith tradition as old as my own -- Roman Catholicism -- yet unfamiliar to most in the Western world. I was seduced by the mysticism and sensuality of Orthodoxy, from the more poetic approach to theology to the engagement of the senses during the Divine Liturgy. Of particular interest has been the dazzling artwork ubiquitous to Orthodox churches around the world known as iconography. Usually a painting or mosaic presented on a flat panel, an icon depicts a holy individual or individuals, either alone or within the context of a specific event from scripture or sacred tradition. Orthodoxy considers icons to be first and foremost didactic in nature, each one serving to convey a specific teaching or theological concept, facilitated in part through universally familiar symbolism. But despite many artistic restraints, iconography is astonishingly nuanced and capable of elevating ones attention to the heavens. Archistrategos is a musical reaction to various iconographic depictions of Michael the Archangel. In choosing materials, I reflected on the dual nature of the angel who is both a military leader charged with leading heavens armies against the Gates of Hell ("Archistrategos," an ancient Greek military term for a commanding officer, is a common Orthodox reference to Michael) and a peaceful, protective entity. This duality gives rise to contrasting materials: sections marked by agitated rhythms, sharp attacks, short phrase lengths, dissonant pitch collections, and militant percussion writing are juxtaposed against passages of more tranquil, celestial music characterized by expansive, legato phrasing and a more consonant harmonic palette. In the climax of the work, elements from both musical domains are combined. The aforementioned mysticism and sensuality of Orthodoxy inspired the unusual timbres (e.g. bowed woodblock and rubbed cowbells) and the sparseness and drawn-out pacing of the middle section","abstract_has_math":false,"creators":["Roy, Timothy"],"institution":"University of Missouri--Kansas City","degree_name":null,"degree_level":"Masters","degree_discipline":"Music (UMKC)","degree_department":null,"school":null,"contributors":[],"advisors":["Mobberley, James"],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-07-17","date_published":"2014-07-17","updated_at":"2026-07-24T05:16:57Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10355/43498","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Mobberley, James"]},{"key":"dc:creator","label":"Author","values":["Roy, Timothy"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2014-07-17T11:50:26Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2014-07-17T11:50:26Z"]},{"key":"dc:date.issued","label":"Date","values":["2014-07-17"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music (UMKC)"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Missouri--Kansas City"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/10355/43498"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Title from PDF of title page, viewed July 17, 2014","Thesis advisor: James Mobberley","Vita","Thesis (M. A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2014"]},{"key":"dc:description.abstract","label":"Abstract","values":["A few years ago I became interested in Christian Orthodoxy, a faith tradition as old as my own -- Roman Catholicism -- yet unfamiliar to most in the Western world. I was seduced by the mysticism and sensuality of Orthodoxy, from the more poetic approach to theology to the engagement of the senses during the Divine Liturgy. Of particular interest has been the dazzling artwork ubiquitous to Orthodox churches around the world known as iconography. Usually a painting or mosaic presented on a flat panel, an icon depicts a holy individual or individuals, either alone or within the context of a specific event from scripture or sacred tradition. Orthodoxy considers icons to be first and foremost didactic in nature, each one serving to convey a specific teaching or theological concept, facilitated in part through universally familiar symbolism. But despite many artistic restraints, iconography is astonishingly nuanced and capable of elevating ones attention to the heavens. Archistrategos is a musical reaction to various iconographic depictions of Michael the Archangel. In choosing materials, I reflected on the dual nature of the angel who is both a military leader charged with leading heavens armies against the Gates of Hell (\"Archistrategos,\" an ancient Greek military term for a commanding officer, is a common Orthodox reference to Michael) and a peaceful, protective entity. This duality gives rise to contrasting materials: sections marked by agitated rhythms, sharp attacks, short phrase lengths, dissonant pitch collections, and militant percussion writing are juxtaposed against passages of more tranquil, celestial music characterized by expansive, legato phrasing and a more consonant harmonic palette. In the climax of the work, elements from both musical domains are combined. The aforementioned mysticism and sensuality of Orthodoxy inspired the unusual timbres (e.g. bowed woodblock and rubbed cowbells) and the sparseness and drawn-out pacing of the middle section"]},{"key":"dc:title","label":"Title","values":["Archistrategos"]}]}],"canonical_facts":{"dc:contributor.advisor":["Mobberley, James"],"dc:creator":["Roy, Timothy"],"dc:date.accessioned":["2014-07-17T11:50:26Z"],"dc:date.available":["2014-07-17T11:50:26Z"],"dc:date.issued":["2014-07-17"],"dc:description":["Title from PDF of title page, viewed July 17, 2014","Thesis advisor: James Mobberley","Vita","Thesis (M. A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2014"],"dc:description.abstract":["A few years ago I became interested in Christian Orthodoxy, a faith tradition as old as my own -- Roman Catholicism -- yet unfamiliar to most in the Western world. I was seduced by the mysticism and sensuality of Orthodoxy, from the more poetic approach to theology to the engagement of the senses during the Divine Liturgy. Of particular interest has been the dazzling artwork ubiquitous to Orthodox churches around the world known as iconography. Usually a painting or mosaic presented on a flat panel, an icon depicts a holy individual or individuals, either alone or within the context of a specific event from scripture or sacred tradition. Orthodoxy considers icons to be first and foremost didactic in nature, each one serving to convey a specific teaching or theological concept, facilitated in part through universally familiar symbolism. But despite many artistic restraints, iconography is astonishingly nuanced and capable of elevating ones attention to the heavens. Archistrategos is a musical reaction to various iconographic depictions of Michael the Archangel. In choosing materials, I reflected on the dual nature of the angel who is both a military leader charged with leading heavens armies against the Gates of Hell (\"Archistrategos,\" an ancient Greek military term for a commanding officer, is a common Orthodox reference to Michael) and a peaceful, protective entity. This duality gives rise to contrasting materials: sections marked by agitated rhythms, sharp attacks, short phrase lengths, dissonant pitch collections, and militant percussion writing are juxtaposed against passages of more tranquil, celestial music characterized by expansive, legato phrasing and a more consonant harmonic palette. In the climax of the work, elements from both musical domains are combined. The aforementioned mysticism and sensuality of Orthodoxy inspired the unusual timbres (e.g. bowed woodblock and rubbed cowbells) and the sparseness and drawn-out pacing of the middle section"],"dc:identifier.uri":["http://hdl.handle.net/10355/43498"],"dc:title":["Archistrategos"],"dc:type":["Thesis"],"thesis:degree_discipline":["Music (UMKC)"],"thesis:degree_level":["Masters"],"thesis:institution_name":["University of Missouri--Kansas City"]},"updated_at":"2026-07-24T05:16:57Z"}