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dc.contributor.advisor Arauco, Ingrid
dc.contributor.author Emmert, Mason
dc.date.accessioned 2017-09-01T14:49:27Z
dc.date.available 2017-09-01T14:49:27Z
dc.date.issued 2017
dc.identifier.uri http://hdl.handle.net/10066/19436
dc.description.abstract The impetus for this work was research into the various types and functions of psalms from a textual perspective; how do they function as poetry, rather than as liturgy? Unsurprisingly, there is a good deal of scholarship on this subject, often categorizing psalms based on their subjects. In particular, this work focuses on Psalm 66 (functioning both as a Hymn of Praise and a Hymn of Thanksgiving), Psalm 12 (a Community Lament), and Psalm 120 (an Individual Lament). I had several goals from the beginning of the compositional process. First, I wanted to pay homage to the tradition of harmonized chant; the second movement does this with a contemporary harmonic flavor. Second, I wanted my third movement to reflect my admiration of Renaissance counterpoint; an individual lament needed parts that could function with melodic independence while also working together. Finally, I knew that the composition needed to be, simply, enjoyable. I, like many others, have a complex relationship with Christianity and with religion, but singing both sacred and secular music has always made me happy. From the start, I wanted the composition of the piece to reflect this pleasure and be musically and aesthetically satisfying independently of the words. Music should appeal to our most basic senses; it should not address primarily those individuals who can grasp its complexities. I hope that the music I have written will illuminate the texts for those who engage with them but will nevertheless provide excitement and joy for those who do not.
dc.description.sponsorship Haverford College. Department of Music
dc.language.iso en_US en
dc.rights.uri http://creativecommons.org/licenses/by-nc/4.0/
dc.title Three Psalms
dc.type Thesis en
dc.rights.access Bi-College Users Only


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