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Item My Harp Is Turned to Mourning: Tomás Luis de Victoria, Alonso Lobo, "Mysticism," and the Recording History of the Spanish Renaissance Canon(2019) Peisner, Aaron M; Maclary, Edward; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Until the 1961 publication of Spanish Cathedral Music in the Golden Age by the American musicologist Robert Stevenson, the music of the Spanish late Renaissance masters Juan Navarro (ca. 1530-1580), Alonso Lobo (1555-1617), Sebastián de Vivanco (c. 1551-1622), and Juan Esquivel (fl. 1608-1613) was unknown to all but a small number of specialists. Their music remained largely unrecorded until the late 1970s, and since then, each of the four composers has followed a different trajectory in the world of Renaissance music. Where does their music stand today, and what forces have played a role in shaping the reception of their music? To answer this question, the historiography of Tomás Luis de Victoria (1548-1611), the most widely renowned Spanish Renaissance composer, is explored, through music history survey texts, early editions from the nineteenth and twentieth centuries, and the recording history of his music, particularly in England. Additionally, a “meta-discography” of Victoria’s works, which compiles statistics detailing and how frequently each work by Victoria appears on disc, is constructed and analyzed. After musical analysis of some of Victoria’s most widely-recorded works, a similar meta-discography and analysis are made and applied to the music of Navarro, Lobo, Vivanco, and Esquivel, with the hope of better understanding which works have become canonical or are in the process of entering the canon. The historiography and recording history of Victoria’s music, as well as the association of the vague idea of “mysticism” with his music, has had some effect on the recording history of Navarro, Lobo, Vivanco, and Esquivel. The appendices include complete discographies of the music of Navarro, Lobo, Vivanco, and Esquivel, as well as the meta-discographies of those four composers as well as Victoria.Item Requiem for Chorus and Harp: Conductor as Composer, Composer as Conductor(2008) Culverhouse, William; Maclary, Edward; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Western music history is filled with composers who also conduct their own works, and conductors who also devote time to composing. This project will attempt to examine the experience of the composer-conductor by addressing the following questions: First, what is it like to compose a piece of music for a group one conducts regularly? How does one's experience as a conductor influence compositional decision-making? Second, what is it like to conduct one's own music? How does one's experience as a composer influence rehearsal planning and performance conducting? The inquiry will focus on the preparation for and performance on May 16 of three pieces: Advent Antiphons and The Transfiguration, both written for the St. Matthew's Schola Cantorum in 2000, and the Requiem for chorus and harp, begun in January 2007 and completed in April 2008, all with the composer conducting. The completed project will include copies of scores, a DVD of rehearsal excerpts, CDs and DVDs of the performance, and a text document examining the questions mentioned above. The text document will address biographical information on the composer-conductor, focusing on experiences relevant to the inquiry; composition and history of the St. Matthew's Schola Cantorum and of his relationship with them; information about the compositions themselves and the compositional process; and a discussion of the rehearsal process and performance of the pieces.