André Raison, a seventeenth century French Classical organist-composer, lived a life entirely devoted to the Catholic church. The primary purpose of this study is to point out the sacred characteristics found in Raison's Messe du premier ton. This is accomplished through the study of chant and liturgy, culminating in an alternatim pairing of Raison's Mass with Henri DuMont's Messe du premier ton. Raison's compositional style harkens back to Titelouze. He includes two pivotal moments that most composers of his time neglect (the Elevatio and Deo Gratias), showing his appreciation for the scope and breadth of the liturgy. The form and style of the music of Raison often runs parallel to the structure of the liturgy and provides a sense of fluidity to the liturgy. Finally, in contrast to some of his contemporaries, he remained true to the ecclesiastical modes. In light of these factors, Raison is perhaps not given as much acclaim as he deserves, considering his influence on Johann Sebastian Bach, on his student, Louis-Nicolas Clérambault, and the important work he did for the church.
|Commitee:||Camarda, Kyle, Higdon, James, Levin, Alicia, Pierce, Forrest|
|School:||University of Kansas|
|School Location:||United States -- Kansas|
|Source:||DAI-A 76/06(E), Dissertation Abstracts International|
|Keywords:||Catholic liturgy, Chant schola, Classical, DuMont, Henri, France, Organ, Raison, Andre|
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