The ‘Sermon in Sound’: Text and Inventio in the Sacred Vocal Works of Dieterich Buxtehude

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dc.contributor.advisor November, N en
dc.contributor.author Thomas, Jenny en
dc.date.accessioned 2015-06-29T23:44:19Z en
dc.date.issued 2015 en
dc.identifier.citation 2015 en
dc.identifier.uri http://hdl.handle.net/2292/26067 en
dc.description Full text is available to authenticated members of The University of Auckland only. en
dc.description.abstract Seventeenth-century vocal repertories pose a significant challenge for modern scholars, performers, and audiences. They straddle the boundaries between modality and tonality, freedom and form, the ancient and modern. As products of the late seventeenth century, Buxtehude’s sacred vocal works have long been overshadowed by his keyboard music, and the small corpus of scholarly research on his vocal oeuvre has been largely focused on chronology, typology, and sources. While the last three decades have seen a shift towards a broader contextual approach in Buxtehude scholarship, the vocal works continue to receive relatively superficial treatment in isolation from discussions of their texts and contexts. In this thesis, a new methodological approach to Buxtehude’s vocal oeuvre is proposed. My approach is premised on the idea that the sacred text to which a given work was set functioned as the inventio: the basis of the composition and performance processes, exerting a fundamental influence on all aspects of that work. By establishing text as a motivating and pervasive creative force, this repertory can be considered in the light of its function as a mode of reflecting or interpreting the thematic content of the sacred texts Buxtehude sets. My methodology comprises both contextual and analytical enquiry. It draws on aspects of recent studies of other seventeenth-century repertories in combination with the approach I have formulated through my own experience of Buxtehude’s works in both analysis and performance. The texts and their settings are situated in a broader cultural and theological context, providing a lens through which close readings of textual and musical content can be undertaken. An overview of general trends and major studies situates my approach in the context of existing Buxtehude scholarship. I will outline my methodology through a discussion of issues pertaining to seventeenth-century repertories in general, including the relevance of rhetorical theory and the role of text in vocal music. These matters will then inform readings, some cursory and others more detailed, of individual works from Buxtehude’s vocal oeuvre. en
dc.publisher ResearchSpace@Auckland en
dc.relation.ispartof Masters Thesis - University of Auckland en
dc.relation.isreferencedby UoA99264842013002091 en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights Restricted Item. Available to authenticated members of The University of Auckland. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/nz/ en
dc.title The ‘Sermon in Sound’: Text and Inventio in the Sacred Vocal Works of Dieterich Buxtehude en
dc.type Thesis en
thesis.degree.discipline Musicology en
thesis.degree.grantor The University of Auckland en
thesis.degree.level Masters en
dc.rights.holder Copyright: The Author en
pubs.elements-id 489243 en
pubs.record-created-at-source-date 2015-06-30 en


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