Doctor of Musical Arts (DMA)
Heitor Villa-Lobos is one of the most important names in South American music and probably the most important name in Brazilian music. His musical output includes symphonies, symphonic poems, operas, chamber music, concertos, and choral music, among other genres. His choral music output is significant and includes pieces in which the chorus seems to be used for color and rhythm in a primarily instrumental texture, educational music, folk and secular pieces, large scale choral pieces, and sacred music. This document provides a brief survey of his choral music and a conductor's study of his last two choral works, Bendita Sabedoria and Magnificat-Alleluia. The research is divided into three chapters. The first chapter, entitled "Survey of Villa-Lobos's Choral Music," briefly examines the principal categories of his choral output. Works such as Nonetto, Quatuor (including female choir), Choros no.10, Missa São Sebastião, Missa Vidapura, and Pater Noster are used as examples. The second and third chapters are entitled "A Conductor's Study of Villa-Lobos's Bendita Sabedoria" and "A Conductor's Study of Villa-Lobos's Magnificat-Alleluia," respectively. The two works are examined in the areas of text, form, texture, harmony, rhythm, and orchestration, with suggestions for their interpretation and preparation of the two works included in the conductor's study. Villa-Lobos's choral music encompasses a variety of choral works in different categories. Among these, Bendita-Sabedoria and Magnificat-Alleluia are outstanding works that deserve more frequent performances due to their inherent musical qualities.
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Pereira, Hoffmann Urquiza, "A conductor's study of Villa-Lobos's Magnificat-Alleluia and Bendita Sabedoria" (2005). LSU Doctoral Dissertations. 1535.