Canadian Composers of Sacred Choral Music: Dr. Gordon Alban Adnams; Michel Guimont; Dr. Matthew Larkin; and Jared Tomlinson
Notice bibliographique
Résumé
This dissertation offers a 75-year examination of contemporary (1950-2025) Canadian sacred choral music through the lens of four living composers: Dr. Gordon Alban Adnams; Michel Guimont; Dr. Matthew Larkin; and Jared Tomlinson. It aims to illuminate the intricate interplay between personal and cultural identities as expressed through their compositions, shedding light on how their Christian backgrounds have informed their artistic approaches. Through qualitative research methods utilizing interview transcripts and music scores, this study delves into the composers’ perceptions of their own work and its place in the evolving landscape of sacred music in Canada. The investigation, informed by discourse analysis and music theory analysis with a focus on textual analysis, seeks to uncover the nuances of their creative processes and the broader denominational influences shaping Canadian sacred music. Drawing upon Benedict Anderson’s theoretical framework of imagined communities (1983), this dissertation explores the notion of imagined sacred choral music communities, revealing ways in which cultural identity intersects with artistic and Christian expression. Christopher Small’s concept of musicking (1998) is used as a secondary framework. Additionally, this exploration is situated within the scholarly discourse of Canadian music studies, incorporating perspectives primarily from scholar Dr. Mary Ingraham (Ingraham 2024 & 2022). Dr. Robin Elliott, another contemporary scholar in the field of musicology, also touches on this dissertation (Elliott 2024; Elliott and Smith 2010; Kallmann, Beckwith, and Elliott 2013; and Beckwith, et al. 1983). Music in Canada: Capturing Landscape and Diversity by Dr. Elaine Keillor (2006) further supplements this dissertation. This dissertation examines the complex relationship between individual creativity, cultural identity, and Christian tradition in contemporary sacred choral music in Canada. It seeks to show that composers self-fashion their identities through musicking Canadian sacred choral music in their imagined communities. Further, this dissertation maintains that these identities stem from traditional beliefs of their heritage and generation and are not necessarily a response to modernity. Since the 1960s and 1970s, significant changes in Christian liturgical music have been influenced by key developments such as the Second Vatican Council (1962-1965), the promulgation of the Novus Ordo Missae (New Order of the Mass) in 1969, increased ecumenicism, and the rise of the Praise-and-Worship movement. Using the sacred choral music of these composers as sites of cultural resistance, this dissertation investigates their defiance against the Praise-and-Worship Movement within Protestantism. A similar movement, sparked by the constitution Sacrosanctum Concilium, took place within Catholicism. These composers musick within fractured traditional Christian imagined communities within larger modern Christian imagined communities. Keywords: Anglican music; Canadian choral singing; Contemporary Canadian sacred choral music; Canadian church music; Canadian composers; Canadian history; Canadian musicology; Canadian nationalism; Canadian poetry; Catholic music; Christian music; Christopher Small; Congregational singing; Discourse analysis; Ecumenicism; European sacred music; Gregorian chant; Hymns and hymnody; Imagined communities; Liturgical music; Minimalism; Musicking; New Order of the Mass; Praise-and-Worship movement; Protestant music; Qualitative research; Second Vatican Council Canadian creators: Andrew Ager; Cori Martin; Donald Patriquin; Dr. Antoine Ouellette; Dr. Derek Holman; Dr. Gordon Alban Adnams; Dr. Howard Shore; Dr. Jacobus Kloppers; Dr. James Healey Willan; Dr. Mark Sirett; Dr. Matthew Larkin; Eleanor Daley; Emanuel Serra; Gabriel Moïse Charpentier; Group of Seven; Imant Raminsh; Jared Tomlinson; Jeremy Dutcher; Laura Hawley; Leonard Norman Cohen; Matthew Tran-Adams; Michel Guimont; Paul Halley; Ray Twomey; Raymond Daveluy; William Keith Rogers; Ruth Watson Henderson; Raymond Murray Schafer; Stephanie Martin; Sister Theresa Hucul, s.c.i.c.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,002 | 0,004 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,002 | 0,003 |
| Études des sciences et des technologies | 0,030 | 0,007 |
| Communication savante | 0,006 | 0,001 |
| Science ouverte | 0,001 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,013 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».