The life, death, and resurrection of Jesus Christ has served as the source for innumerable musical creations spanning the centuries, including a colorful array of compositions inspired by The Seven Last Words of Christ. This musico-theological analysis is an attempt to describe how Part I of Pamela Decker’s epic work for solo organ, The Seven Last Words and Triumph of Christ, artfully communicates the power, depth, and beauty of Christ’s timeless words by way of pitch, rhythm, texture, registration, and use of pre-existing melody.
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