Thematische Bibliographien / Masses (Lasso, Orlando di)

Auswahl der wissenschaftlichen Literatur zum Thema „Masses (Lasso, Orlando di)“

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Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Masses (Lasso, Orlando di)"

1

Crook, David. „A Sixteenth-Century Catalog of Prohibited Music“. Journal of the American Musicological Society 62, Nr. 1 (2009): 1–78. http://dx.doi.org/10.1525/jams.2009.62.1.1.

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In 1575 the Jesuit general in Rome issued an ordinance governing the use of music in the order's rapidly expanding network of colleges. Motets, masses, hymns, "and other pious compositions" were to be retained; indecent and "vain" music was to be burned. Sixteen years later the Jesuits' provincial administrator in Bavaria drew up a set of supplemental instructions, to which was appended a catalog of prohibited music as well as a complementary list of approved compositions (D-Mbs Clm 9237). Verbal texts treating drunkenness and erotic love account for the majority of banned pieces, but in some cases—a setting of the first verse of Psalm 137 by Orlando di Lasso, for example—the sound and style of the music led to its prohibition. Although intended for all colleges within the Jesuits' Upper German province, this catalog apparently derives solely from a review of the music collection of Munich's college on the occasion of its move in 1591 to a magnificent new building financed by the duke of Bavaria. Like the architecture and curriculum of the college, the music catalog reflected Bavaria's new understanding of its role as principal post-Tridentine defender of the true faith. And, like the formal confessions of faith, catechisms, and service books promulgated by Europe's Churches during the late sixteenth century, Bavaria's catalog of prohibited music gave expression to an ideology of difference and exclusion that lies at the very heart of post-Reformation Christianity.
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Coeurdevey, Annie, und Peter Bergquist. „Orlando di Lasso Studies“. Revue de musicologie 86, Nr. 2 (2000): 347. http://dx.doi.org/10.2307/947409.

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Korndle, Franz, Ted Rippey und Pamela Pamela. „Orlando di Lasso Studies . Peter Bergquist .“ Journal of the American Musicological Society 53, Nr. 3 (Oktober 2000): 624–29. http://dx.doi.org/10.1525/jams.2000.53.3.03a00070.

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Crook, David, und James Erb. „Orlando di Lasso: A Guide to Research“. Notes 49, Nr. 1 (September 1992): 86. http://dx.doi.org/10.2307/897196.

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Schuler, Manfred. „Orlando di Lasso und die Konstanzer Domkantorei“. Die Musikforschung 33, Nr. 2 (22.09.2021): 184–89. http://dx.doi.org/10.52412/mf.1980.h2.1680.

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Körndle, Franz, Ted Rippey und Pamela Potter. „Review: Orlando di Lasso Studies by Peter Bergquist“. Journal of the American Musicological Society 53, Nr. 3 (2000): 624–29. http://dx.doi.org/10.2307/831941.

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7

Boetticher, Wolfgang. „Jacobus Gallus und Orlando di Lasso. Einige Betrachtungen zum Problem des Stilvergleichs in Motettenrepertoire“. Musicological Annual 22, Nr. 1 (01.12.1986): 5–13. http://dx.doi.org/10.4312/mz.22.1.5-13.

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8

Freedman, Richard. „Orlando di Lasso: Seine Werke in zeitgenossischen Drucken, 1555-1687 (review)“. Notes 59, Nr. 2 (2002): 330–31. http://dx.doi.org/10.1353/not.2002.0169.

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Lodes, Birgit. „Orlando di Lasso, Erbprinz Wilhelm von Bayern und die Commedia all`'improvviso“. troja. Jahrbuch für Renaissancemusik 15 (03.11.2020): 235–74. http://dx.doi.org/10.25371/troja.v20162734.

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10

Fisher, Alexander J. „‘Per mia particolare devotione’: Orlando di Lasso'sLagrime di San Pietroand Catholic Spirituality in Counter-Reformation Munich“. Journal of the Royal Musical Association 132, Nr. 2 (2007): 167–220. http://dx.doi.org/10.1093/jrma/fkm006.

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In his magisterialLagrime di San Pietro(1595) Orlando di Lasso composed a cycle of 20 madrigals on texts by Luigi Tansillo on the theme of St Peter's denial of Christ and his subsequent remorse, capped by a Latin motet (‘Vide homo‘) representing the rebuke of the crucified Christ. TheLagrimemay be seen as a penitential gesture on Lasso's part, but a textual and musical analysis also suggests numerous parallels with contemporary Catholic spiritual exercises, particularly those of Ignatius of Loyola and Luis of Granada. The cycle thus takes its place in a broader Counter-Reformation discourse of meditation and penance.
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Dissertationen zum Thema "Masses (Lasso, Orlando di)"

1

Fisher, Gary. „The Munich Kapelle of Orlando di Lasso, 1563-1594 : a model for Renaissance choral performance practice /“. Full-text version available from OU Domain via ProQuest Digital Dissertations, 1987.

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2

Johnson, Nicholas Dean. „The influence of the Jesuits on the Passion music of Orlando di Lasso“. College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3703.

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Thesis (M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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3

Temme, Diane. „Orlando di Lasso's psalm settings : an examination of genre in late sixteenth-century psalm motets and German Leider“. Thesis, Bangor University, 2019. https://research.bangor.ac.uk/portal/en/theses/orlando-di-lassos-psalm-settings(734d892f-f377-4279-bda2-2b6315cbb6a1).html.

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Lasso was considered the greatest composer of his generation with undisputable mastery of all sixteenth-century genres. The dynamism of the late sixteenth century saw the most sophisticated compositions in the continuation of the psalm motet tradition. However, more flexible applications for the psalms in the form of meditations, vernacular translations, and paraphrases opened the door for new and diverse interpretations. This dissertation is a study of Lasso's engagement with established musical traditions and new trends in psalmody. This study unfolds in two parts. First in the discussion of the Latin psalm motet genre and then ensuing with investigation of the German Lied. In each of the genres (1) there is a focus on the definition and classification of terms and older traditions, (2) the examination of the text and the discussion of ways in which the music engages with the prose and poetic forms, and (3) the evaluation of Lasso's interpretation of psalm texts. From negligible German Lieder to expansive motet cycles, the psalms afforded endless polyphonic inspiration and the diversity of which categorically points to the shifts and development of cultural and aesthetic traditions. The use of psalms to reflect devotion and confession amplifies the Catholic Reform implemented at the Bavarian court during Lasso's lifetime. This context along with Lasso's compositional innovation provides an interesting study for the stylistic development of psalm settings in the late sixteenth century.
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Ambiel, Aurea Helena de Jesus. „Lamentationes Jeremiae Prophetae de Orlando di Lasso = a aplicação da quinta categoria analitica de Joachim Burmeister“. [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284035.

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Orientador: Helena Jank
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Em Musica Poética (1606) , Joachim Burmeister oferece a primeira proposta de análise formal em música . A sua metodologia analítica tem um direcionamento retórico- musical e compreende a divisão em cinco categorias: "(1) investigação do modo; (2) investigação do gênero melódico; (3) investigação do tipo de polifonia; (4) consideração da qualidade; (5) secionamento da peça em afetos ou períodos" (BURMEISTER, ([1606] 1993, p.201). O presente trabalho propõe a análise da obra Lamentationes Jeremiae Prophetae de Orlando Di Lasso, segundo a sua quinta categoria. A sua aplicação nesta obra de Lasso pode revelar o valor da análise. A intenção inicial do autor, antes de mais nada, era pedagógica: ele tencionava ensinar os jovens músicos a compor, utilizando como meio: o estudo, a observação e a imitação dos recursos engenhosos empregados na obra pelos grandes mestres (emulação). A aplicação desta quinta categoria coloca o analista numa posição que diz respeito também ao intérprete: é preciso encontrar nas diversas partes do discurso musical os afetos sugeridos pelo compositor. Através da análise é possível recriar a atmosfera afetiva da obra, oferecendo uma importante ferramenta para a interpretação, com profundidade e acuidade estilística
Abstract: In Musica Poetica (1606) Joachim Burmeister offers the first proposal of a formal analysis in music. His analytical methodology has a rhetoric-musical orientation and includes a five-category division: "(1) investigation of the mode; (2) investigation of the melodic genus; (3) investigation of the type of polyphony; (4) consideration of the quality; (5) sectioning of the piece into affections or periods" (BURMEISTER, [1606] 1993, p. 201). This dissertation aims to analyse Lamentationes Jeremiae Prophetae by Orlando Di Lasso in accordance with Burmeister's fifth category. The application of his fifth category on Lasso's work can reveal the value of this analytical method. Initially the authors's intention was pedagogic. He wanted to teach young musicians how to write music using the study, observation and imitation of inventive resources employed by great masters (emulation). Nowadays the application of this fifth category puts the music analyst on a par with the music performer. It is necessary to find out first the affect suggested by the composer among the several parts of the musical discourse. Through the utilization of this fifth category it is possible to recreate the affective atmosphere of the work. At the same time it can provide the performer an important tool to help in the interpretation of the work with depth and a keener sense of historical stylistic acuity
Doutorado
Doutor em Música
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Lessoil-Daelman, Marcelle. „Rôle des répétitions textuelles dans les Psaumes de la Pénitence de LASSUS“. Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68116.

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Textual repetitions abound in verses of the Seven Penitential Psalms of Lassus and this research attempts to discover their function. A total of one hundred and thirty-two verses were analyzed. The results of this investigation exhibit numerous mathematical figures underlying the entire work's structure, and the influence of repetitions is conspicuous in each figure's organization. Moreover, this study shows, in a smaller measure, the mutual influence between form and text expression. A detailed method of calculation is also provided which may eventually be applied to other works of the repertoire of the sixteenth century.
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Popolin, Daniela Francine Lino. „Lagrime di San Pietro de Orlando di Lasso : um estudo de preparação e execução através de uma nova edição crítica e revisada“. [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284519.

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Orientador: Carlos Fernando Fiorini
"O segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro"
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Lagrime di San Pietro é uma das obras mais relevantes dentro da vasta produção de Orlando di Lasso, composta por um conjunto de vinte Madrigais Espirituais e um Moteto. Esta tese teve como principal objetivo um estudo sobre a preparação e a execução desta obra sob a ótica do regente, embasado por um conjunto de pesquisas adjacentes que proporcionassem um suporte teórico, como análise musical, textual e a relação entre ambos, contextualização histórica da obra e do compositor, além do levantamento das dificuldades encontradas durante o processo de execução da obra, partindo da aplicação prática da proposta apresentada. Devido à dificuldade de se encontrar uma edição ideal, foi necessário confeccionar uma nova partitura da obra que pudesse ser utilizada tanto como base para esse estudo como para a sua execução. Assim, o segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro
Abstract: Lagrime di San Pietro is among the most significant works in the huge production of Orlando di Lasso, consisting of a set of twenty Spiritual Madrigals and a Motet. This thesis aimed to a study on the preparation and performance of the work from the conductor's perspective, based on a set of adjacent researches that provide a theoretical foundation and practical implementation of the proposals, such as musical and textual analysis and the relationship between both, a historical background of the work and the composer, and a survey of the difficulties found during the performance of the work, based on the implementation of the proposal. Given the difficulty of finding a right edition, it was necessary to prepare a new score of the work which could be used both as the basis for this study and for its performance. Thus, the second volume presents a new reviewed and critical edition of Lagrime di San Pietro
Doutorado
Praticas Interpretativas
Doutora em Música
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Hanson, Jan. „Orlando di Lasso's Missa Ad Imitationem Moduli Doulce Memoire: An Examination of the Mass and its Model“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc332407/.

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Orlando di Lasso is regarded as one of the great polyphonic masters of the Renaissance. An international composer of both sacred and secular music, his sacred works have always held an important place in the choral repertory. Especially significant are Lasso's Parody Masses, which comprise the majority of settings in this genre. The "Missa Ad Imitatiomem Moduli Doulce Memoire" and its model, the chanson "Doulce Memoire" by Sandrin, have been selected as the subject of this lecture recital. In the course of this study, the two works have been compared and analyzed, focusing on the exact material which has been borrowed from the chanson. In addition to the borrowed material, the longer movements, especially the Gloria and the Credo, exhibit considerable free material. This will be considered in light of its relation to the parody sections. Chapter One gives an introduction to the subject of musical parody with definitions of parody by several contemporary authors. In addition, several writers of the sixteenth century, including Vicentino, Zarlino, Ponzio, and Cerone are mentioned. Chapter Two relates biographical information on Lasso and gives a brief summary of his compositions. Attention is given to the number and type of Parody Masses by Lasso. Chapter Three discusses Sandrin and the chanson model, "Doulce Memoire." The original French text, an English translation, and form of the chanson are given. Chapter Four gives a detailed analysis of the "Missa Doulce Memoire" illustrating the use of borrowed material on specific sections of the Mass. The free sections of the Mass are discussed and compared with the parody sections. Other compositional devices, such as text painting, varied textures, and coloration are also mentioned. In Chapter Five, the "Missa Doulce Memoire" is compared to Lasso's other parody works and conclusions will be drawn concerning the composer's choice of material and treatment of the text, especially with regard to the free sections, the place of the Parody Mass in Lasso's ouevre. and their place in the modern choral repertory.
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Ballman, Christine. „Les oeuvres de Lassus mises en tablature pour le luth: catalogue - transcriptions - analyse“. Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211492.

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Roth, Marjorie A. „The voice of prophecy Orlando di Lasso's Sibyls and Italian humanism /“. 2005. http://catalog.hathitrust.org/api/volumes/oclc/85772021.html.

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Zager, Daniel. „The polyphonic Latin hymns of Orlando di Lasso a liturgical and repertorial study /“. 1985. http://catalog.hathitrust.org/api/volumes/oclc/23638923.html.

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Bücher zum Thema "Masses (Lasso, Orlando di)"

1

Bergquist, Peter. Orlando di Lasso Studies. Cambridge: Cambridge University Press, 1999.

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Peter, Bergquist, Hrsg. Orlando Di Lasso Studies. New York: Cambridge University Press, 1999.

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Peter, Bergquist, Hrsg. Orlando di Lasso, The complete motets. Middleton, Wis: A-R Editions, 2007.

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Orlich, Rufina. Die Parodiemessen von Orlando di Lasso. München: W. Fink, 1985.

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James, Erb. Orlando di Lasso: A guide to research. New York: Garland Pub., 1990.

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Zager, Daniel Arthur. The polyphonic Latin hymns of Orlando di Lasso. Ann Arbor: University Microfilms International, 1985.

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Leuchtmann, Horst. Orlando di Lasso: Seine Werke in zeitgenössischen Drucken, 1555-1687. Kassel: Bärenreiter, 2001.

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Ghezzi, Emilio. Le " Cantiones duarum vocum" di Orlando di Lasso: Una ricerca per la didattica. Milano: Guerini studio, 1991.

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Horst, Leuchtmann, Schaefer Hartmut und Bayerische Staatsbibliothek, Hrsg. Orlando di Lasso: Prachthandschriften und Quellenüberlieferung : aus den Beständen der Bayerischen Staatsbibliothek München. Tutzing: Schneider, 1994.

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Boetticher, Wolfgang. Orlando di Lasso und seine Zeit 1532-1594: Repertoire-Untersuchungen zur Musik der Spätrenaissance. Wilhelmshaven: F. Noetzel, 1998.

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Buchteile zum Thema "Masses (Lasso, Orlando di)"

1

Danuser, Hermann. „Lasso, Orlando di“. In Metzler Komponisten Lexikon, 415–21. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_167.

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Danuser, Hermann. „Lasso [Lassus], Orlando di [de]“. In Komponisten Lexikon, 323–28. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_164.

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Danuser, Hermann. „Lasso [Lassus], Orlando di [de]“. In Komponisten, 128–34. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_25.

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Gutknecht, Dieter. „Orlando di Lasso in Wien und Graz“. In Die Wiener Hofmusikkapelle III, 97–108. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791423.97.

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Cardamone, Donna G. „Orlando Di Lasso and Pro-French Factions in Rome“. In The canzone villanesca alla napolitana, V:23—V:47. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417576-5.

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Cardamone, Donna G. „Orlando di Lasso et al.: A New Reading of the Roman Villanella Book (1555)“. In The canzone villanesca alla napolitana, IX:1—IX:28. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417576-9.

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Göllner, Marie Louise. „Orlando di Lasso and Andrea Gabrieli: two motets and their masses in a Munich choir book from 1564–65“. In Orlando di Lasso Studies, 20–40. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511551383.003.

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„Preface“. In Orlando di Lasso Studies, vii—x. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511551383.001.

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Erb, James. „Aspects of form in Orlando di Lasso's Magnificat settings“. In Orlando di Lasso Studies, 1–19. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511551383.002.

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Zager, Daniel. „Post-Tridentine liturgical change and functional music: Lasso's cycle of polyphonic Latin hymns“. In Orlando di Lasso Studies, 41–63. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511551383.004.

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